Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin
SKU: CF.BF131
Composed by Roland Vamos.
With Standard notation.
168 pages. Carl Fischer
Music #BF131. Published
by Carl Fischer Music
(CF.BF131).
ISBN
9781491153765. UPC:
680160911264. 9 x 12
inches.
Inspired by
Clarence Cameron
White’s book The
Violinist’s Daily
Dozen, The
Violinist’s Daily
Sixteen is a collection
of daily exercises
compiled by Roland Vamos.
Intended for student and
professional violinists,
the collection provides
the performer with a
variety of exercises for
daily warm-ups. Mr. Vamos
also focuses on
developing dexterity and
flexibility in the
fingers and joints, the
first and fourth fingers
in particular. Each of
the sixteen exercises is
notated for each of the
four strings, and Vamos
recommends that the
exercises be practiced as
warm-ups, choosing a
different string for each
day of practice.Also
included with the Daily
Sixteen is a
comprehensive set of
studies for developing
fluency with scales and
arpeggios. Mr.
Vamos’ unique
methodology is to begin
with major scales and
arpeggios, followed by
minor scales and
arpeggios, all of which
are notated in two, three
and four octaves.
Alternate fingers are
provided, as well as a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. It is
a remarkably systematic
approach to performing
scales and arpeggios on
the violin and will
surely benefit students
and professionals
alike. ForewordThis
short hand-setting set of
exercises was inspired by
a book entitled The
Violinist’s Daily
Dozen, conceived by
Clarence Cameron White, a
prominent
African-American
violinist, composer and
arranger who enjoyed the
bulk of his career in the
first half of the
twentieth century.I have
practiced this set of
exercises since I was
twelve years old. It has
served me as a superb
warm-up and hand setting
tool. Over the years, I
have found that there are
some aspects of this
warm-up routine that were
not given sufficient
attention or not
addressed at all.
Consequently, I have
expanded the Daily Dozen
to create a new work
entitled The
Violinist’s Daily
Sixteen.I have also paid
particular attention in
this work as to how these
exercises are to be
practiced. In exercises
one and two, I have
indicated some notes to
be played before the
actual written exercises.
This is to ensure that
the fourth finger will be
over the string in a
position ready to strike
even though it is not
being used. Before
playing exercises three,
four, nine, ten, eleven
and twelve, I have
indicated silent fingers
to be placed on the notes
they would be playing if
they were being used.I
have replaced Mr.
White’s grace
notes with notes of
specific value and have
slowed down the exercises
so that the first joint
(the joint nearest the
string) of each finger
can move with flexibility
and strength. At no time
should the first joint
buckle.In Mr.
White’s version,
the last exercise gave
the first finger some
very valuable backward
extensions. In this
exercise (number 14 in
this book), I caution the
student not to move the
hand along with the first
finger. The hand should
remain in position while
the first finger
independently moves back
and forth.It became
obvious to me that if the
first finger were given
the opportunity to
develop the dexterity
that Mr. White’s
twelfth exercise
emphasizes, the fourth
finger could benefit from
an exercise that gives it
a forward extension.
Consequently, I added
another exercise to
create a Baker’s
Dozen (thirteen).Several
years later, I felt that
the second and third
fingers should also have
an exercise to further
develop their
dexterity…hence
exercise fourteen was
added to create a
“Vamos
Dozen.â€Because the
first finger did not have
sufficient practice in
the development of the
first joint in the
original version, I have
added two exercises to
precede White’s
fifth exercise. After
re-working and
re-numbering these
exercises, I have come up
with a total of sixteen
exercises. It is my
suggestion that these be
practiced as a warm-up,
choosing a different
string each
day.—Roland
VamosEvanston, Illinois
2017Â PrefaceScales are
a means of teaching a
person the fingerboard on
his or her instrument.
The fingers move across
the strings and are
required to make shifts,
all in highly organized
patterns. Scales and
arpeggios are the
foundation upon which our
repertoire is built. Many
scale books have been
written; each one being
organized in its own
specific way. The Flesch
Scale System has been a
standard for many
decades. It is very
comprehensive and
systematic. From the
point of view of
establishing similar
patterns, it has one
drawback: it is organized
by starting with a major
key, followed by its
relative minor, going
through the circle of
fifths. I believe that it
is more profitable to do
only major scales with
their arpeggios first,
going up chromatically,
and then follow them in a
similar way with the
minor scales. In using
this approach, the
similarities in
fingerings between the
various scales are more
apparent. It is also
profitable to have
alternate fingerings
whenever possible. My
approach to scales and
arpeggios includes a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. These
bowings are not
all-inclusive. Whenever a
particularly awkward
bowing pattern is
encountered in the
repertoire, it can be
practiced as an
additional bowing
variation in the scales
and arpeggios. Â Â I
have chosen to introduce
the three and four octave
scales by teaching two
octave scales across the
strings in one position
going up chromatically
through seven positions;
starting on the first,
second, third, and
finally fourth fingers in
major and melodic
minor.—Roland
VamosEvanston, Illinois
2017.
