Sonaatti sooloviululle
- Allerheiligentag V.
Composed by Jyrki
Linjama. Classical,
contemporary. Book.
Fennica Gehrman
#55011-770-9. Published
by Fennica Gehrman
(FG.55011-770-9).
ISBN
9790550117709.
The
material for Jyrki
Linjama's
Allerheiligentag cycle is
a Finnish folk chorale
for All Saints' Day (no.
146 in the Finnish Hymn
Book). The first work in
the cycle is a string
trio (2007), the second a
piece for orchestra
(2009), and the fourth
and fifth are solo works
for viola da gamba (2018)
and Sonata for violin
solo (2019). The composer
tells: The choice of
topic and material was
originally influenced by
the place where the
string trio would be
premiered – the
old church on the island
of Seili (Själö) in
the Turku archipelago.
The bleak history of the
mental hospital on the
island invited images of
suffering and death. I
got so attached to the
fine, bleak melody that
this series of works
began to emerge.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Violin SKU: OT.22089 Composed by Tal Weissman. For violin and piano. Clas...(+)
Violin
SKU:
OT.22089
Composed by
Tal Weissman. For violin
and piano. Classical.
Score and Parts. OR-TAV
Music Publications
#22089. Published by
OR-TAV Music Publications
(OT.22089).
8.27 x
11.69 inches.
For
violin and
piano Israeli pianist
Tal Weissman was born in
Haifa in 1972, and began
his musical training at
age four. While a youth,
he performed as a soloist
with most of the
orchestras in Israel,
including the Israel
Philharmonic Orchestra
and the Israel Chamber
Orchestra. He was awarded
an Outstanding Israeli
Competitor at the Arthur
Rubenstein Competition in
1992, and has won prizes
in international piano
competitions in
Europe. In 1995,
Weissman was accepted for
piano studies with the
internationally renowned
pianist and pedagogue
Maria Curcio Diamand in
London. During this
period of study in
London, he was awarded
many prizes and performed
in most of the major
concert venues in
England. In 1999, he made
a concert tour of the
United States. Tal
Weissman returned to
Israel in 2004, where he
teaches piano privately
and continues to perform
both in Israel and
abroad. His compositions
for piano and other
instruments express the
human sprit as it faces
the challenges of the
world.
Violin SKU: HL.50603952 MS83. Composed by Nicolo Paganini. String ...(+)
Violin
SKU:
HL.50603952
MS83. Composed by
Nicolo Paganini. String
Solo. Classical,
Virtuoso. Softcover. 48
pages. Ricordi #NR142388.
Published by Ricordi
(HL.50603952).
ISBN
9781705162583. UPC:
196288062684.
9.0x12.0x0.161
inches.
The Sonata
à violin solo (M.S.
83) is an early work by
Paganini that can be
ascribed to the years
1796-1800, a period which
includes works such as
the posthumous Grande
concerto (M.S. 75), the
Inno patriottico con
variazioni (M.S. 81) and
the Tema variato (M.S.
82)for violin. There are
no doubts as to the
authenticity of the work:
the highly virtuosic
experimental writing, the
indications
“Organettoâ€
and
“Flagiolettoâ€
and the use of the fourth
string are all
distinctive traits found
in Paganini's writing
from this period which
link the Sonata to the
Inno patriottico con
variazioni and the Tema
variato. The most
significant
characteristics of this
composition are its
length and the
three-movement structure
that connect it to the
Classical style, at least
far as the first movement
is concerned: it is
written in sonata form,
something rarely seen in
Paganini's solo violin
works.
Violin SKU: FG.55011-724-2 Composed by Harri Wessman. Classical. Score. F...(+)
Violin
SKU:
FG.55011-724-2
Composed by Harri
Wessman. Classical.
Score. Fennica Gehrman
#55011-724-2. Published
by Fennica Gehrman
(FG.55011-724-2).
ISBN
9790550117242.
Harr
i Wessman (b. 1949)
composed Three Caprices
for Konstantin Weitz in
1994. The work for violin
solo opens with Bach-like
Vivace, which is followed
by a singing Larghetto.
