Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edi...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Clive Brown.
This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I and
Volume
II. Classical. Score and
part.
Baerenreiter Verlag
#BA09036. Published by
Baerenreiter Verlag
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edi...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Clive Brown.
This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I.
Classical.
Score and part.
Baerenreiter
Verlag #BA09014.
Published
by Baerenreiter Verlag
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan W...(+)
Chamber Music Clarinet,
Piano, Violin
SKU:
PR.164002390
Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
Composed 1995. 26+14+14
pages. Duration 14
minutes. Theodore Presser
Company #164-00239.
Published by Theodore
Presser Company
(PR.164002390).
UPC:
680160038091.
I
became interested in the
work of Plato through my
friend and collaborator,
the writer and
philosopher Paul
Woodruff. Paul's new
translation, with
Alexander Nehamas, of the
Symposium gave me
insights into ancient
Greek ways of thinking
about Love, Beauty, and
Wisdom -- and managed to
keep the earthy, and
often bawdy side of it
all in full view. But
their new translation of
Plato's later dialogue
Phaedrus went even
further: the beauty of
the speeches is
breathtaking, and the
discourse itself is
enough to keep one awake
at night. Basically the
Great Speech of Socrates
in the Phaedrus dialogue
has to do with the place
of Eros in the world, and
with the conflict in the
soul between fleshly
pleasure and philosophic
discovery. I will not
attempt to encapsulate
this brilliant discourse
in a program note:
suffice it to say that
reading it gave rise to
my two-sided work for
clarinet, violin, and
piano, Phaedrus. The
first movement represents
the Philosophic life, and
is thus subtitled
Apollo's Lyre (Invocation
and Hymn). It begins with
an unaccompanied melody
for the clarinet, which
(after a pair of
harp-like flourishes for
the piano, expands into
an accompanied canon. The
voices in the dialogue
(clarinet and violin)
follow each other by a
prescribed number of
beats, but the music is
totally devoid of any
meter at all. The piano,
representing the lyre,
accompanies this lyric
love-feast with repeated
strummed chords. The
canon has three large
sections, and ends with
violin echoing the
unaccompanied clarinet
invocation as the sound
of the lyre fades. The
second movement, called
Dionysus' Dream-Orgy
(Ritual Dance) presents,
after a brief
introduction, another
kind of unmetered music.
Rather than long lyric
flights of philosophic
song, however, this time
we hear a unison dance of
unbridled energy and
sensual transport. The
piece soon forms itself
into a loose arch form,
with contrasting metered
dance sections divided by
the unison unmetered orgy
tune. Midway through the
movement, Apollo's melody
returns from the first
movement, but it is a
temporary reminiscence.
The orgiastic dance
returns, reaches a
climax, and ends with a
stomping of feet. While
Plato asserts that a
proper balance between
lust and reason is
necessary in all men, he
(naturally) gives the nod
to Philosophy as the
better choice in which to
live. Not so in my music:
the two sides are meant
to coexist and to
complement each other. No
sides are taken. Phaedrus
was commissioned of the
Verdehr Trio by Michigan
State University. It is
dedicated to the Vedehr
Trio with great affection
and admiration.
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
Chamber Music violin, piano SKU: CF.B3475 Composed by Martin Bresnick. Pe...(+)
Chamber Music violin,
piano
SKU:
CF.B3475
Composed by
Martin Bresnick.
Performance Score. 32+12
pages. Carl Fischer Music
#B3475. Published by Carl
Fischer Music (CF.B3475).
ISBN 9781491162026.
UPC:
680160920709.
This
work for violin and piano
by Martin Bresnick is a
play on the words suite
and bittersweet. Each of
the four movements is
based on a Yiddish folk
song, which in English
translate to On the Road,
My Resting Place, Black
Cat, and Dona, Dona. Each
of the four pieces is
primarily based on a
Jewish folk song, but
re-envisions them in a
modern context, akin to
Bartok and Kodaly. The
composer noted, I found
it a very challenging,
yet touching way to
remain in contact with
some part of my own past
that I don't usually
reveal. The title
references the difficult
(bitter) and pleasant
(sweet) aspects of
experiencing the
tumultuous history of a
people through their folk
music. This work for
violin and piano by
Martin Bresnick is a play
on the words suite and
bittersweet. Each of the
four movements is based
on a Yiddish folk song,
which in English
translate to On the Road,
My Resting Place, Black
Cat, and Dona, Dona. Each
of the four pieces is
primarily based on a
Jewish folk song, but
re-envisions them in a
modern context, akin to
Bartok and Kodaly. The
composer noted, “I
found it a very
challenging, yet touching
way to remain in contact
with some part of my own
past that I don’t
usually reveal.â€
The title references the
difficult (bitter) and
pleasant (sweet) aspects
of experiencing the
tumultuous history of a
people through their folk
music.
