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:
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.
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.
(Movements I and II Arranged for Violin and Piano). By Igor Fyodorovich Stravins...(+)
(Movements I and II
Arranged for Violin and
Piano). By Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For violin
piano. 8 2 pages.
Duration 7 minutes.
Published by Carl Fischer
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.
Violin and Piano SKU: BT.EMBZ1527 Aus der Sammlung Für Kinder'....(+)
Violin and Piano
SKU:
BT.EMBZ1527
Aus
der Sammlung Für
Kinder'. Composed by
Bela Bartok. EMB Music of
Bela Bartok. Educational
Tool. Book Only. Composed
1954. 20 pages. Editio
Musica Budapest
#EMBZ1527. Published by
Editio Musica Budapest
(BT.EMBZ1527).
English-German-Hungari
an.
This volume
contains transcriptions
of folksongs extracted
from Bartók's
world-renowned
pedagogical piano series,
For Children. In 2015 we
launched this series to
commemorate the 70th
anniversary of the
composer's death. This
involved reissuing
previous publications,
and publishing some
additional new
transcriptions that
fulfill the strict
aesthetic demands of the
earlier ones. We trust
that these publications
will allow us to
introduce still more
music students to the
world of one of the great
geniuses of 20th-century
music.
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
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.48025445 For Violin...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48025445
For Violin and
Piano. Composed by
Hans Winterberg. Boosey
and Hawkes Chamber Music.
Classical. Softcover.
Duration 420 seconds.
Boosey and Hawkes
#M202538852. Published by
Boosey and Hawkes
(HL.48025445).
ISBN
9783793145820. UPC:
196288216438.
Hans
Winterberg's
extraordinary life was
written in two chapters,
one Czech and one German,
split right down the
middle by the experience
of the Shoah, which
Winterberg, unlike his
colleagues Ullmann,
Krása, Haas and Klein,
miraculously survived. In
1947, the Prague-born
composer moved to Munich,
where he worked for the
Bavarian Broadcasting
Corporation. As a student
of Alexander Zemlinsky
and Alois Hába, he
belongs both to the Czech
tradition following
Janácek and to the
circle of the Second
Viennese School. He saw
himself as a bridge
builder between Western
and Eastern culture. The
circumstances under which
Winterberg was able to
compose during the war
years are still unclear.
Although his “mixed
marriage” initially
saved him from
deportation, he had to
perform forced labour and
was eventually sent to
the Terezin ghetto in
January 1945. The Suite
for Violin and Piano was
composed in 1942, the
year in which both
Winterberg's mother and
his piano professor
Thérèse Wallerstein
were murdered by the
Nazis. Compared to the
violin sonata from 1936,
the Suite is much more
condensed, lasting less
than seven minutes. A
melody dominated by
chromatic turns and
expressionist harmony
lend the work its
melancholy character,
which gives way, however,
to an almost
irrepressible defiance in
the rhythmically
percussive last
movement.
Violin and Piano SKU: BT.MUSM570209811 Composed by Anthony Gilbert. Piano...(+)
Violin and Piano
SKU:
BT.MUSM570209811
Composed by Anthony
Gilbert. Piano Reduction.
42 pages. University of
York Music Press
#MUSM570209811. Published
by University of York
Music Press
(BT.MUSM570209811).
English.
Anthony
Gilbert 's On Beholding A
Rainbow . Reduction for
Violin with Piano
accompaniment. I :
Passacaglia nascondita II
: Cantilena - Slow and
still III : Variazioni in
moto perpetuo - flowing,
legato, a little rubato
On Beholding A Rainbow
was commissioned by the
BBC for Lydia Mordkovich
and the BBC Philharmonic
and written between 1992
and 1997, with some small
revisions early in 1998.
The work’s title
refers to an important
Jewish affirmation of
trust, and is a private
message to its dedicatee,
the composer’s
friend Ian Goldstone,
whose tragic death
shocked the work into
existence in its final
form. The duration is 30
minutes.