(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
Violin SKU: ST.Y274 Composed by Morgan Hayes. String music. 3 minutes. Sc...(+)
Violin
SKU:
ST.Y274
Composed by
Morgan Hayes. String
music. 3 minutes. Score.
Stainer & Bell Ltd.
#Y274. Published by
Stainer & Bell Ltd.
(ST.Y274).
ISBN
9790220223358.
1st
perf: Keisuke Okazaki,
Tokyo Opera City Recital
Hall, Tokyo, Japan, 22
April 2008 1st UK
perf: Darragh Morgan,
Schott Recital Room,
Bauer & Hieber,
London, 5 February
2009
Though the
jagged figures and
phrases of Lucky's
Dream by Morgan
Hayes are unmistakably
those of a contemporary
musical expressionist,
the shadow of Bach also
falls on this work,
inspired by the
virtuosity of the young
Japanese soloist Keisuke
Okazaki and his playing
of the E major
Partita.
In
fact, though 'standard'
contemporary techniques
are widely used in the
piece - left-hand
pizzicato, harmonics and
microtones, all deployed
in edgy, unpredictable
rhythms - there is also a
classical shape to the
structure. In this
two-part form, lasting
around four minutes, the
first section is
reflective, dwelling on
single notes, phantoms as
it were of pitches that
are subtly deflected
through slow glissandi.
Then a spectral dance
ensues, delivered largely
on plucked strings,
ethereal, disembodied,
strange.
The
'Lucky' in question is a
character from Samuel
Beckett's play
Waiting for
Godot, and
Lucky's Dream is
a complementary work to
the earlier, impassioned
Lucky's Speech
(2006). The two
items can stand alone or
may be performed
consecutively. Both are
to be found on the recent
all-Hayes CD released on
the NMC label (NMC D163),
which also features the
composer's 17-minute
Violin Concerto as
further evidence for his
original approach to
writing for the
instrument.
Classic Rock for the String Orchestra (Violin). Arranged by Bob Phillips ...(+)
Classic Rock for the
String Orchestra
(Violin). Arranged by
Bob Phillips and Daryl
Silberman. Book; CD;
Play-Along; String
Orchestra Collection.
Rock. 40 pages. Published
by Alfred Music
(AP.40736).
Composed by Nicolo Paganini (1782-1840). Edited by Daniela Macchione. For violin...(+)
Composed by Nicolo
Paganini (1782-1840).
Edited by Daniela
Macchione. For violin.
This edition: Urtext
edition. Paperback. Level
5. Performance score,
anthology. Text Language:
English/German. Published
by Baerenreiter Verlag
Chamber Music Violin SKU: PR.114418750 Composed by Michael Hersch. Sws. P...(+)
Chamber Music Violin
SKU: PR.114418750
Composed by Michael
Hersch. Sws. Performance
Score. 8 pages. Duration
11 minutes. Theodore
Presser Company
#114-41875. Published by
Theodore Presser Company
(PR.114418750).
ISBN
9781491129524. UPC:
680160655489. 9 x 12
inches.
The
seven-movement in the
snowy margins might be
considered a sort of
atomic suite, as each
movement is succinct, yet
a microcosmic powerhouse
inspired by “The
Comet,” by Polish
writer and Holocaust
victim Bruno Schulz.
Hersch’s intensity is
expressed through
dramatically captivating
violin gestures, pushing
the boundaries of
texture, technique, and
emotion. Michael
Hersch’s in the snowy
margins was written in
2010. Like much of his
work, it is grounded in
literature and art. The
title is drawn from a
short story, The Comet by
Polish writer, poet, and
artist, Bruno Schulz
(1892-1942). This forms
the last of his
collection The Street of
Crocodiles, published in
1934. Schulz was shot by
a Nazi officer in
1942.Both the title of
Hersch’s work, and the
‘motto’ found on the
composer’s manuscript
(‘Thus far and no
further. But what has
become of the end of the
world…’) are to be
found in The Comet.
It’s interesting that
in in the snowy margins,
unlike his earlier
Fourteen Pieces which
were inspired by the
poetry of Primo Levi,
Hersch chose to not title
each individual movement
with a quote. However his
choices of text are
applied, there is a clear
quality of distillation.
In every case, the texts
which the composer has
chosen to eschew lie
beneath the music, akin
to the greater mass of an
iceberg, submerged, but
imminent.Hersch also has
very particular taste in
visual art, and there
seems to be common ground
between the intensely
expressionist drawing of
Schulz, and those of
Michael Mazur, which
inspired his string
quartet Images from a
Closed Ward. The
parallels between these
artists reflect common
traits shared between
these two pieces, which
provide a window on how
the music should be
approached, expressively
and technically. I would
argue, that from a
violinist’s point of
view, this pertains
directly to how bow and
left hand should approach
the string: the febrile
vibrancy of both Mazur
and Schulz’s pencil and
charcoal strokes, perhaps
what T.S. Eliot called
the ‘circulation of the
lymph’, in every
gesture, speaks to the
intense experience,
physically and
emotionally, of playing
(and hearing) this music.