Chamber Music Cello, Piano, Violin SKU: PR.114422690 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114422690
Composed
by Stacy Garrop. Sws. Set
of Score and Parts. 8+2+2
pages. Duration 5
minutes. Theodore Presser
Company #114-42269.
Published by Theodore
Presser Company
(PR.114422690).
UPC:
680160684809. 9 x 12
inches.
In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont, Wyoming.
Ucross is an artist
colony that gives
writers, composers, and
visual artists
the gift of time,
space, and support to
follow their artistic
pursuits; we are provided
with studio space,
housing, and meals so
that we can work
continuously on our
projects. I have been
in residence at numerous
artist colonies; however,
nothing in my
previous experiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on
a 20,000-acre cattle
ranch at nearly 4,000
feet in elevation with
fewer than 150
people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming
to offer three glimpses
of what I found to be the
most striking aspects
of my residence. The
Solitude of Stars, the
third and final movement
of the original
sextet, was inspired
by the stunning nightly
display of the heavens
above. Without city
lights dimming the
night sky, countless
stars shone brightly over
the vast expanse of the
prairie. This edition
is part of The Solitude
of Stars Project that I
undertook during the
2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in Clearmont,
Wyoming. Ucross is an
artist colony that gives
writers, composers, and
visual artists the gift
of time, space, and
support to follow their
artistic pursuits; we are
provided with studio
space, housing, and meals
so that we can work
continuously on our
projects. I have been in
residence at numerous
artist colonies; however,
nothing in my previous
experiences prepared me
for living in such
isolated, wild country.
Ucross is situated on a
20,000-acre cattle ranch
at nearly 4,000 feet in
elevation with fewer than
150 people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming to
offer three glimpses of
what I found to be the
most striking aspects of
my residence. The
Solitude of Stars, the
third and final movement
of the original sextet,
was inspired by the
stunning nightly display
of the heavens above.
Without city lights
dimming the night sky,
countless stars shone
brightly over the vast
expanse of the prairie.
This edition is part of
The Solitude of Stars
Project that I undertook
during the 2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont,Wyoming. Ucross
is an artist colony that
gives writers, composers,
and visual artists
thegift of time, space,
and support to follow
their artistic pursuits;
we are provided
withstudio space,
housing, and meals so
that we can work
continuously on our
projects. I havebeen in
residence at numerous
artist colonies; however,
nothing in my
previousexperiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on a20,000-acre
cattle ranch at nearly
4,000 feet in elevation
with fewer than 150
peopleliving within the
town. But what Clearmont
lacks in population, it
makes up forabundantly
and spectacularly in
wilderness and wildlife.
I composed the sextet
Postcardsfrom Wyoming to
offer three glimpses of
what I found to be the
most striking aspects
ofmy residence. The
Solitude of Stars, the
third and final movement
of the original
sextet,was inspired by
the stunning nightly
display of the heavens
above. Without city
lightsdimming the night
sky, countless stars
shone brightly over the
vast expanse of the
prairie.This edition is
part of The Solitude of
Stars Project that I
undertook during the
2020COVID-19 pandemic,
which consists of a
series of arrangements
that I made forcolleagues
and friends.
Violin, piano SKU: FG.55011-785-3 Stringendo - Aikamme musiikkia viulu...(+)
Violin, piano
SKU:
FG.55011-785-3
Stringendo - Aikamme
musiikkia viululle ja
pianolle. Composed by
Various. Classical,
contemporary. Score &
part. Fennica Gehrman
#55011-785-3. Published
by Fennica Gehrman
(FG.55011-785-3).
ISBN
9790550117853.
Fenn
ica Gehrman the music
publisher pays tribute to
its composers with this
20th-anniversary
collection of commissions
for violin and piano.
Stringendo - Contemporary
works for violin and
piano (2022) is a
collection of ten pieces,
which vary greatly as
regards their genesis.
That by Harri Wessman is
playful and exhilarating;
Mikko Heiniö wrote his
on Women's Day, while the
duets by Kalevi Aho and
Matthew Whittall are
tributes to the late
Jaakko Kuusisto.
