Chamber Music Violin SKU: PR.114422260 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.114422260
For solo violin.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration
0:09:00. Theodore Presser
Company #114-42226.
Published by Theodore
Presser Company
(PR.114422260).
ISBN
9781491133866. UPC:
680160683352. 9 x 12
inches.
Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the myth,
these tales tend toward
similar traits: a sacred
bird with brilliantly
colored plumage and
melodious call lives for
typically 500 years, then
dies in a nest of embers,
only to be reborn among
the flames. Phoenix
Rising consists of two
movements: I. Dying in
Embers represents an old
phoenix settling on top
of a pile of embers and
breathing its last
breath; II. Reborn in
Flames depicts the
newly-born phoenix
getting its first taste
of flight. Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the phoenix
myth, these tales tend to
share similar traits: a
sacred bird with
brilliantly colored
plumage and melodious
call lives for typically
five hundred years; then
the bird dies in a nest
of embers, only to be
reborn among the
flames.In Egyptian
stories, the phoenix
gathers scented wood and
spices for its
funeral/rebirth pyre,
then collects the ashes
from its earlier
incarnation and flies
them to the temple of the
sun in Heliopolis to
offer as a tribute to the
sun god.In Greek myths,
the phoenix was
approximately the size of
an eagle and was adorned
with red and gold
feathers; it would fly
from either India or
Arabia to Heliopolis to
give its offering. The
bird’s association
with immortality and
resurrection are
particularly intriguing
aspects of these tales,
giving numerous writers
(including William
Shakespeare, C.S. Lewis,
and J.K. Rowling) a rich
resource for their own
stories.Phoenix Rising
consists of two
movements. I. Dying in
embers represents an old
phoenixwho is settling on
top of a pile of embers
and breathing its last
breath. II. Reborn in
flames depicts the
newly-born phoenix
getting its first taste
of flight.Phoenix Rising
was commissioned by
saxophonist Christopher
Creviston, who has
recorded the work on the
Blue Griffin label. The
composer has also made
editions of the work for
flute and for clarinet
(also available from
Theodore Presser
Company).
Chamber Music Clarinet, Piano, Violin, Violoncello SKU: PR.144404800 F...(+)
Chamber Music Clarinet,
Piano, Violin,
Violoncello
SKU:
PR.144404800
For
Violin, Clarinet, Cello
and Piano. Composed
by Jay Reise.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2004.
52+16+16+16 pages.
Duration 21 minutes.
Theodore Presser Company
#144-40480. Published by
Theodore Presser Company
(PR.144404800).
UPC:
680160031153.
Reise
brings his signature
rhythmic impulses to his
2004 quartet, the
intricate Across the
Horizons. Although many
point to the
instrumentation as a
Messiaen quartet (Quatuor
pour le fin du temps),
let there be no further
comparison. Reise, who
was earlier introduced to
Carnatic rhythms of South
India music and who finds
ways of incorporating
them into his own, has
taken us on a significant
journey in three
movements. As always,
Reise's music attracts
the finest performers -
Across the Horizons has
been recorded by Charles
Abramovic (piano),
Allison Herz (clarinet),
Karen Bentley Pollick
(violin), and Michal
Schmidt (cello). For
advanced performers.
Chamber Music Clarinet, Piano, Violin, Violoncello SKU: PR.14440480S F...(+)
Chamber Music Clarinet,
Piano, Violin,
Violoncello
SKU:
PR.14440480S
For
Violin, Clarinet, Cello
and Piano. Composed
by Jay Reise.
Contemporary. Score. With
Standard notation.
Composed 2004. 52 pages.
Duration 21 minutes.
Theodore Presser Company
#144-40480S. Published by
Theodore Presser Company
(PR.14440480S).
UPC:
680160608188.
Reise
brings his signature
rhythmic impulses to his
2004 quartet, the
intricate Across the
Horizons. Although many
point to the
instrumentation as a
Messiaen quartet (Quatuor
pour le fin du temps),
let there be no further
comparison. Reise, who
was earlier introduced to
Carnatic rhythms of South
India music and who finds
ways of incorporating
them into his own, has
taken us on a significant
journey in three
movements. As always,
Reise's music attracts
the finest performers -
Across the Horizons has
been recorded by Charles
Abramovic (piano),
Allison Herz (clarinet),
Karen Bentley Pollick
(violin), and Michal
Schmidt (cello). For
advanced performers.
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.11441304S
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Premiered at
Kerrytown Concert House
in Ann Arbor, MI.
Contemporary. Full score.
With Standard notation.
Composed 2006. 16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304S. Published by
Theodore Presser Company
(PR.11441304S).
UPC:
680160620357. 8.5 x 11
inches.
The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Have you seen the
shapes of the enraptured
storyteller, the vivid
acrobat, and the moving
dancers with long
sleeves? They are in
highly exaggerated forms
and postures, in large
and sweeping movements --
the innocent and bold
images symbolize the
strength, motion, and
speed. It's the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. --Chen Yi. The
mixed sextet The Han
Figurines is a musical
realization of my
impression of the Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.114413040
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Saddle.