Fiddle, Violin - Difficulty: medium SKU: HL.235 By Various. Fiddle. Folk....(+)
Fiddle, Violin -
Difficulty: medium
SKU: HL.235
By
Various. Fiddle. Folk.
Solo fiddle songbook.
With performance notes,
introductory text and
standard notation. 96
pages. Published by
Centerstream Publications
(HL.235).
ISBN
9781574240566. UPC:
073999567786. 9x12
inches.
This
comprehensive collection
of fabulous fiddle tunes
includes reels,
hornpipes, strathspeys,
jigs, waltzes and slow
airs.
Solo Violin SKU: SU.29110060 For Solo Violin. Composed by Wynton M...(+)
Solo Violin
SKU:
SU.29110060
For
Solo Violin. Composed
by Wynton Marsalis.
Strings, Violin.
Unaccompanied. Score.
Subito Music Corporation
#29110060. Published by
Subito Music Corporation
(SU.29110060).
1. Sidestep
Reel - In 19th
Century America, the
Afro-Celtic fiddle style
was the centerpiece of
many a dance. Reels and
hornpipes were very
popular forms. Their
repetitive, even-metered
rhythms were easy and fun
to dance to, and their
infectious singable
melodies stayed in the
mind and on the tongue.
More adventurous fiddlers
were given to syncopating
on these forms by
accenting off beats and
by embellishing melodies
with oddmetered note
groupings. Syncopation is
a fundamental rhythmic
attitude of jazz and this
movement is a celebration
of that art. The melodic
language is a home-grown
concoction of commonality
between traditional reels
and hornpipes and the
Baroque, Ragtime and the
quartal concepts of
Modern Jazz. 2. As the
Wind Goes - the
wistful late night song
of a lullabye, a campfire
song, a ballad...a
spiritual. It is sung as
if on the wind, yearning
to experience once again
that which will only ever
again live as memory. 3.
Jones’ Jig -
the Irish Jig, the
African 6/8 bell pattern,
the shuffle rhythm of
jazz and the drum style
of Elvin Jones all play
around with the
relationship of 3 in the
time-space of 2. The
juxtaposition,
negotiation and
reconciliation of these
opposing rhythmic
perspectives create
interesting musical
relationships all over
the globe. 4.
Nicola’s
Strathspey - In the
traditional Strathspey,
improvised
embellishments,
syncopated dotted rhythms
and the use of space
between notes create
expectation, momentum and
surprise. These same
elements and their effect
on the listener are the
same in the blues. It
seems like a natural
marriage. 5. Bye Bye
Breakdown - This is
good ol’, Saturday
night barn dance, hoedown
fiddling. It revels in
the whining cry of open
double stops, in all
types of musical
onomatopoeia from train
sounds to animal calls to
country whistling, and in
the steady 2/4 rhythm
that is as basic as
walking. The harmonic
framework of several
popular fiddle and folk
tunes provide a practical
grid for the cutting of
challenging melodic and
rhythmic figures. It is
designed to tire fiddler
and dancers out. Then we
stomp our way home in
varying states of delight
and disrepair.Solo Violin
Duration: 24' Composed:
2018 Published by: Wynton
Marsalis (administered by
Skayne's Music).
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530).
ISBN
9781491136614. UPC:
680160687992.
A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument.
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(Newly Composed Fiddle
Tunes). Edited by Paul
Stewart Cranford. For
Fiddle and Violin.
Transcribed Solos.
Cranford Publications.
Fiddle Tunes.
Intermediate. Book/CD
Set. 112 pages
Indian Concertino Violon [Partition + CD] - Facile De Haske Publications
Composed by George Perlman. De Haske Study and Play. Book with CD. Composed 20...(+)
Composed by George
Perlman.
De Haske Study and Play.
Book
with CD. Composed 2005.
24
pages. De Haske
Publications
#DHP 1053792-400.
Published
by De Haske Publications
By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A compr...(+)
By Martin Wulfhorst. This
edition: 1st printing
2012 edition. Paperback.
A comprehensive guidebook
with hundreds of
excerpts. Book. Language:
English. 483 pages.