The final Allegro is a
movement of energetic
character, which on
account of its melody and
its clusters of chords is
reminiscent of
compositions by Bartok
for violin or viola.
Violin SKU: FG.55011-637-5 (supplement for the book G2). Composed ...(+)
Violin
SKU:
FG.55011-637-5
(supplement for the
book G2). Composed by
Various. Colourstrings.
Classical. Part. Fennica
Gehrman #55011-637-5.
Published by Fennica
Gehrman (FG.55011-637-5).
This collection
of performing pieces for
violin and piano is a
supplement to the
Colourstrings Violin ABC
Book G2: Third Position
and can be used
individually as a
repertoire book as well.
The volume G of the
Colourstrings Violin ACB
tutors by Geza Szilvay
studies every position of
the violin in a separate
volume. It offers
art-pedagogical material
in order to read
confidently in the
positions, to master the
shifting movements and to
understand why and when
to use a particular
position. Piano
accompaniments of this
publication are included
in Colourstrings Violin
ABC: Piano accompaniments
for the books G1, G2 & G2
supplement (ISMN
9790550116467).
(Opus 22 in D Minor). By Henri Wieniawski; edited by Zakhar Bron. For Violin. So...(+)
(Opus 22 in D Minor). By
Henri Wieniawski; edited
by Zakhar Bron. For
Violin. Solos. AMA
Verlag. Classic. Level:
Intermediate. Book. Size
9x12. 72 pages. Published
by AMA Verlag. ISBN
3932587847.
By Koji Toyoda. Arranged by Dr. Shinichi Suzuki. This edition: Performance/Accom...(+)
By Koji Toyoda. Arranged
by Dr. Shinichi Suzuki.
This edition:
Performance/Accompaniment
CD. Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. Instructional and
Technique. Performance
CD. 1 pages. Alfred Music
#00-0918. Published by
Alfred Music
Violin SKU: HL.48186222 Leduc. CD only. Alphonse Leduc #AL30370. Publishe...(+)
Violin
SKU:
HL.48186222
Leduc. CD
only. Alphonse Leduc
#AL30370. Published by
Alphonse Leduc
(HL.48186222).
UPC:
888680830182. 9x12
inches.
“Born
in 1955, Lebanese-French
composer, organist and
improviser Naji Hakim
studied under Jean
Langlais at the Paris
Conservatoire before
succeeding Olivier
Messiaen as organist of
the Saint Trinity Church
in Paris. Considering his
significant musical
training, Langlais'
compositions are created
from a wealth of
knowledge and
understanding, Concerto
for Violin being no
exception. Composed in
2002, Concerto for
Violin, with String
Orchestra or Piano
reduction accompaniment,
is highly modern in
composition. With a
typical performance
lasting about 35 minutes,
the concerto is made up
of three movements. The
solo Violin line
addresses many virtuosic
techniques, including
double and triple stops,
articulation, complex
rhythms, varying bowings
and a huge range of
performance directions,
amongst other aspects.
For all advanced
violinists, seeking
varied, modern
repertoire, Hakim's
Concerto for Violin is an
essential addition to the
repertoire.&rdquo.
Sonata (1941) Violon SATB, Orchestre PWM (Polskie Wydawnictwo Muzyczne)
Violin SKU: BT.PWM7985010 Composed by Grazyna Bacewicz. Classical. Book O...(+)
Violin
SKU:
BT.PWM7985010
Composed by Grazyna
Bacewicz. Classical. Book
Only. 18 pages. Polskie
Wydawnictwo Muzyczne
#PWM7985010. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM7985010).
In her
four-movement Sonata
Bacewicz obviously refers
to the Baroque music ,
the virtuoso trend of the
music for strings of that
epoch, as proven by the
kind of narrative as well
as Bach-like ostinatos
and figurations, textural
devices such as lyrical
double stops or bourdons
with open strings, a
based-on-fifths-plan of
repetitions in the second
movement and the like.
