(Violin and Piano). By Various. Arranged by Edward Huws Jones. For Guitar, Piano...(+)
(Violin and Piano). By
Various. Arranged by
Edward Huws Jones. For
Guitar, Piano, Violin
(Violin). Boosey and
Hawkes Chamber Music.
Softcover with CD. 120
pages. Boosey and Hawkes
#M060124037. Published by
Boosey and Hawkes
Piano Accompaniment; Violin (Score and Solo Part) - advanced to difficult SKU...(+)
Piano Accompaniment;
Violin (Score and Solo
Part) - advanced to
difficult
SKU:
HL.49019599
Three
Poems for Violin and
Piano. Composed by
Karol Szymanowski. Edited
by Ida Bieler and
Wolfgang Birtel. Arranged
by Ida Bieler. This
edition: Saddle
stitching. Sheet music.
String. 20Th Century,
Classical. Softcover. Op.
30. 72 pages. Schott
Music #VLB174. Published
by Schott Music
(HL.49019599).
ISBN
9790001191043. UPC:
841886019546.
9.0x12.0x0.187 inches.
Eds. Wolfgang Birtel and
Ida Bieler.
Karol
Szymanowski (1882-1932)
is regarded as one of the
most important Polish
composers since Chopin.
He received his formative
musical training in
Warsaw where he lived for
many years and was also
director of the
Conservatoire and Music
Academy. His
compositional oeuvre
comprises a large variety
of styles: Szymanowski
first leaned towards
Chopin and Scriabin, then
studied Richard Strauss
and Igor Stravinsky,
finally finding a style
in which he combined
impressionism and
expressionism. His
'Mythes' for violin and
piano from 1915 fell in a
transitional period,
turning away from late
German Romanticism. They
are expressive miniatures
full of tonal refinement
and impressionist charm
and, thanks to their
accessible virtuosity,
perfect performance
pieces. Contents: I. La
Fontaine d'Arethuse
• II. Narcisse
• III. Dryades et
Pan.
Violin and piano SKU: LM.26851 Composed by Jean Marc Allerme. Pop, jazz. ...(+)
Violin and piano
SKU:
LM.26851
Composed by
Jean Marc Allerme. Pop,
jazz. Score and CD.
Editions Henry Lemoine
#26851. Published by
Editions Henry Lemoine
(LM.26851).
ISBN
9790230968515.
Two
Days - Travel in winter -
Here comes the jazz show
- My friend Gabriel -
Maria's memories - Never
in September - When
Charley meets Dan - For a
moment of stillness -
Time to rag - Somewhere
in my heart - White and
Blue song - Call me -
Fleeting moment - She is
gone - Like in a
dream.
Composed by Andrae
Crouch. Arranged by Paul
Langford. Piano with
optional Violin
(Included). Spirituals &
Gospel, Thanksgiving,
General Worship, Blood,
Devotion, Discipleship,
Gratefulness, Jesus
Christ - Love, Jesus
Christ - Redeemer,
Adoration & Praise.
Octavo. 12 pages. Hope
Publishing Company
#C6304. Published by Hope
Publishing Company
(HP.C6304).
UPC:
763628163044.
Popul
ar song by Andrae Crouch
Staying true to the
original, this fresh
setting gives the choir
an opportunity to sing a
heartfelt anthem of
praise and personal
thanks for the things God
has done. The optional
violin part underscores
the earnestness of the
message.
Heft I (Sonata I-V). Composed by Heinrich Ignaz Franz von Biber (1644-170...(+)
Heft I (Sonata
I-V). Composed by
Heinrich Ignaz Franz von
Biber (1644-1704). Edited
by Ernst Kubitschek /
Marianne Ronez. String
music. Diletto Musicale.
Sonata I-V. 34 + 22 pages
pages. Published by
Doblinger Music
Publishers (DB.DM-01237).
Violin, piano SKU: BR.EB-9413 Composed by Nicola Campogrande. Solo instru...(+)
Violin, piano
SKU:
BR.EB-9413
Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf. New music
(post-2000). Score.
Composed 2020. 28 pages.
Duration 9'. Breitkopf
and Haertel #EB 9413.
Published by Breitkopf
and Haertel (BR.EB-9413).
ISBN 9790004188873. 9
x 12 inches.
For a
long time after
Romanticism had come to
the fore, it was
generally agreed that
Brahms somehow did not
get it: History and
Progress - it was thought
- were proceeding along
one clear path and Brahms
- who was composing
sonatas and symphonies
instead of nocturnes and
symphonic poems - had
taken the wrong way.
Almost one century later,
Schonberg wrote an essay,
Brahms, der
Fortschrittliche (Brahms,
the progressive), in
which he explained that
it wasn't like that at
all.Fully assuming the
risk to appear somehow
irreverent, I have to
confess: Over the years,
I came to the conclusion
that the present - and
the future - can be
created only by loving
the past. As Brahms had
shown us, it is only by
accepting the challenge
of taking our heritage
into our own hands, that
we can create something
new. We cannot avoid
engaging with the past.