Published by Baerenreiter
Verlag
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
Violin & Keyboard SKU: SU.17150330 For Violin & Keyboard. Composed...(+)
Violin & Keyboard
SKU:
SU.17150330
For
Violin & Keyboard.
Composed by Daniel
Bernard Roumain. Strings,
Violin. Score & Parts.
Composed 2007. Duration
7'. Subito Music
Corporation #17150330.
Published by Subito Music
Corporation
(SU.17150330).
This CD Sheet
Musicâ„¢ collection
brings together over 600
songs and song cycles (in
alternate keys for low
voice) by composers
from the Classical and
Romantic eras: Wolfgang
Amadeus Mozart, Ludwig
van Beethoven, Felix
Mendelssohn, Johannes
Brahms, and Hugo Wolf.
Beethoven: over 70
songs including: Ah!
Perfido, An die ferne
Geliebte, Songs, Op. 75;
2 Songs from Egmont, Op.
84; plus 29 songs without
opus Brahms: over 200
songs including: An den
Mond, Mädchenlied,
Mondscheinen, Nachtigall,
Sommerabend,
Ständchen, Four
Serious Songs
Mendelssohn: over 70
songs including
Frühlingslied,
Morgenslied, Der Mond,
Geistlisches Lied, Der
Blumenkranz Mozart:
over 20 individual songs
including: Lied zur
Gesellenreise, K. 468;
Lied der Freiheit, K.
506; Das Kinderspiel, K.
598 Wolf: over 100
songs including: from
Mörike Songs,
Eichendorff Songs, Goethe
Songs, Michelangelo
Songs, Spanish Songbook
(Spiritual Songs & Wordly
Songs) The Italian
Songbook (Volumes I & II)
Added features:
alphabetical indexes for
searching by title, first
line or poet Also
includes: composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 1800+ pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
(A violin method for children age four and older). By Egon Sassmannshaus; Kurt S...(+)
(A violin method for
children age four and
older). By Egon
Sassmannshaus; Kurt
Sassmannshaus. For
violin. This edition:
Stapled. Barenreiter's
Sassmannshaus. With a
French text supplement.
Instructional.
Performance score,
Teaching material. Text
Language: English/French.
64/11 pages. Published by
Baerenreiter Verlag
14 contemporary pieces
from around the
world. Composed by
Jos Van Den Dungen.
Educational Tool. Book
with Online Audio.
Composed 2021. 32 pages.
De Haske Publications
#DHP 1033470-404.
Published by De Haske
Publications
(BT.DHP-1033470-404).
ISBN 9789043161756.
9x12 inches.
International.
C
olours of the World
is a varied, swinging
collection of pieces each
of which has its own
colour. They include not
only tango, blues, tex
mex and Cuban but also
house, Balkan and folk.
To be able to play the
pieces well youwill need
to have some playing
experience: sometimes the
third position is used
and vibrato is also
desirable. However, these
fourteen pieces are
relatively easy to play
and you will gain much
pleasure from them. Great
attentionhas been paid to
the accompaniment
recordings which are
available online in MP3
format - the musicians
are specialists in their
field, so each piece has
its own original
atmosphere.
Veerti
en speelstukken vormen in
Colours of the
World een prettig en
afwisselend geheel. De
enigszins handige violist
met kennis van drie
posities zal zich deze
cocktail van stijlen
zeker laten smaken.
Diverseinspiratiebronnen
van over de hele wereld
zijn gebruikt, waaronder
Hongarije, Cuba,
Argentinië, Amerika,
Ierland en Marokko, maar
ook uit verschillende
periodes, bijvoorbeeld de
riddertijd. De
begeleidingsopnames
(online inmp3-formaat
beschikbaar) zijn
ingespeeld door
muzikanten die zijn
gespecialiseerd in hun
eigen stijl: van stevige
rock en tex-mex tot
Balkanklanken en
housemuziek.
Co
lours of the World
ist eine bunte Mischung
von Stücken in Stilen
aus aller Welt. Dazu
gehören z. B. Tango,
Blues, Tex-Mex,
kubanische Musik, House
u. v. m. Die Stücke
erfordern ein gutes
Rhythmusgefühl
undeinen ausreichenden
Tonumfang. Die online im
MP3-Format verfügbaren
Begleitaufnahmen wurden
von professionellen
Musikern eingespielt.
Dabei wurden für die
Stilarten typische
Instrumente wie z. B.
Becken oder
Akkordeonverwendet,
sodass die Stücke alle
eine eigene,
ursprüngliche
Atmosphäre
ausstrahlen.