Einojuhani Rautavaara is
also represented, in an
arrangement for violin
and piano of his
plaintive, melodic
Sydämeni laulu (The
Song of my Heart). The
title of Lotta
Wennäkoski's work,
Vestige, is a fitting
symbol for the whole
collection.
Short
introductions to the
pieces by their composers
are included in the
collection in English,
Finnish, and
Swedish.
Contents<
br>Kalevi Aho (b. 1949):
Le Tombeau de J.
K. Einojuhani
Rautavaara (1928-2016):
Sydämeni laulu - Song
of my heart Mikko
Heiniö (b.1948):
Naisten päivä -
Women's Day Jyrki
Linjama (b. 1962): De
Profundis I Lotta
Wennäkoski (b. 1970):
Vestige Matthew
Whittall (b.1975):
Waiting to hear Olli
Kortekangas (b. 1955):
Capriccietto Harri
Wessman (b.1949):
Giocoso Veli-Matti
Puumala (b. 1965):
Édera IV Kimmo
Hakola (b.1958): A Double
Jubilee.
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.414411630
Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation.
28+28+20+24+20+24 pages.
Duration 20 minutes.
Theodore Presser Company
#414-41163. Published by
Theodore Presser Company
(PR.414411630).
ISBN
9781491114551. UPC:
680160089956. 9.5 x 13
inches.
EXCURSIONS
is a one-movement work
exploring two
“characters.â€
A rhapsodic, descending
passage is introduced by
the cello, followed by
a static,
chorale-like phrase for
the violin and cello.
Their individual
developments are
separated by a slow,
contrasting middle
section. The composer has
written: “This is
analogous to situations
in life: we stand by a
crossroad, choosing one
option and forfeiting the
other. But in art, the
realm of the imagination,
we can perhaps afford to
pursue more than one
route to its ultimate
destination… or can
we? It is symbolic that
in this work both roads
eventually lead to the
same
place.â€. Excursi
ons for violin, cello and
piano, is a one-movement
work of tripartite
structure in which
materials explored in the
first of three large
sections are brought back
in the last section.Â
The traditional
statement-contrast-restat
ement form, which is
readily suggested by such
a description, is,
however, not at all in
the mold in which the
work is cast. Rather,
my aim was to subject the
essential materials of
the piece (two
“charactersâ€
–the rhapsodic,
descending passage played
by the cello in the very
opening and, later, a
static, slow moving,
chorale-like phrase for
the violin and cello) to
two entirely different
developments separated by
a slow, contrasting
middle section. This
is analogous to an
exploration of the
ramifications that two
divergent choices made by
the same person might
lead to. In life, as
we stand by a crossroad,
choosing one option
usually means having to
forfeit the other.Â
But in art, the realm of
the imagination, we can
perhaps afford to pursue
more than one route to
its ultimate
destination…or can
we? It is, I believe,
symbolic that in this
work both roads
eventually lead to the
same place: in composing
Excursions, it seemed
absolutely inescapable
that at the end the slow,
contrasting middle
sections – both
more resigned and
peaceful than the
battling spirits of the
outer parts –
should return briefly to
end the work. The
piano trio combination
(once highly favored, but
to this composer still as
challenging today) is
approached here as a
collaborative effort of
three equal soloists
– partners. Of
the available pairings,
the two strings find
themselves occasionally
approached as a team
pitted against the
piano. The
cello-piano combination
is also not uncommon
here, and there is an
extended violin cadenza
toward the end of the
piece. The writing
for the three instruments
is closely and at times
interlinked, but the
players are all
instructed to play from
scores. Excursions was
first performed at
Brandeis University in
1982.
Violin, Piano SKU: HU.HN688 Composed by Wolfgang Amadeus Mozart. Edited by Wolf...(+)
Violin, Piano
SKU: HU.HN688
Composed by Wolfgang
Amadeus Mozart. Edited by
Wolf-Dieter Seiffert.
Strings, Repertoire,
Solos. Violin Concerto
No. 3 G major K. 216.
Classical. Softcover
Book. 62 pages. G. Henle
#HN688. Published by G.
Henle (HU.HN688).
Violin and Piano SKU: BT.DHP-1115211-400 Composed by Jaap van Elst and Wi...(+)
Violin and Piano
SKU:
BT.DHP-1115211-400
Composed by Jaap van Elst
and Wim Meuris. Speel
viool! Book with CD.
Composed 2011. 56 pages.