Therefore, starting with
my Sinfonia n. 1, I began
to flirt with such a
strong and effective
musical structure like
the sonata form. I
re-read and freely
transformed it, because
it is a sturdy and
resilient structure, but
also a theatrical and
colorful one. For me, it
is a happy structure. And
I think that today more
than ever we need
something like this: We
need to find places -
even imaginary ones -
where we can give
happiness a form of its
own.Nicola Campogrande,
December
2020
World
premiere: Bologna/Italy,
Streaming, April 11,
2021Commissioned by the
Fondazione Musica
Insieme.
Piano Accompaniment; Violin (Score and Solo Part) SKU: HL.50600469 For...(+)
Piano Accompaniment;
Violin (Score and Solo
Part)
SKU:
HL.50600469
For
Violin and Piano.
Composed by Krzysztof
Meyer. String. Classical,
Contemporary. Softcover.
48 pages. Sikorski
#SIK1496. Published by
Sikorski (HL.50600469).
8.25x11.75x0.14
inches.
“I
belong to that group of
people who appropriate
Debussy's wonderfully
formulated philosophy
according to which music
begins where words end.
Contrary to a view that
has become widespread
during the past 100
years, I am convinced
that the task of the
composer is to write
music, not to talk about
it. Even if my technical
and aesthetic
commentaries on one of my
compositions were to have
a certain value for
listeners, such a
commentary would have the
effect that I were more
or less forcing my own
vision of the work onto
the listener. The power
of music is, however, a
gift that makes it
capable of calling forth
different reactions in
listeners. I shall
therefore limit myself to
saying that the
'Imaginary Variations'
were inspired by the
wonderful recordings of
Janet Packer that I
listened to with the
greatest pleasure prior
to the beginning of my
work. The title is
derived from the fact
that this composition is
structured similarly to
the classical variation
form and that the
audience can listen to
the constant changes of
the musical ideas. In
truth, however, the
twelve short sections of
the work are not true
variations even though
they reveal some
connections and
similarities.â€
(Krzysztof Meyer).
Violin and Piano. By Hilary Hahn. By Various. Boosey and Hawkes Chamber M...(+)
Violin and Piano.
By Hilary Hahn. By
Various. Boosey and
Hawkes Chamber Music.
Classical, Contemporary.
Softcover. 340 pages.
Boosey and Hawkes
#M051107933. Published by
Boosey and Hawkes
(HL.48023059).
Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1...(+)
Violin & Orchestra
Reduction
(Piano). Composed by
Claude
Debussy (1862-1918) and
Robert Orledge. Arranged
by
Robert Orledge. String.
Softcover. 34 pages.
Schott
Music #VLB214. Published
by
Schott Music
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:
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edit...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Clive Brown. This
edition:
urtext edition. Stapled.
Barenreiter Urtext.
Performance score,
Part(s)
(2). Opus 24.
Baerenreiter
Verlag #BA10937.
Published by
Baerenreiter Verlag
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 and Piano. Composed by James Macmillan. Boosey & Hawkes Chamber M...(+)
Violin and Piano.
Composed by
James Macmillan. Boosey
&
Hawkes Chamber Music.
Classical. Softcover. 46
pages. Boosey &
Hawkes
#M060136221. Published by
Boosey & Hawkes
Starter Solos Violon et Piano [Partition + CD] - Facile Anglo Music
Violin and Piano - easy SKU: BT.AMP-345-400 20 Progressive Pieces with...(+)
Violin and Piano - easy
SKU:
BT.AMP-345-400
20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with CD.
Composed 2013. 32 pages.
Anglo Music Press #AMP
345-400. Published by
Anglo Music Press
(BT.AMP-345-400).
ISBN
9789043138635. 9x12
inches.
English-German-French-Dut
ch.
Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20 solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The books
provide invaluable
additional material to
complement any teaching
method.Starter
Solos comes with a
play-along CD. The
advantages of playing
either with piano or CD
accompaniment are that
the beginning player can
nowexperience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playing alone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s begint met
stukken die op een
handvol noten zijn
gebaseerd. Nieuwe
muzikale elementen
(articulatie,
dynamiek,enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende
instrument.Uitgave met
cd: De voordelen van het
spelen met begeleiding -
hetzij op de piano,hetzij
op de cd - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en het
handhaven van een strak
tempo. Bij hetalleen
spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten.
STARTER SOLOS und
SKILFUL SOLOS können
dank der im Buch und auf
der CD enthaltenen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten.