Colours
of the World propone
musiche in diversi stili
musicali quali tango,
blues, tex-mex, house,
musiche balcaniche e
folk. Le registrazioni
audio accessibili online
come file MP3 permettono
di suonare con un
accompagnamentofornito da
musicisti
professionisti.
Composed by Ottakar Sevcik (1852-1934). Edited by Jaroslav Foltyn. For violin. S...(+)
Composed by Ottakar
Sevcik (1852-1934).
Edited by Jaroslav
Foltyn. For violin.
Stapled. Level 3.
Performance score. Opus
8. Published by
Baerenreiter Verlag
Violin SKU: AP.12-0571543235 Composed by Paul Harris. Classroom Resources...(+)
Violin
SKU:
AP.12-0571543235
Composed by Paul Harris.
Classroom Resources;
Method/Instruction;
Textbook - Instrumental.
Improve your scales!
Book. 16 pages. Faber
Music #12-0571543235.
Published by Faber Music
(AP.12-0571543235).
ISBN 9780571543236.
English.
Paul
Harris's brilliant series
of workbooks, Improve
Your Scales! , contains
not only the complete
scales and arpeggios for
the current ABRSM Initial
and Grade 1 syllabuses
but also uses finger
fitness exercises, scale
and arpeggio studies, key
pieces and simple
improvisations to help
you play scales and
arpeggios with real
confidence. An invaluable
resource for students,
Improve your scales!
Violin Initial and Grade
1 covers all the keys and
ranges required for the
ABRSM syllabuses, helping
you pick up valuable
extra marks in exams.
Now includes
requirements for Initial
Grade, supporting the
ABRSM syllabus from
2024.
Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115).
ISBN
9781491150993. UPC:
680160908493. 9x12
inches.
Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992. here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€.
Violin - intermediate SKU: BT.DHP-1185780-400 The World's Most Beautif...(+)
Violin - intermediate
SKU:
BT.DHP-1185780-400
The World's Most
Beautiful Arias with Full
Orchestra Play Along.
Opera or Operetta. Book
with CD. Composed 2018.
36 pages. De Haske
Publications #DHP
1185780-400. Published by
De Haske Publications
(BT.DHP-1185780-400).
ISBN 9789043153836.
English-German-French-Dut
ch.
For over three
hundred years, great
opera singers have held
entire audiences under
their spell. In so doing,
they can call on an
etensive repertoire of
arias by many important
composers. Live at the
Opera now makes this
precious treasure trove
available to
instrumentalists, too.
Twelve of the most
beautiful operatic
melodies of all time have
been specially arranged
for violin and are
performed by the renowned
violinist Maximilian
Lohse. The accompanying
audio is performed by an
authentic opera
orchestra, which also
includes a play-along
version without soloist.
Additionally, this unique
collection also includes
background info and tips
on performance for
theindividual arias.
Al meer dan
driehonderd jaar weten
grote operazangers en
-zangeressen hun publiek
te betoveren. Wanneer ze
voor ons op het podium
staan, vertolken ze
melodieën die behoren
tot de allermooiste van
de klassieke muziek.
Live at the opera
maakt deze schat aan
melodieën nu ook
toegankelijk voor
instrumentalisten: twaalf
Italiaanse
opera-ariaâ??s zijn
speciaal gearrangeerd
voor viool en opgenomen
door de gerenommeerd
violist Maximilian Lohse.
Een echt operaorkest
neemt de begeleiding voor
zijn rekening, die op de
meespeelversie ook zonder
solo-instrumentalist
beschikbaar is. Verder
zijn in deze unieke
collectie
muziekhistorische
achtergrondinformatie bij
iedere aria entips voorde
uitvoering opgenomen.
Schon seit mehr
als dreihundert Jahren
ziehen groÃ?e
Opernsängerinnen ein
ganzes Opernpublikum in
seinen Bann. Dabei
können sie sich aus
einem umfangreichen
Arienrepertoire aus der
Feder zahlreicher
bedeutender Komponisten
bedienen. Live at the
Opera macht diesen
kostbaren Melodienschatz
nun auch
Instrumentalisten
zugänglich: 12 der
schönsten
Opernmelodien aller
Zeiten wurden hier eigens
für Violine
eingerichtet und werden
von dem renommierten
Geiger Maximilian Lohse
vorgespielt. Ein echtes
Opernorchester
übernimmt dabei die
Begleitung, welche
zusätzlich auch in
einer Mitspielversion
ohne den Solisten zur
Verfügung steht.
Hintergrundwissen
undAusführungstipps zu
den einzelnen Arien sind
weitere Pluspunkte dieser
einzigartigen Sammlung.