Premiered at Kerrytown
Concert House in Ann
Arbor, MI. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 2006.
16+3+2+2+2+3+2 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304. Published by
Theodore Presser Company
(PR.114413040).
UPC:
680160571628. 8.5 x 11
inches.
Commissione
d by the Opus 21
ensemble, this mixed
sextet is a musical
realization of Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers are in
highly exaggerated forms
and postures, in large
and sweeping movements
— the innocent and
bold images symbolize the
strength, motion, and
speed, as the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
For violin. Format: violin solo book (excerpts only). Baroque, Classical Period ...(+)
For violin. Format:
violin solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84153)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for violin solo.
Includes works by Mozart,
Bach, Beethoven, Chopin
and many more great
composers.
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.
(20 Short Recital and Study Pieces for the Intermediate Player). Composed by...(+)
(20 Short Recital and
Study
Pieces for the
Intermediate
Player). Composed by John
Walker. Edited by Justyna
Lutow-Resch. For violin,
piano. Score and Audio
CD.
28 pages. Published by
Carl
Fischer
Songs and Themes from the Latest Movies and Television Shows (Violin). Arran...(+)
Songs and Themes from the
Latest Movies and
Television
Shows (Violin). Arranged
by
Various. Book; CD; Play-
Along; SmartMusic; String
Series. Alfred's
Instrumental Play-Along.
Movie; Pop; TV. 28 pages.
Published by Alfred Music
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.
Fun, facts and puzzles for violin players everywhere. By Katie Elliott. (Violin...(+)
Fun, facts and puzzles
for violin players
everywhere. By Katie
Elliott. (Violin).
Boosey and Hawkes Chamber
Music. Size 7.25x10.25
inches. 32 pages.
Published by Boosey and
Hawkes.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.416415110
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Full score. With Standard
Notation. Duration 10
minutes. Theodore Presser
Company #416-41511.
Published by Theodore
Presser Company
(PR.416415110).
UPC:
680160621286.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.41641511L
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Large Score. With
Standard Notation.
Duration 10 minutes.
Theodore Presser Company
#416-41511L. Published by
Theodore Presser Company
(PR.41641511L).
UPC:
680160621293.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
Violin. Arranged by Various. Play-Along; Solo; String Series. Instrumental Sol...(+)
Violin. Arranged by
Various.
Play-Along; Solo; String
Series. Instrumental
Solos
Series. Masterwork
Arrangement. Book; CD. 40
pages. Alfred Music #00-
47065. Published by
Alfred
Music
Chamber Music Bass
Clarinet, Clarinet 1,
Clarinet 2, Violin
SKU: PR.444410070
For Violin, Two
Clarinets, and Bass
Clarinet. Composed by
Sydney F. Hodkinson. Set
of performance scores.
With Standard notation. 9
pages. Duration 5:30.
Theodore Presser Company
#444-41007. Published by
Theodore Presser Company
(PR.444410070).
Orchestra 2 Bassoons, 2 Clarinets (Clarinet II doubles on Bass Clarinet), 2 Oboe...(+)
Orchestra 2 Bassoons, 2
Clarinets (Clarinet II
doubles on Bass
Clarinet), 2 Oboes (Oboe
II doubles on English
Horn), 2 Trombones
(Trombone II doubles on
Bass Trombone), 2
Trumpets in C, 3 Flutes
(Flute III doubles on
Piccolo), 4 Horns in F,
Harp, Piano/Cel, Timpani
SKU: PR.44641253L
For violin and
Orchestra. Composed
by Stephen Jaffe.
Contemporary. Large
Score. With Standard
notation. Composed
Dec-99. Duration 35
minutes. Theodore Presser
Company #446-41253L.
Published by Theodore
Presser Company
(PR.44641253L).
Flute or Violin SKU: AP.1-ADV6102 Volume 2. For Violin or Flute...(+)
Flute or Violin
SKU:
AP.1-ADV6102
Volume 2. For
Violin or Flute.
Arranged by Mike Curtis.
Series; Solo; Solo Small
Ensembles; Woodwind -
Flute Method or
Collection. Advance
Music. Folk; Jewish
Heritage. Book. Advance
Music #01-ADV6102.
Published by Advance
Music (AP.1-ADV6102).
UPC: 805095061024.
English.
The
Klezmer Repertoire, Vol.
1 presents an
interpretation of Klezmer
music as it was recorded
in the U.S.A. in the
early 20th century. The
principal stylistic
influences have been the
78rpm recordings of two
great pioneer
clarinetists: Naftule
Brandwein and Dave
Tarras. The first volume
contains 12 Klezmer
pieces with chord
symbols.
Titles
include: Koyln * Mazl Tov
Shver un Shviger *
Bessarabian Chusidl *
Freylacher Bulgar * Sirba
Popilar * Bay a Glezele
Mashke * Rebn's Waltz *
Palesteena * Yiddish
Charleston * Sirba Slanic
* Kolomeyka * Odessa
Bulgar.
Flute or Violin SKU: AP.1-ADV6101 Volume 1. For Violin or Flute...(+)
Flute or Violin
SKU:
AP.1-ADV6101
Volume 1. For
Violin or Flute.