(...) All this makes the
Sonata an original
commentary on a
composition on which it
feeds and to which it
owes a great deal (i.e. a
cycle of the Partitas and
Sonatas for solo violin
by J. S. Bach), depriving
the music of Arcadian
illusions while
preserving its musicianly
dash instead, an
indisputable violin
quality of sound and
energy, which is
exclusively the energy of
the material, without any
extramusical references.
[M. G siorowska, op.
cit.].
Partita Violon SATB, Orchestre OR-TAV Music Publications
Violin SKU: OT.22090 Composed by Daniel Akiva. For violin solo. Classical...(+)
Violin
SKU:
OT.22090
Composed by
Daniel Akiva. For violin
solo. Classical. Score.
OR-TAV Music Publications
#22090. Published by
OR-TAV Music Publications
(OT.22090).
ISBN
9789655050738. 8.27 x
11.69
inches.
Daniel
Akiva's Partita for
violin solo consists of
six movements based
loosely on music of the
Sephardic Jews. It was
written for students as
performance material, and
dedicated to them.
Contents: Liturgical
Song Prayer
Supplication
Dance Kaddish
Supplication Daniel
Akiva is a composer,
performer, and educator
whose performances on
guitar and lute have won
great acclaim. Mr. Akiva
graduated from the Rubin
Academy of Music in
Jerusalem in 1981, where
he studied classical
guitar with Haim Asulin
and composition with Haim
Alexander. In 1987 he
completed his studies at
the Geneva Conservatorium
in Switzerland where he
studied lute with
Jonathon Rubin and
composition with Jean
Ballisa. For many years,
he headed the Music
Department at the WIZO
High School for the Arts
in Haifa, which he
founded in 1986, and
served as the Artistic
Director of the Guitar
Gems Festival from
2006-2019. As part of his
work at WIZO High School,
he has developed a method
for teaching free
improvisation that has
been incorporated into
the music program at the
school. Mr. Akiva has
appeared in concert as a
guitarist and lutist and
given master classes in
Israel, Europe, Russia,
the United States, and
Latin America. Daniel
Akiva’s
compositional output
includes works for solo
instruments, chamber
ensembles, choir, voice
and guitar, piano, and
chamber orchestra. His
works have been recorded
on twelve CDs, the latest
of which, Malchut, was
issued by OR-TAV in
2014. A native of
Haifa whose family has
lived in Israel for over
five hundred years, he
was steeped in the
Sephardic
(Jewish-Spanish)
tradition from his youth.
Much of his compositional
output has been devoted
to a dialogue with the
music of the Sephardic
Jews. Daniel Akiva has
also maintained a
creative dialogue over
many years with the poets
and writers Amnon
Shamash, Rivka Miriam,
and Avner Peretz.
Violin SKU: HL.48181476 Composed by Maurice Hauchard. Leduc. Classical. S...(+)
Violin
SKU:
HL.48181476
Composed
by Maurice Hauchard.
Leduc. Classical.
Softcover. 12 pages.
Alphonse Leduc #AL21023.
Published by Alphonse
Leduc (HL.48181476).
UPC: 888680844578.
9x12
inches.
“Maur
ice Hauchard (1870-1957)
was a French violinist
and composer. As a minor
composer, often in the
shadow of his
contemporary, Maurice
Ravel, much of Hauchard's
music is not widely
known. However, his To
Distract Little Father is
a charming suite, perfect
for beginners. As an
excellent, versatile
musician Hauchard loved
his art and remains one
of the greatest
contributors to music
education. To Distract
Little Father, is a
collection of twelve easy
pieces for Violin. Each
movement is varied in
tempo, time and key
signatures, articulation
and rhythm, making for an
exciting compilation for
the student. All
beginners should play
this quirky Hauchard
suite for its engaging
contrasts and
distinction.&rdquo.
Violin SKU: HL.48187242 Composed by Reynaldo Hahn. Leduc. Classical. Soft...(+)
Violin
SKU:
HL.48187242
Composed
by Reynaldo Hahn. Leduc.
