Violin

SKU: RM.CP41

Composed by Di Legno De La Fuente Benjamin. Violon. Instrumental music. Editions Robert Martin #CP41. Published by Editions Robert Martin (RM.CP41).

ISBN 9790232600413.

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).

UPC: 680160612246. 8.5 x 11 inches.

Violin & Viola (violin, viola; 2222; 4331; timpani, percussion, harp, piano; strings)

SKU: SU.92050110

For Violin & Viola. Composed by Roberto Sierra. Orchestra, Strings, Violin, Strings, Viola. Study Score. Composed 2003. Duration 25'. Subito Music Corporation #92050110. Published by Subito Music Corporation (SU.92050110).

Violin, viola; 2222; 4331; timp, perc, harp, pno; stgs Duration: 25' Full Score & Parts: available on rental Composed: 2003 Published by: Subito Music Corporation Performance materials available on rental only:.

By Mary Cohen. For Cello. Book; String - Violin Studies or Collection. Faber Edition: Bags Of. Elementary; Intermediate

Score Viola, Violin, Piano, Clarinet, Cello, Flute and Percussion - Grade 5

SKU: HL.14030959

For Violin, Viola and Chamber Ensemble Score. Composed by Bent Sorensen. Music Sales America. Classical. Score. Composed 2002. 54 pages. Edition Wilhelm Hansen #WH30143. Published by Edition Wilhelm Hansen (HL.14030959).

ISBN 9788759857427. English.

Funeral Procession for Violin, Viola and Chamber Ensemble was composed in 1989 as a commission from the Sonanza Ensemble. The music is, apart from a few swarming bursts, slow and silent. Dynamic is almost stripped away, and the musicians play as faintly as possible - almost inaudibly.

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).

UPC: 680160612253. 11 x 15 inches.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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). By Bob Phillips. Orchestra. For Violin. String Orchestra Collection. Jazz. Book and CD. 40 pages. Published by Alfred Music Publishing

Violin & Orchestra (Violin; 2.2.2.2 - 4.3.3.1 - timpani, 3 percussion, piano; strings)

SKU: SU.92010120

For Violin & Orchestra. Composed by Roberto Sierra. Strings, Violin, Orchestra. Study Score. Composed 1994. Duration 22'. Subito Music Corporation #92010120. Published by Subito Music Corporation (SU.92010120).

Violin; 2222; 4331; timp, 3perc, pno; stgs Duration: 22' Composed: 1994 Published by: Subito Music Publishing Performance materials available on rental only:.

Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 3, Piano, Piccolo, Synthesizer, Timpani, Trombone 1 and more.

SKU: PR.44641212L

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).

11 x 17 inches.

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).

After Plato's Symposium. By Leonard Bernstein. Arranged by Isaac Stern. (Violin). Boosey and Hawkes Chamber Music. Size 8.5x11 inches. Published by Boosey and Hawkes.

Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Synthesizer, Timpani, Trombone 1 and more.

SKU: PR.446412120

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).

UPC: 680160607419. 8.5 x 11 inches.

Composed by Miles Courtiere. Spiral bound. Celtic/Violin Instruction. Book and Downloadable audio. Duration 75 minutes. Published by ADG Productions

Composed by Lluis Gomez. Saddle-stitched. Bluegrass. Book and online audio. 52 pages. Mel Bay Publications, Inc #30619M. Published by Mel Bay Publications, Inc