Arranged by Mike Curtis.
Series; Solo; Solo Small
Ensembles; Woodwind -
Flute Method or
Collection. Advance
Music. Folk; Jewish
Heritage. Book. Advance
Music #01-ADV6101.
Published by Advance
Music (AP.1-ADV6101).
UPC: 805095061017.
English.
The
Klezmer Repertoire, Vol.
1 presents an
interpretation of Klezmer
music as it was recorded
in the U.S.A. in the
early 20th century. The
principal stylistic
influences have been the
78rpm recordings of two
great pioneer
clarinetists: Naftule
Brandwein and Dave
Tarras. The first volume
contains 12 Klezmer
pieces with chord
symbols.
Titles
include: Koyln * Mazl Tov
Shver un Shviger *
Bessarabian Chusidl *
Freylacher Bulgar * Sirba
Popilar * Bay a Glezele
Mashke * Rebn's Waltz *
Palesteena * Yiddish
Charleston * Sirba Slanic
* Kolomeyka * Odessa
Bulgar.
Craig Duncan. For fiddle. Bluegrass and country, bluegrass. Level: Intermediate-...(+)
Craig Duncan. For fiddle.
Bluegrass and country,
bluegrass. Level:
Intermediate-Advanced.
Book. Solos. Size
8.75x11.75. 152 pages.
Published by Mel Bay
Pub., Inc.
Orchestra 2 Bassoons, 2
Clarinets in Bb, 2
Flutes, 2 Oboes, 2
Trombones, 3 Percussion,
3 Trumpets in C, 4 Horns
in F, Bass Clarinet, Bass
Trombone, Piccolo, Solo
Violin, Strings, Timpani
SKU: PR.416414600
For violin and
Orchestra. Composed
by Samuel Adler.
Premiere: Tulsa Symphony
Orchestra, Siwoo Kim,
violin; Tulsa, OK.
Contemporary. Full score.
With Standard notation.
Composed 2012. Duration
20 minutes. Theodore
Presser Company
#416-41460. Published by
Theodore Presser Company
(PR.416414600).
Orchestra 2 Bassoons, 2
Clarinets in Bb, 2
Flutes, 2 Oboes, 2
Trombones, 3 Percussion,
3 Trumpets in C, 4 Horns
in F, Bass Clarinet, Bass
Trombone, Piccolo, Solo
Violin, Strings, Timpani
SKU: PR.41641460L
For violin and
Orchestra. Composed
by Samuel Adler.
Premiere: Tulsa Symphony
Orchestra, Siwoo Kim,
violin; Tulsa, OK.
Contemporary. Large
Score. With Standard
notation. Composed 2012.
Duration 20 minutes.
Theodore Presser Company
#416-41460L. Published by
Theodore Presser Company
(PR.41641460L).
For
violin and Orchestra.
Composed by Dan Welcher.
Premiere: Paul Kantor,
Violin, Aspen Festival
Orchestra, conducted by
the composer.
Contemporary. Large
Score. With Standard
notation. Composed
December 26 1992. 186
pages. Duration 25
minutes. Theodore Presser
Company #466-00040L.
Published by Theodore
Presser Company
(PR.46600040L).
For
violin and Orchestra.
Composed by Donald Erb.
With Standard notation.
112 pages. Theodore
Presser Company
#446-41212L. Published by
Theodore Presser Company
(PR.44641212L).
For
violin and Orchestra.
Composed by Donald Erb.
With Standard notation.
112 pages. Theodore
Presser Company
#446-41212. Published by
Theodore Presser Company
(PR.446412120).
By Mark Weeg. For Fiddle & Violin. Solos. Fiddle Tunes. Level: Beginning-Interme...(+)
By Mark Weeg. For Fiddle
& Violin. Solos. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 88
pages. Published by Mel
Bay Publications, Inc.
Violin, clarinet & piano SKU: SU.23145050 For violin, clarinet & piano...(+)
Violin, clarinet & piano
SKU: SU.23145050
For violin, clarinet &
piano. Composed by
Bruce Wolosoff. Chamber
Music, Piano Trio.
Violin, Clarinet, Piano.
Score & Parts. Subito
Music Corporation
#23145050. Published by
Subito Music Corporation
(SU.23145050).
Duration: 12'
Composed: 1999
Commissioned by: the 21st
Century Consort Bruce
Wolosoff Music Bruce
Wolosoff's contribution,
a trio for violin,
clarinet and piano called
Blues for the New
Millennium really does
sound and feel like a
turning point. Opening
with bits and pieces of
thematic material tossed
around in familiarly
idiomatic contemporary
ease, the bits begin to
take on blues sounds, the
piano moves into boogie
patterns and the music
seems to morph back and
forth between classical
contemporary and blues
personalities. (The
Washington Post).
Violin. Arranged by Various. Play-Along; String Series. Instrumental Solo...(+)
Violin. Arranged
by Various. Play-Along;
String Series.
Instrumental Solos
Series. Pop. Book; CD. 20
pages. Alfred Music
#00-46311. Published by
Alfred Music (AP.46311).