Violin and piano - Advanced

SKU: DY.DO-1525

Composed by David Braid. Score and part. Les Editions Doberman-Yppan #DO 1525. Published by Les Editions Doberman-Yppan (DY.DO-1525).

ISBN 9782897963057.

J'ai me les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.

Conf ormément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.

Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.

Une note sur les performances :
Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :

https://open.spo tify.com/album/6p5YIe17ci 0UMuo2RqZgjR
https://m usic.apple.com/gb/album/t ransfigured-life-still-li fe-world-premiere-recordi ng/1738035953
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Trans figured Life - Still Life, Op. 165 (violin & 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 & 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:

https:/ /open.spotify.com/album/6 p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/g b/album/transfigured-life -still-life-world-premier e-recording/1738035953.

By Pablo de Sarasate (1844-1908). Edited by John Craton. Chamber ensemble. For Violin, piano. Chamber music. A romantic piece for violin and piano.. Late Romantic/Contemporary. Moderately advanced. Score and part. 7 pages. Duration 5 minutes. Published by Wolfhead Music

(for Violin and Piano). By Scott Joplin (1868-1917). Arranged by Wolfgang Birtel. For Violin, Piano Accompaniment. String. Softcover. 18 pages. Schott Music #ED20458. Published by Schott Music

Violin & Piano

SKU: SU.80111011

For Violin & Piano. Composed by Meyer Kupferman. Strings, Violin. Accompanied by piano. Score & Parts. Subito Music Corporation #80111011. Published by Subito Music Corporation (SU.80111011).

Arioso (1975) is a lush duet for violin and piano. Beginning in atmospheric quiet, the work builds to an emotion climax before dying away again. Published by: Soundspells Productions.

Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Anna Pulkkis. Breitkopf and Haertel #EB-9340. Published by Breitkopf and Haertel

Arranged by Colette Mourey. Duration 82'00. Published by Editions Marc Reift (MA.EMR-22425).

Violin and Piano. Composed by James Macmillan. Boosey & Hawkes Chamber Music. Classical. Softcover. 46 pages. Boosey & Hawkes #M060136221. Published by Boosey & Hawkes

Violin and piano

SKU: FG.55011-248-3

Composed by Toivo Kuula. Published by Fennica Gehrman (FG.55011-248-3).

Kuula wrote his two sonatas while still in his early twenties. The F Major Sonata is from 1906 and bears no opus number; the Sonata E Minor Op. 1 dates from 1907. This is the first edition of the F Major Sonata, which was forgotten for almost a century and found again in the 1990s.

Violin and piano

SKU: BO.B.3632

Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3632).

Duo-Sonata for violin and piano was written between September and October of 2010. It is made up of three movements, each of which has unique characteristics. The first, Allegro appassionato, is monothematic, although the theme itself is presented in several ways. Following a vigorous start featuring violin cadenza, the movement is developed with a lively feel, alternating lyrical fragments with other energetic ones. Its conclusion is resounding.

Meanwh ile, the second movement, Quasi un lamento, is introspective and fragile. A long melody is sustained by a delicate and transparent piano accompaniment, evoking once again the theme of the first movement and concluding with a Lento of descending piano harmonies while the violin follows, in octaves, with heartfelt glissando.

The third movement, Scherzando-Allegro, is a light-hearted game between the piano and the violin. The main theme is repeated once again, this time with a binary time signature. The violin uses ricochet (the rebounding of notes in a bow stroke), as well as natural and artificial harmonies in quick time. The piano part unfolds completely naturally, excluding any gratuitous artifice.

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.

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 …

(Violin and Piano). Composed by Antonio Bazzini (1818-1897). Edited by Endre Granat. Arranged by Jascha Heifetz. For Piano, Violin. LKM Music. 20 pages. Lauren Keiser Music Publishing #S511025. Published by Lauren Keiser Music Publishing

By Dvorak Antonin. Czech title: Mazurek op. 49. Published by Praha (Czech import).

Piano; Violin (Violin)

SKU: HL.50483832

Violin and Piano. Composed by Giya Kancheli (Kantscheli). String. Classical, Contemporary, Russian. 28 pages. Sikorski #SIK1980. Published by Sikorski (HL.50483832).

8.25x11.75x0.098 inches.

Chamber Music Cello, Clarinet, Flute, Piano, Violin

SKU: PR.14440516S

Composed by Robert Martin. Full score. With Standard notation. 44 pages. Duration 9 minutes, 15 seconds. Theodore Presser Company #144-40516S. Published by Theodore Presser Company (PR.14440516S).

UPC: 680160667864. 9 x 12 inches.