De Haske Publications
#DHP 1115211-400.
Published by De Haske
Publications
(BT.DHP-1115211-400).
9x12 inches.
French-Spanish-Italian.
p>
Musical
Challenges works
alongside the third
volume of the violin
method Play the
Violin!, but it can
also be used by
intermediate students
along with any other
method. The pieces are in
jazz, pop, world music
and classical styles and
contain musical as well
as technical challenges
with some being
accompanied by a relevant
technical exercise. Many
of the pieces have chord
symbols or piano
accompaniment whilst
others are duets. The CD
contains all
accompaniments and many
demo
tracks.
Musical
Challenges sluit aan
op het derde deel van
Speel Viool!, maar
kan ook los van deze
methode worden gebruikt.
De stukken in de stijlen
jazz, pop en klassiek
bevatten zowel technische
als muzikale uitdagingen,
enkeletitels worden
voorafgegaan door een
technische oefening. Een
aantal werken kan als
duet worden uitgevoerd en
andere stukken zijn
voorzien van
akkoordsymbolen of
pianobegeleiding.
Daarnaast kan met de cd,
die ook talrijke
demo'sbevat, worden
meegespeeld.
Mu
sical Challenges
schlieÃ?t an den dritten
Band der Schule Spiel
Violine! an, kann
aber von allen
fortgeschrittenen
Geigenschülern
verwendet werden. Die
Stücke in den Stilen
Jazz, Pop, Weltmusik und
Klassik enthalten sowohl
musikalische als auch
technische
Herausforderungen;
teilweise sind sind sie
mit Akkordsymbolen oder
Klavierstimmen versehen
oder als Duett
ausnotiert. AuÃ?erdem
kann zu den beiden CDs
gespielt werden, die
sämtliche Begleitungen
und zahlreiche
Demoversionen
enthalten.
Musical Challenges
rappresenta valido
materiale complementare
da usare assieme (ma
anche individualmente) al
secondo volume del metodo
Suona il Violino!
I brani proposti sono in
stile jazz, pop, folk e
classico (musica
originale e non) e
contengono sfide musicali
e tecniche. Alcuni brani
propongono un breve
esercizio tecnico, mentre
altri contengono i
simboli degli accordi o
le parti del piano. Sono
previsti anche alcuni
duetti. E per chi non ha
un altro musicista con
cui suonare, il CD
propone gli
accompagnamenti e un
grande numero di tracce
demo.
Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
Violin and piano SKU: HL.49045822 For violin and piano. Composed b...(+)
Violin and piano
SKU:
HL.49045822
For
violin and piano.
Composed by Vijay Iyer.
This edition: Saddle
stitching. Sheet music.
String Solo. Softcover.
Composed 2015. 72 pages.
Duration 15'. Schott
Music #ED30264. Published
by Schott Music
(HL.49045822).
ISBN
9781540024749. UPC:
888680737764.
9.25x12.0x0.29
inches.
The
Kreutzer Sonata was
originally dedicated not
to Rudolphe Kreutzer (who
never performed it) but
to George Bridgetower, a
famed 18th-century
Afro-European concert
violinist. In an early
draft, Beethoven jokingly
labeled the piece in
starkly racialized terms:
Sonata Mulattica composed
for the mulatto
Brischdauer, big wild
mulatto
composer.Beethoven and
Bridgetower performed the
premiere, which was by
all accounts a success,
and even featuring some
improvised embellishment
by the violinist. While
celebrating afterwards,
the two quarreled about
what Beethoven construed
as Bridgetower's insult
of a female acquaintance;
the composer then revoked
the original dedication,
adding Kreutzer's name
instead. The work gained
acclaim, while
Bridgetower's career
languished; he eventually
died in
poverty.Bridgetower has
been the subject of
considerable research and
speculation, most notably
in poet Rita Dove's book,
Sonata Mulattica. From
our 21st-century vantage,
considering Bridgetower's
unique circumstance, we
can only see him as an
ambiguous figure who, in
embodying difference,
provoked inspiration,
fantasy, desire, anger
and, finally, erasure.My
piece is a collection of
imaginings about George
Bridgetower. It is not
programmatic, but it
takes on an episodic
character, assembled from
contrasting fragments.
The dance rhythms,
recurring figures and
gestural contours are
intended to feature the
embodied expertise and
expressivity of the
performers, who at times
must access liminal
sounds and execute
complex synchronies. I am
grateful to Jenny Koh and
Shai Wosner for involving
me in their beautiful,
virtuosic
music-making.