There is an intense sense
of ‘truth to
materials’ at every
moment, the sense that
every note sings on the
edge of, or even beyond,
total collapse.— Peter
Sheppard-Skaerved.
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).
Score and Parts Mixed Ensemble (Score & Parts) SKU: HL.233289 For Viol...(+)
Score and Parts Mixed
Ensemble (Score & Parts)
SKU: HL.233289
For Violin,
Vibraphone, Piano,
Sustaining Keyboard and
Contrabass. Composed
by John Luther Adams.
Music Sales America.
Classical. Set. Duration
1800 seconds. Chester
Music #CH85987. Published
by Chester Music
(HL.233289).
12.0x9.25x0.43
inches.
Score and
separate parts with
spiral-bound
keyboard/organ part.
Number 5, 1950 was Mark
Rothko's last painting
before the breakthrough
into his mature format.
In it the luminous color
fields of a classic
Rothko are inscribed
across the middle with
three delicate lines.
Describing this painting
and its pivotal position
in Rothko's work, Brian
O'Doherty observes:
'After this, the lines
disappear completely.' In
recent years gesture and
figuration have
disappeared from my
music. What used to be
background has emerged to
become a musical world
composed entirely of
floating color fields. In
this new world I've
changed media, moving
from the orchestra to
smaller combinations of
acoustical instruments
and
electronically-processed
sounds. I still think in
orchestral terms, but
this hybrid medium allows
me to create orchestral
textures for more
practical and readily
available ensembles.
Initially I imagined this
as a kind of monolithic
music -an entire piece as
one rich and complex
sound. Then I came to
hear it as homophonic or
heterophonic. And now -
in this musical world
that I thought was
completely free of lines
- I've come to hear a
polyphony of harmonic
clouds. Maybe the lines
never disappear
completely. Maybe
Christian Wolff was right
when he quipped: 'No
matter what we do, sooner
or later it all sounds
melodic.' - John Luther
Adams.
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.
String Thang Violon [Conducteur] - Facile Alfred Publishing
Violin - Grade 3 SKU: AP.50642 Composed by Mark Wood. Sheet; Solo. Mark W...(+)
Violin - Grade 3
SKU:
AP.50642
Composed by
Mark Wood. Sheet; Solo.
Mark Wood Series. Rock.
Score. 6 pages. Alfred
Music #00-50642.
Published by Alfred Music
(AP.50642).
ISBN
9781470652517. UPC:
038081574967.
English.
String
Thang by Mark Wood is
based on the twelve-bar
blues. The blues has deep
roots in American
history, developed out of
the work songs and chants
of African-American
slaves. The Great
Migration of the first
half of the 20th century
saw freed slaves and
their descendants move to
northern and eastern
parts of the U.S., taking
their music with them.
The blues took on
different forms; in turn
it helped to create rock,
jazz, hip-hop, and other
popular genres. A
twelve-bar blues uses a
repeating chord
progression which allows
musicians to express
themselves creatively
with each recurrence. If
anything defines the
blues, it is the use of
blue notes---pitches that
don't usually belong in a
given key---and elements
of improvisation.
Chamber Music Cello, Piano, Viola, Violin SKU: PR.114419320 For Violin...(+)
Chamber Music Cello,
Piano, Viola, Violin
SKU: PR.114419320
For Violin, Viola,
Cello, and Piano.
Composed by Jan
Krzywicki. Sws. Set of
Score and Parts.
56+20+24+20 pages.
Duration 22 minutes.
Theodore Presser Company
#114-41932. Published by
Theodore Presser Company
(PR.114419320).
UPC:
680160676071. 9 x 12
inches.
Commissione
d by the Philadelphia
Chamber Music Society for
its Thirtieth Anniversary
for the Clarosa Quartet.
The first movement begins
with detached fragments
and soon turns into
something cohesive and
dramatic. The second
movement pastorale is a
beautiful interlude with
glistening piano effects.
The fourth movement
closes the quartet with a
long whirlwind at the
end. Overall, Krzywicki
left me with the same
feeling I get from
Beethoven's late quartets
-- the sense that you're
in direct contact with
the composer's state of
mind. Krzywicki's
feelings aren't as
conflicted as Beethoven's
but they're just as real.
-- Tom Purdom
(BroadStreetReview.com).<
/p>
Chamber Music Cello, Piano, Viola, Violin SKU: PR.11441932S For Violin...(+)
Chamber Music Cello,
Piano, Viola, Violin
SKU: PR.11441932S
For Violin, Viola,
Cello, and Piano.
Composed by Jan
Krzywicki. Sws. Full
score. 56 pages. Duration
22 minutes. Theodore
Presser Company
#114-41932S. Published by
Theodore Presser Company
(PR.11441932S).
UPC:
680160676088. 9 x 12
inches.
The first
movement begins with
detached fragments and
soon turns into something
cohesive and dramatic.
The second movement
pastorale is a beautiful
interlude with glistening
piano effects. The fourth
movement closes the
quartet with a long
whirlwind at the end.
Overall, Krzywicki left
me with the same feeling
I get from Beethoven's
late quartets -- the
sense that you're in
direct contact with the
composer's state of mind.