Inhalt:
Follow me •Best
Foot Forward •Folk
Song •My Homeland
•Missing You
•Russian Winter
•On a Carousel
•Rush Hou •A
Dynamic Start
•Short but Sweet
•Ballad
•London Bridge
•Summer Breezes
•Modal Melody
•Toon Tune
•In a Balloon
•Yankee Doodle
•SadSong
•Count Me In
•Ragtime
March
Accanto
ad un buon insegnante, il
materiale da studio
valido è senza dubbio
la cosa più importante
al fine di un buon
apprendimento. E’
quindi importante mettere
a disposizione
dell’allievo
materiale motivante.
Nello scrivere questi
soli, PhilipSparke si
è consultato a più
riprese con insegnanti ed
allievi per mettere a
punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono inclusi nel CD.
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 and Piano SKU: BT.EMBZ2524 Composed by Bela Bartok. EMB Music of B...(+)
Violin and Piano
SKU:
BT.EMBZ2524
Composed
by Bela Bartok. EMB Music
of Bela Bartok. Exam
Material. Book Only.
Composed 1957. 6 pages.
Editio Musica Budapest
#EMBZ2524. Published by
Editio Musica Budapest
(BT.EMBZ2524).
English-German-Hungari
an.
An Evening in
the Village was composed
in 1908 as no. 5 of the
Ten Easy Piano Pieces. It
has become one of
Bartók s favorite
works, which the composer
himself was fond of
playing at recitals. As
he explained in an
American interview, it
was an original
composition that is ...
with themes of my own
invention but ... the
themes are in the style
of the
Hungarian-Transylvanian
folk tunes. There are two
themes. The first one is
a parlando-rubato-rhythm
and the second one is
more in a dance-like
rhythm. The second one is
more or less the
imitation of a peasant
flute playing. Bartók
also orchestrated the
piece in 1931 as no. 1 of
Hungarian Sketches.
Chamber Music violin, piano SKU: PR.144407050 Composed by James Primosch....(+)
Chamber Music violin,
piano
SKU:
PR.144407050
Composed
by James Primosch. Set of
Score and Parts. With
Standard notation. 28+12
pages. Duration 20
minutes. Theodore Presser
Company #144-40705.
Published by Theodore
Presser Company
(PR.144407050).
UPC:
680160655519. 9 x 12
inches.
Celebrating
30 years, the
Philadelphia Chamber
Music Society
commissioned a work of
20-25 minutes for violin
and piano from James
Primosch, University of
Pennsylvania professor of
music. Primosch had
originally thought to
create a new sonata, but
what developed is more
appropriately a set of
five character pieces,
two of which were
directly inspired by
poems. Five Poems was
premiered in May, 2016,
and Primosch's thoughts
are recorded at his
website:
https://jamesprimosch.com
/2016/05/10/five-poems-pr
emiere/. Upon
receiving a commission
from the Philadelphia
Chamber MusicSociety for
a violin and piano piece
in honor of its 30th
anniversary, myplan was
to write a sonata, a term
suggesting a relatively
abstractdiscourse. But as
the piece developed, the
movements struck me
ascharacter pieces rather
than music employing a
more
“symphonicâ€ap
proach. When specific
poems started to attach
themselves in my mindwith
two of the movements, the
overall title Five Poems
became clear.The title of
the second movement is a
line from Susan
Stewart’s“De
scentâ€, which deals
with Aeneas’s
visit to the underworld.
The musicis alternately
fiercely driving and
quite still, though
tense.
RobertFrost’s
Nothing Gold Can Stay
summons fleet scale
passages framinglyrical
counterpoint. The
remaining movements do
not refer to
specificpoems, but have
titles reflecting their
expressive tone.
Dreamscape ismusing with
an improvisatory violin
line over shifting pairs
of pianochords. Nightsong
is a bluesy lullaby that
turns highly
dramatic.Vision begins
with a closely argued
struggle but breaks
through tosomething
spacious and clear.
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.
Violin & piano - Advanced SKU: EC.LMP044 Composed by Kareem Roustom. Inst...(+)
Violin & piano - Advanced
SKU: EC.LMP044
Composed by Kareem
Roustom. Instrumental
part. E.C. Schirmer
Publishing #LMP044.
Published by E.C.
Schirmer Publishing
(EC.LMP044).
ISBN
9781962585026.
This
work was especially
arranged for Thomas
Stumpf and Joanna
Kurkowicz and was adapted
from the second movement
of my Violin Concerto No.
1. The inspiration comes
from the melodic shapes
and sentiments of the
hymns and chants of the
Syrian Orthodox Church.
Though there is no direct
reference to any
particular hymn or chant
in that repertoire, it is
the formal structure and
melodic contour from that
tradition that provided
inspiration for Hymn;
especially in the opening
and closing sections. The
inner feelings of Hymn
reflect on one aspect of
the nature of faith, and
how one holds on to it in
a tumultuous world. This
is reflected in the
middle section where the
piano's jagged rhythms
attempt to throw off the
steady pulses of the
violin. Only faith in
one's own inner rhythm
can keep the violinist
moving steadily forward.
-Kareem Roustom.