Violin, piano SKU: BR.EB-9250 Composed by Nicolaus A. Huber. Solo instrum...(+)
Violin, piano
SKU:
BR.EB-9250
Composed
by Nicolaus A. Huber.
Solo instruments;
stapled. Edition
Breitkopf.
World
premiere: Toronto,
November 17, 2016Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez)
New
music (post-2000); Music
post-1945. Performance
score. Composed 2016. 12
pages. Duration 12'.
Breitkopf and Haertel #EB
9250. Published by
Breitkopf and Haertel
(BR.EB-9250).
ISBN
9790004185506. 10 x 12.5
inches.
Whereas
Nono considered the world
to be only fragmentarily
analyzable, so-called
consumer capitalism
increasingly intrudes
upon ego structures, by
fragmenting them to the
point of: assumed
insufficiency, i.e., was
consumption a form of
infiltration?, or: in
television you can see
models licking face cream
because it's so rich etc.
(retranslated), as
Meredith Haaf cited in
her book review (SZ /
23.05.2016 Alexandra
Kleeman: You Too Can Have
A Body Like Mine) , and
to the point of similar
perfection-senselessness.
Music doesn't do things
by halves. Even when
events or notes are
puffed up, they can
retain elegance and
significance. Other ego
amplitudes are of
violinistic nature or are
favourite memories -
Paganini's Capricci,
Stockhausen's Studie I,
Steve Reich, the tone C
and similar things. The
craziest egos are
quantums, because at no
time are they identical
with themselves. They can
entangle and superpose,
are nonlocal, etc.
Although the sound
character in this Duo is
fairly open, I believe I
succeeded in making
probability waves of
harmonic stopovers
perceptible. This means
hearing without analyzing
and without constantly
measuring. Nonlocality -
without messenger
particles - means no
harmonic steps, but with
the capacity to interact.
(Nicolaus A. Huber, May
2016)
World
premiere: Toronto,
November 17, 2016 Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez).
And Piano,- Version for Violin and Piano. By Robert Schumann. Edited by W. Haug-...(+)
And Piano,- Version for
Violin and Piano. By
Robert Schumann. Edited
by W. Haug-Freienstein.
Violin. Pages: Score =
VII and 29 * Vl Part = 8.
Edition for Violin-paper
bound. Published by G.
Henle.
Violin, Piano SKU: BA.BA11086 Composed by Thomas Daniel Schlee. Stapled. ...(+)
Violin, Piano
SKU:
BA.BA11086
Composed
by Thomas Daniel Schlee.
Stapled. Urauffuhrung
24.10.2017, Wien.
Performance score, Part
(1). Opus 82. 20/9 pages.
Baerenreiter Verlag
#BA11086_00. Published by
Baerenreiter Verlag
(BA.BA11086).
ISBN
9790006564446. 32.5 x
25.5 cm inches.
A
suite whose movements
always deliver something
other than what they seem
to promise. But
throughout, the two
instruments and
respectively their
players act like two
people in very specific
situations:
I.:
The opening movement is
reserved for the piano;
the initially earnest,
solitary cantilena
intensifies creating
expectation.
Suddenly II.: the
violin sounds. Its moving
figures replace the now
silent piano, also
soloistically. III.
„Passacaglia“
: The title is taken
literally – the
two instruments/persons
encounter each other in
the street. Two musical
characters who meet at a
specific point, recognize
each other, but move on
again, each one by
itself. IV.
„Rondo“: The
two of them dance
together. Before me, I
saw people dancing the
Sardana – a round
dance – in front
of the cathedral of
Barcelona. Four themes in
different time signatures
circle ceaselessly
between the two
instruments. V.
„Fuga“: At
last, regardless, panic
flight – again the
title is taken literally
... Human, only too human
…
Two Resurrections Violon et Piano - Intermédiaire/avancé Wilhelm Hansen
Piano Accompaniment; Violin (Score and Solo Part) - Grade 4 SKU: HL.14047780<...(+)
Piano Accompaniment;
Violin (Score and Solo
Part) - Grade 4
SKU:
HL.14047780
For
Violin and Piano.
Composed by Niels
Marthinsen. Music Sales
America. Classical.
Softcover. Composed 2015.
28 pages. Duration 900
seconds. Edition Wilhelm
Hansen #WH32781.
Published by Edition
Wilhelm Hansen
(HL.14047780).
ISBN
9788759837511. 10.0x14.5
inches.