Krzywicki's feelings
aren't as conflicted as
Beethoven's but they're
just as real. -- Tom
Purdom
(BroadStreetReview.com).<
/p>
Violin SKU: HL.242899 Violin Solo Part. Composed by Philip Glass. ...(+)
Violin
SKU:
HL.242899
Violin
Solo Part. Composed
by Philip Glass. Music
Sales America. Classical.
Softcover. Composed 2017.
24 pages. Chester Music
#DU1116501. Published by
Chester Music
(HL.242899).
UPC:
888680953126. 9x12.25
inches.
This is the
violin solo part of
Philip Glass's wonderful
Violin Concerto No.
2 “American
Four Seasons.” The
piece was commissioned by
Toronto Symphony
Orchestra and London
Philharmonic Orchestra,
among others, the world
premiere was held in
Toronto on December 9th
2009, conducted by Peter
Oundjian. At this
premiere, the violinist
was Robert McDuffie, for
whom the Concerto was
composed. During the
summer and autumn of
2009, Glass composed this
work after many years of
exchanges with McDuffie.
His idea of creating a
work that would be
influenced by, and an
accompaniment to
Vivaldi's The Four
Seasons.
Interestingly, Glass has
provided no indication in
the score of where each
season falls, making it
open for interpretation
by the performers or the
audience.
Violin SKU: HL.50499695 First edition. By Barta. By Andras Szollos...(+)
Violin
SKU:
HL.50499695
First
edition. By Barta. By
Andras Szollosy. Edited
by Barta Mihaly. 20th
Century. EMB. Classical,
Contemporary. Softcover.
Composed 2014. 8 pages.
Editio Musica Budapest
#Z14885. Published by
Editio Musica Budapest
(HL.50499695).
ISBN
979080148853.
9.0x12.0x0.063 inches.
Andras Szollosy; Mihaly
Barta.
Andras
Szollosy (1921-2007) was
one of the most
significant Hungarian
composers of the second
half of the 20th century,
yet his oeuvre has not
become as well-known as
that of Gyorgy Ligeti,
two years his junior, or
of Gyorgy Kurtag, five
years his junior.
Szollosy did not compose
many works and he was
strict about which of
them he would allow to go
public. As a younger
colleague of his once
remarked: He only
composed his good works.
Szollosy's Sonata for
Solo Violin, which was
written at the age of 26
and was publicly
performed only in 2006,
almost 60 years after its
composition, fell victim
to his self-criticism.
Although the model of
Bartok's Sonata for Solo
Violin of just three
years earlier was
obviously on the young
composer's mind, he was
no epigone of the great
master. From the aspect
of both composition and
instrumental technique,
the 11-minute Sonata for
Solo Violin represents
exacting and prominent
music, and is a
remarkable piece among
works written for the
violin in 20th-century
Hungarian music. The
score of the posthumously
published work was edited
by the soloist of its
world premiere, Michael
Barta.
Playing Score Violin SKU: HL.48024477 For Violin with Effects and Back...(+)
Playing Score Violin
SKU: HL.48024477
For Violin with
Effects and Backing Track
Playing Score.
Composed by David T.
Little. Boosey & Hawkes
Chamber Music. Classical.
Softcover. 16 pages.
Duration 480 seconds.
Boosey & Hawkes
#M051802159. Published by
Boosey & Hawkes
(HL.48024477).
ISBN
9781540037992. UPC:
888680885397.
9.0x12.0x0.061
inches.
Written in
2010 for violinists Todd
Reynolds, and the sky was
still there tells the
story of an old friend,
Amber Ferenz, and the
epiphany that led her to
embrace her true self,
confront the US Army, and
accept a dishonorable
discharge under the
Army's Don't Ask Don't
Tell policy. Amber tells
her own story in this
work, while the violin
plays along, providing a
sometimes-somber,
sometimes-whimsical
sub-text. Amber's story,
though unique, represents
a struggle we all face on
some level, whether to
confrom to cultural
expectations, or defy
them in pursuit of
greater truths. -- David
T. Little.
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
Take A Bow Violon [Conducteur] - Facile Excelcia Music Publishing
Violin - Early Intermediate SKU: XC.SB2205 Progressive Fiddle and Folk...(+)
Violin - Early
Intermediate
SKU:
XC.SB2205
Progressive Fiddle and
Folk Tunes for the String
Ensemble. Composed by
Caryn Wiegand Neidhold.
Score. Excelcia Music
Publishing #SB2205.
Published by Excelcia
Music Publishing
(XC.SB2205).
12 x 9
inches.
Take a Bow
is the perfect next-step
for the string orchestra!
A great fit for full
classroom instruction,
small chamber groups, or
private studio teaching;
Take a Bow’s
progressive approach is a
winning combination for
string teachers. Each
piece has a line for
melody and a line for
harmony, making each work
meaningful for
individuals as well as
groups – while
giving teachers the
flexibility to fit the
needs of their ensembles.
The series culminates
with five string
orchestra arrangements
that not only add value
to this collection, but
complete a progressive
journey for your
students. Take a Bow at
your next rehearsal!
Partita Violon SATB, Orchestre [Conducteur] 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.