Classical. Softcover. 9
pages. Heugel & Cie
#HE20707. Published by
Heugel & Cie
(HL.48187242).
UPC:
888680990206.
9.0x12.0x0.079
inches.
Composed by
Reynaldo Hahn, Romance in
A major is a chamber
piece for Violin and
Piano, for
upper-intermediate
players. This melodious
piece is written in one
main movement and is
perfect for a recital.
Starting Tres modere with
the main theme, the piece
later become quieter
calme with some
variations of this main
theme. Really romantic,
it is sometimes indicated
which string to play and
the Piano accompanies the
Violin with some flawless
arpeggiated semiquavers.
Reynaldo Hahn was a
naturalised French
composer, conductor,
theatre director and
singer. Best known as a
composer of songs, he
also wrote many pieces
and melodies for
different
instruments..
Orchestra; Piano; Violin (Violin) SKU: HL.48011745 For Violin and Orch...(+)
Orchestra; Piano; Violin
(Violin)
SKU:
HL.48011745
For
Violin and Orchestra.
Composed by Frederick
Delius. Edited by Robert
Threlfall. This edition:
M060104817. Boosey &
Hawkes Chamber Music.
Classical, Contemporary.
Boosey & Hawkes
#M060104817. Published by
Boosey & Hawkes
(HL.48011745).
Violin SKU: FG.55011-173-8 Composed by Geza Szilvay. Published by Fennica...(+)
Violin
SKU:
FG.55011-173-8
Composed by Geza Szilvay.
Published by Fennica
Gehrman (FG.55011-173-8).
ISBN
979-0-55011-173-8.
42 Finger Exercises for
perfect intonation in the
first position. These
Colourstrings
mini-studies for violin
were created in order to
make learning and
teaching ear-led
finger-stopping movements
even more effective and
enjoyable.
Concerto for Violin and Orchestra by Gyorgy Ligeti Violin. Composed by Thoma...(+)
Concerto for Violin and
Orchestra by Gyorgy
Ligeti
Violin. Composed by
Thomas
Ades (1971-). String
Solo.
Classical. Softcover. 8
pages. Schott Music
#ED21605.
Published by Schott Music
Violin, Piano and String Orchestra SKU: BT.WH31276 For Violin, Piano a...(+)
Violin, Piano and String
Orchestra
SKU:
BT.WH31276
For
Violin, Piano and String
Orchestra. Composed
by Hans Abrahamsen.
Classical. Score Only.
Composed 2011. 62 pages.
Edition Wilhelm Hansen
#WH31276. Published by
Edition Wilhelm Hansen
(BT.WH31276).
ISBN
9788759821916.
English.
Commission
ed by The Royal Danish
Orchestra and The Swedish
Chamber Orchestra. Full
Score. Ensemble Violin
Solo Piano Solo bring a
Marimba mallet for
playing inside the Piano
String Orchestra
(6-6-4-4-2) the number of
string players may be
doubled, 12-12-8-8-4 if
doubling the strings then
Desk 1 means Desk 1+2,
Desk 2 means 3+4 etc.
Performance Notes
General: The set-up on
stage is important, with
two Violin groups on each
side on the platform:
Vilin 1 lefts and Violin
2 right, as seen from the
audience 1st Movement :
In bar 1 &, 7 the
entire string group
should adjust their
intonation to the Double
Basses and their natural
harmonics. In the rest of
the movement
normalintonation should
be used. The slow and
rhythmical vibrato pulse
should follow the accents
2nd Movement : The 10/5
meter is divided into two
beats, and the dotted
lines show the position
of the second beat in
each bar 3rd Movement :
no comment 4th Movement :
The very high harmonics
are intended as mostly a
high 'airy' sound. The
small gliss/portamenti
that will invariably
occur in the fast shofts
of positions are
intended.
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
Full Score SKU: HL.359057 For Violin and Small String Orchestra Full S...(+)
Full Score
SKU:
HL.359057
For
Violin and Small String
Orchestra Full Score.
Composed by William
Bolcom. E.B. Marks.