English.
Program
Note: Resurrection is the
act of bringing something
back to practice, notice,
use or vibrancy - never
mind raising the dead.
I've brought new life to
two forgotten works of
mine by subtly merging
them into each other and
touching them up with 20
extra years of
craftmanship. So they're
reworked; reimagined -
but still a Blast from
the Past: I've remained
true to the way we used
to do it back in the
90ties. -Niels
Marthinsen.
Violin, piano SKU: FG.55011-466-1 Composed by Armas Jarnefelt. Fennica Ge...(+)
Violin, piano
SKU:
FG.55011-466-1
Composed by Armas
Jarnefelt. Fennica
Gehrman #55011-466-1.
Published by Fennica
Gehrman (FG.55011-466-1).
ISBN
9790550114661.
Arma
s Jarnefelt (1869-1958)
was a Finnish composer
and conductor. Jarnefelt
studied in Berlin in
1890-91 with Albert
Becker as his teacher. In
addition to composing
studies, Jarnefelt fully
enjoyed the life that a
bustling metropolis could
offer to a young man -
concerts, operas, cafe
life etc. Romanze,
composed for Geraldine
Morgan, was premiered in
Helsinki in February
1892. According to
critics (notably Bis
Wasenius) the work was
un-Finnish, perhaps
echoing the continental
winds Jarnefelt had
experienced in Berlin.
That aside, Jarnefelt's
future brother-in-law,
Jean Sibelius, analyzed
the Romanze in a letter
to his fiancee, Aino,
sister of Armas: I think
Romanze is a fine
technical accomplishment,
even the structure works
well, given the theme as
it is. But Armas
certainly can do better
than this, he should not
waste his efforts in
small-scale [salon]
music. - Armas will find
his own way and will be
hailed as the greatest
musician of this
country..
Il Diavolo Violon et Piano SATB, Orchestre Editorial de Musica Boileau
Violin and piano SKU: BO.B.3673 Composed by Jordi Cervello. Published by ...(+)
Violin and piano
SKU:
BO.B.3673
Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3673).
It is a work
for violin and piano
inspired directly by
Paganini's Capriccio No.
13, known as La risata
del diavolo and one of
the most renowned
capriccios from the
series of twenty-four
composed by the
celebrated Genovese
violinist and composer.
In my version for violin
and piano, I have singled
out the two essential
features of the work: the
third notes on a double
string that emulate the
devil's laughter, and the
quick eighth notes that
follow, all of it within
a light and humorous
chromaticism.
Il
diavolo begins with a
slow and fragmented but
suggestive violin
cadenza. It then follows
the Allegro deciso, built
on the two features
mentioned above. In the
central part, yet another
violin cadenza of a
similar character but
which recalls the devil's
laughter more evidently.
The Allegro deciso goes
on up to a carefree and
virtuosic
finale.
Violin, piano (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.EB-10708(+)
Violin, piano (solo: vl -
2.2.2.2 - 4.2.0.0 - timp
- str)
SKU:
BR.EB-10708
Urtext. Composed
by Max Bruch. Edited by
Michael Kube. Arranged by
Johannes Umbreit. Solo
instruments; stapled.
Edition Breitkopf.
In
Cooperation with
G. Henle Verlag
Solo
concerto; Romantic;
Late-romantic. Piano
reduction. 76 pages.
Duration 25'. Breitkopf
and Haertel #EB 10708.
Published by Breitkopf
and Haertel
(BR.EB-10708).
ISBN
9790201807089. 9.5 x 12
inches.
Bruch's
evergreen for the first
time in Urtext Thanks to
the premiere performance
by Joseph Joachim and to
the release of the
printed edition in 1868,
Max Bruch's Violin
Concerto no. 1 zipped
onto the road to success
and has never left it
since. Yet from the
preface of the
BreitkopfUrtext
edition,one can infer how
things looked like behind
the dazzling facade.
After the world premiere,
the composer struggled
for the definitive form.
He wrote 3, 4 development
sections in the finale,
and sought the advice of
celebrated virtuosi such
as Joseph Joachim and
Ferdinand David to revise
the solo part. And after
all this was done (see
above), Bruch suffered
under the work's
popularity: Have I
written nothing but this
one concerto? The new
Urtext edition is based
primarily on the first
edition. Next to the main
source and the autograph,
what is supremely
interesting is a solo
part with entries by
Joachim and Bruch. It
confirms how intensively
the two men collaborated
on honing the final form
of the work.