Violin and Piano. By Edward Elgar. Arranged by Donald Fraser. Fentone Play Along...(+)
Violin and Piano. By
Edward Elgar. Arranged by
Donald Fraser. Fentone
Play Along Books. Play
Along. Size 9x12 inches.
20 pages. Published by
Fentone Music.
Violin and Piano (Violin) SKU: HL.14004213 Composed by Lennox Berkeley. M...(+)
Violin and Piano (Violin)
SKU: HL.14004213
Composed by Lennox
Berkeley. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 56 pages. Chester
Music #CH55778. Published
by Chester Music
(HL.14004213).
9.0x12.0x0.175
inches.
Five Pieces
for Violin and Orchestra
was commissioned by
Frederick Grinke and
completed on 20 December
1961. The BBC Symphony
Orchestra with Frederick
Grinke (violin) and
conducted by the
composer, gave the first
performance on 31 July
1962 at the Royal Albert
Hall, London during the
BBC Proms season. This
work is so constructed
that each piece is
complete in itself and
can be played separately,
while at the same time
the whole set of five
constitutes a structural
unit. A basic motif
consisting of a rising
semitone followed by a
falling tone, and its
inversion plays an
important part in every
piece. Thus the first
piece, which is of a slow
and meditative character,
begins with this theme in
the bass. It is also
heard in the first entry
of the solo part, and
thereafter every episode
is in some way derived
from it. The next piece,
a vigorous and strongly
marked 'allegro', uses
the semitone of the
original figure as its
starting point. A second
theme appears, first on
the horns and is later
taken up by the solo
violin, while a third
section has the initial
idea as its
accompaniment. Next comes
an extended scherzo in
free form very closely
based on initial motif.
The fourth is a purely
melodic piece containing
allusions in its middle
section to the basic
figure. Here the strings
only are used for
accompaniment. In the
first section, violas and
cellos are divided in the
middle section, and all
the strings are used in
the last, which is
otherwise an almost exact
repetition of the
opening. The Finale is a
lighter movement than the
others, concerned mainly
with giving the soloist
material for display, but
not unconnected with what
has gone before.
Violin & piano SKU: HH.HH424-FSP Composed by Anton Eberl. Edited by Marti...(+)
Violin & piano
SKU:
HH.HH424-FSP
Composed
by Anton Eberl. Edited by
Martin Harlow. Violin &
Piano. Full score and
part. Edition HH Music
Publishers #HH424-FSP.
Published by Edition HH
Music Publishers
(HH.HH424-FSP).
ISBN
9790708146254.
Amon
g Vienna’s many
composers and pianists of
the time, Anton Eberl
(1765–1807) was
the one considered most
worthy of comparison with
Beethoven. His Sonata in
B flat major, Op.35, his
last of seven sonatas
with violin, was composed
around 1805 and dedicated
to Maria Walburga, the
Princess Bretzenheim.
This was one
Eberl’s last
works, as he died
prematurely, at the age
of forty-one, in 1807.
Unlike many of
Eberl’s lesser
contemporaries, in its
duration, formal and
harmonic novelty, and in
the lively relationship
between the violin and
keyboard, his Op.35
shares much of the
musical ambition and
quality of
Beethoven’s works
in this genre.
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.
For Violin and Piano. Composed by Nico Muhly. Music Sales America. Classi...(+)
For Violin and
Piano. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. Music Sales
#SRO100133. Published by
Music Sales
(HL.14048062).
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.48025444 For Violin...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48025444
For Violin and
Piano. Composed by
Hans Winterberg. Boosey
and Hawkes Chamber Music.
Classical. Softcover.
Bote and Bock
#M202538838. Published by
Bote and Bock
(HL.48025444).
ISBN
9783793145806. UPC:
196288216421.
Hans
Winterberg has only
recently been
rediscovered as one of
the most important
representatives of the
Czech avant-garde of the
first half of the 20th
century. Performed but
not published during his
lifetime, his works were
locked away after his
death due to tragic
circumstances and are now
being published for the
first time in a
collaboration between the
Exilarte Centre of the
Vienna University of
Music and Boosey and
Hawkes. In contrast to
his colleagues and
friends Ullmann, Haas,
Krása and Klein,
Winterberg survived the
Shoah through a series of
miracles. As a student of
Alexander Zemlinsky and
Alois Hába, he is both a
successor to Janácek and
a member of the wider
circle of the Second
Viennese School. The
Sonata for Violin and
Piano, written and
premièred in Prague in
1936, is one of the most
important chamber music
works of the pre-war
period. It exhibits all
the characteristics of
Winterberg's personal
style: a sensuality of
sound grounded in French
Impressionism with a
simultaneous
expressionist rigour of
harmony, a small-scale
motivic structure, a
sophisticated play with
polyrhythmic patterns
and, especially in the
last movement, a musical
impetus borrowed from
Czech folklore.
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
…
(First Edition Violin and Piano). By Nikolaj A. Roslawez. Edited by Maria Lobano...(+)
(First Edition Violin and
Piano). By Nikolaj A.
Roslawez. Edited by Maria
Lobanova. For Violin,
Piano Accompaniment.
String. Softcover. 44
pages. Schott Music
#VLB143. Published by
Schott Music
Violin, piano SKU: FG.55011-615-3 Composed by Kalevi Aho. Solo part & pia...(+)
Violin, piano
SKU:
FG.55011-615-3
Composed by Kalevi Aho.
Solo part & piano
reduction. Fennica
Gehrman #55011-615-3.
Published by Fennica
Gehrman (FG.55011-615-3).
ISBN
9790550116153.
Kale
vi Aho (b. 1949) composed
Violin concerto No. 2 in
late summer and early
autumn 2015 for the
Finnish violinist Elina
Vahala. Lasting about 32
minutes, the second
concerto is a large-scale
virtuoso work dominated
by the soloist. The
strong-featured first
movement (Allegro) begins
with a fairly short
orchestral introduction
that is followed by the
soloist's first vigorous
statement. Around the
middle of the movement is
a cadenza, and the
movement ends with a
quick stretta. The
soloist dominates the
events in the slow second
movement (Adagio) even
more than it did in the
first. The Adagio begins
with the same opening
motif for the soloist as
the first movement, but
this time the motif is
more lyrical and singing.
Having built up to a
dramatic climax, it
subsides on flageolet
notes and finally sounds
that are somewhere
between musical notes and
noise. The third movement
(Vivace, leggiero) is by
nature dance-like again
and lighter than the
previous ones. At the
end, the tempo
accelerates to a wild,
virtuosic prestissimo.
Piano reduction (2020) by
Kari Vehmanen.