Softcover. 34 pages.
Edward B. Marks Music
#MP075008. Published by
Edward B. Marks Music
(HL.359057).
ISBN
9781705120941. UPC:
840126945119.
11.0x13.0x0.404
inches.
Composed
during the summer of 1964
at the Aspen Music
Festival, performed by
students under the
direction of Leonard
Slatkin. The composer
writes: “The first
movement has much the
feel of a Mozart string
divertimento. The
'distant relative' of the
second movement was
Richard Wagner, and there
are hidden quotations of
his work throughout. The
short scherzo movement,
which leads to a solo
lament, eventually lands
upon a light-hearted
rondo, unashamedly in G
major, a compositional
ploy that drew criticism
in its time.â€.
Violin - easy to intermediate SKU: HL.49001794 Set of Parts. Compo...(+)
Violin - easy to
intermediate
SKU:
HL.49001794
Set of
Parts. Composed by
Istvá, n
Szelé, and nyi.
Sheet music. Concertino
(Chamber Orchestra).
Classical. Set of choral
parts. 50 pages. Duration
9'. Schott Music #CON
148-70. Published by
Schott Music
(HL.49001794).
ISBN
9790001117388.
Beca
use of its scoring, this
uncomplicated little
six-movement suite in a
folkloric style is, above
all, suitable for the
first ensemble playing in
violin lessons. As
vigorous effective music,
it suits, in particular,
the needs of young
players.
Unaccompanied Violin SKU: SU.80110808 For Unaccompanied Violin. Co...(+)
Unaccompanied Violin
SKU: SU.80110808
For Unaccompanied
Violin. Composed by
Meyer Kupferman. Strings,
Violin. Score. Subito
Music Corporation
#80110808. Published by
Subito Music Corporation
(SU.80110808).
Symphonic
Odyssey (1990) is a three
movement orchestral work
of symphonic dimensions.
3333 / 6431 / timp
perc(3) hp pno str
Recording: The Lithuanian
State Symphony Orchestra,
Mindaugas Piecaitis
conductor, on Soundspells
Productions CD122: The
Orchestral Music of Meyer
Kupferman, Volume IX
Published by: Soundspells
Productions.
Score and Parts Chamber Group, String Instruments, Piano Chamber (Chamber Orches...(+)
Score and Parts Chamber
Group, String
Instruments, Piano
Chamber (Chamber
Orchestra)
SKU:
HL.14035706
For
Violin, Viola, Cello,
Double Bass, and Piano
Score and Parts.
Composed by Judith Weir.
Music Sales America. 20th
Century. Set. Composed
2000. 108 pages. Chester
Music #CH60298. Published
by Chester Music
(HL.14035706).
ISBN
9780711930070.
9.25x12.0x0.37
inches.
This work
was commissioned by the
Schubert Ensemble, and
first performed by them
on 5th July 1992 as part
of the Cheltenham
International Festival.
The words I broke off a
golden branch come from a
Croatian folksong, which
is very obliquely
referred to in the second
of the work's two
movements. Scored for
Violin, Viola, Cello,
Double Bass and Piano.
Duration: c.15
minutes.
Chamber Ensemble; Violin (Score) SKU: HL.269151 For Violin and Sinfoni...(+)
Chamber Ensemble; Violin
(Score)
SKU:
HL.269151
For
Violin and Sinfonietta
Score. Composed by
Eivind Buene. Music Sales
America. Classical.
Softcover. 58 pages.
Duration 1380 seconds.
Edition Wilhelm Hansen
#WH33053. Published by
Edition Wilhelm Hansen
(HL.269151).
Eivind Buene's
Violin Concerto - Version
for Sinfonietta (2016).
Falling Angels / Sound
Asleep / Among Voices of
the Dead The Violin
Concerto is in three
movements with varying
instrumentation within
the range of a
sinfonietta. The
movements may be played
as individual pieces.
Parts are available on
hire: hire@ewh.dk Orig.
version for Violin and
Chamber Orchestra:
WH32919.