In 1979, Martin produced a set of three quintets, in consideration of Gorky's piece Nighttime Enigma Nostalgia. Each is scored for flute, clarinet, violin, cello, and piano. As the title suggests, the music is in a state of perpetual questioning using a variety of approaches. For example, Enigma opens using ostinati (plural of ostinato) that do not match in length, like a staircase with each step a different height. Additionally, the music has sudden starts and stops, again unexplained. There are dramatic and powerful explosive passages that are interrupted. The technique, used to create this feeling of a perplexed music world where things seem often not to make sense and to be left unresolved, is called in poetry and literature, anticlimax. In Enigma, the music suggests one direction; then refuses to continue, striking out in another direction. Artists use approaches such as this to force themselves into creative circumstances that they otherwise might not have discovered. (From the performance notes.).

Violin & Piano

SKU: SU.27040270

For Violin & Piano. Composed by Gregory J. Hutter. Strings, Violin. Accompanied by piano. Score & Parts. Subito Music Corporation #27040270. Published by Subito Music Corporation (SU.27040270).

Diorama was inspired by the concept of the visual arts genre of the same name: a scene reproduced in three dimensions against a painted background. It has been attempted here, to capture these three dimensions musically, by employing a predominately three-part polyphony throughout between the two instruments. Violin and Piano Duration: 7' Composed: 2005 Published by: Hutter Music.

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.” 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.”.
Excursions 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.  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 “characters” –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.  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. Composed by Karl Jenkins. Boosey & Hawkes Chamber Music. Softcover. 20 pages. Boosey & Hawkes #M060132988. Published by Boosey & Hawkes

Piano Accompaniment; Violin (Score and Solo Part) - difficult

SKU: HL.49044450

Violin and Piano. Composed by Thierry Pé and cou. This edition: Saddle stitching. Sheet music. String. Soleil-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl) as described in the cosmogony of Ancient Mexican civilisation. The element of fire is reflected in the musical soundscape of this work; rampant, rhythmic moti. Classical, Contemporary. Softcover. Composed 2013. 32 pages. Duration 6'. Schott Music #ED21888. Published by Schott Music (HL.49044450).

ISBN 9790001198639. 9.0x12.0x0.124 inches.

This work is part of a cycle of five short pieces for a single instrument and piano, focused on the five ages in the cosmogony of Ancient Mexican civilisation. The peoples of the Mexican highlands believe that time follows specific cycles and that the world was created following the pattern of 'trial and error'. The creation of the world is divided into several periods which are termed 'suns' (we are currently living in the fifth phase named 'Ollin'). Each period will be brought to an end through a natural catastrophe.Solei-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl).The element of fire is reflected in the musical soundscape of this work, constructed from rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space. An intimate dialogue develops between violin and piano on the basis of extremely simple figures. Interconnecting lines and dense musical material are thrown against each other in a play of contrasting registers and blended tonal colouring, creating a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pecou

Soleil-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl) as described in the cosmogony of Ancient Mexican civilisation. The element of fire is reflected in the musical soundscape of this work; rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space create a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pecou.

Violin & piano

SKU: HH.HH016-KBD

Composed by Giuseppe Tartini. Arranged by Per Hartmann. Violin & Piano. Keyboard reduction. Duration 15 minutes. Edition HH Music Publishers #HH016-KBD. Published by Edition HH Music Publishers (HH.HH016-KBD).

ISBN 9790708024347.

Over the beautiful second movement Tartini wrote I know you have no mercy using his secret code With the outer movements this concerto is a first class representative of the 18th century concerto. Carefully edited from Tartini's autograph and checked against the only other known source.

By Bohuslav Martinu. Czech title: Impromptu (TYi skladby pro housle a klavir). Published by Praha (Czech import).

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,” 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.”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.

Piano Accompaniment; Violin

SKU: HL.50600872

Violin and Piano. Composed by Marius Felix Lange. String. Classical. Softcover. 24 pages. Sikorski #SIK8741. Published by Sikorski (HL.50600872).

8.25x11.75x0.077 inches.

The operas of Marius Felix Lange, especially “Snow White,” “The Canterville Ghost,” “Die Schneekönigin,” “Das Opernschiff oder Am Südpol, denkt man, ist es heisse” have been incredibly successful. Many of his operas have also been performed on foreign stages, including those in Switzerland and France. Other points of emphasis in Lange's work include orchestral compositions and Lieder. The American violinist Hilary Hahn had an unusual yet very clever idea in 2012 when she requested encore pieces from present-day composers. The cycle “In 27 Pieces: The Hilary Hahn Encores” were consecutively premiered by the violinist until the end of the 2012/13 season and recorded on CD. Amongst the submissions selected by Hilary Hahn during the course of an online contest, Marius Felix Lange's violin piece “Nutcracker's Nightmare” immediately ended up amongst the ten best-placed works. The title “Nutcracker's Nightmare” recalls E.T.A. Hoffmann's famous fairytale “The Nutcracker and the Mouse King,” the gloomily imaginative story in which a wooden toy is awakened to life and has to fight against the powers of darkness.