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3 Episodes
2 Violins (duet)
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1
Six Violin Duets, Op. 1
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2 Violins (duet)
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INTERMEDIATE
#
Classical
#
William Shield
#
Robert Hoskins
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Six Violin Duets, Op. 1
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Artaria Editions
#
SheetMusicPlus
Violin Duet Violin - Level 3 - Digital Download SKU: A0.1488279 Composed by William Shield. Arranged by Robert Hoskins. Classical. 89 pages. Artaria Edit...
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Violin Duet Violin - Level 3 - Digital Download SKU: A0.1488279 Composed by William Shield. Arranged by Robert Hoskins. Classical. 89 pages. Artaria Editions #1065167. Published by Artaria Editions (A0.1488279). Artaria Editions AE387The London premires of Opp.1 and 2 probably took place at William Napier's morning concerts held at the Thatched House Tavern in St. James's Street. The performers at this venue were gentlemen amateurs backed with some professional assistance (possibly including Shield) and the audience consisted largely of nobility (but not ladies) on their way to court. Napier's concerts were more than a vehicle for airing newly published works or composers, and when it was proposed to revive the series in 1792, the Morning Chronicle of 28 January recalled that they had served to improve the taste and science of the amateur as well as introducing professional merit to the highest patronage. Shield's duets, expressly written with talented amateurs in mind (according to the title-page of Op.2), exactly suited the repertoire of the morning concerts.Both sets of duets are neatly engineered with a violinist's grasp of technique and articultion, and with each part sharing in the musical interest. The prevailing spirit of Op. 1 is Italianate and there are many attractive details to be heard. The amoroso movement of No.1, for example, with its ardent episodes and the hunting rondo of No.2 which begins with the representation of distant horn calls and later depicts a chromatically wounded prey. If the opening of No. 3 gives the impression of an exotic dance, including the audible thrum of a guitar or harp, then the rondo of No.4 can be imagined as a spring song animated with birds and breezes. The opening of No.5 is as propulsive as a theatre overture whilst No.6, written for either violins or flutes, assumes a suitably fluty tone. Op.2 is an altogether more compact set which sharpens the focus on elements already noticed in Op.1. Shield employs a variety of forms including minuet, variations, rondo and canon; and he also adopts vocal styles including lyric song (for the affettuoso movement of No.1) and arioso (for the opening adagio of No.2). The first movement of No. 3 sounds like a mini stage overture whilst the adagio of No. 5 can be heard as a melting duet. Both movements of No. 4 adhere to folk style, incorporating hurdygurdy like figurations and simulated versions of the northern pipe-tunes which Shield himself so avidly collected. This edition presents as faithfully as possible the intentions of Napier's source. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$72.00
Six Violin Duets, Op. 2
#
2 Violins (duet)
#
INTERMEDIATE
#
Classical
#
William Shield
#
Robert Hoskins
#
Six Violin Duets, Op. 2
#
Artaria Editions
#
SheetMusicPlus
Violin Duet Violin - Level 3 - Digital Download SKU: A0.1488280 Composed by William Shield. Arranged by Robert Hoskins. Classical. 59 pages. Artaria Edit...
(+)
Violin Duet Violin - Level 3 - Digital Download SKU: A0.1488280 Composed by William Shield. Arranged by Robert Hoskins. Classical. 59 pages. Artaria Editions #1065168. Published by Artaria Editions (A0.1488280). Artaria Editions AE388The London premires of Opp.1 and 2 probably took place at William Napier's morning concerts held at the Thatched House Tavern in St. James's Street. The performers at this venue were gentlemen amateurs backed with some professional assistance (possibly including Shield) and the audience consisted largely of nobility (but not ladies) on their way to court. Napier's concerts were more than a vehicle for airing newly published works or composers, and when it was proposed to revive the series in 1792, the Morning Chronicle of 28 January recalled that they had served to improve the taste and science of the amateur as well as introducing professional merit to the highest patronage. Shield's duets, expressly written with talented amateurs in mind (according to the title-page of Op.2), exactly suited the repertoire of the morning concerts.Both sets of duets are neatly engineered with a violinist's grasp of technique and articultion, and with each part sharing in the musical interest. The prevailing spirit of Op. 1 is Italianate and there are many attractive details to be heard. The amoroso movement of No.1, for example, with its ardent episodes and the hunting rondo of No.2 which begins with the representation of distant horn calls and later depicts a chromatically wounded prey. If the opening of No. 3 gives the impression of an exotic dance, including the audible thrum of a guitar or harp, then the rondo of No.4 can be imagined as a spring song animated with birds and breezes. The opening of No.5 is as propulsive as a theatre overture whilst No.6, written for either violins or flutes, assumes a suitably fluty tone. Op.2 is an altogether more compact set which sharpens the focus on elements already noticed in Op.1. Shield employs a variety of forms including minuet, variations, rondo and canon; and he also adopts vocal styles including lyric song (for the affettuoso movement of No.1) and arioso (for the opening adagio of No.2). The first movement of No. 3 sounds like a mini stage overture whilst the adagio of No. 5 can be heard as a melting duet. Both movements of No. 4 adhere to folk style, incorporating hurdygurdy like figurations and simulated versions of the northern pipe-tunes which Shield himself so avidly collected. This edition presents as faithfully as possible the intentions of Napier's source. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$72.00
Violin Sonata No. 1 ('Circling')
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2 Violins (duet)
#
ADVANCED
#
Robert A
#
Violin Sonata No. 1
#
Robert A. Howard
#
SheetMusicPlus
Instrumental Duet,Violin - Level 5 - Digital Download SKU: A0.1503126 Composed by Robert A. Howard. 21st Century,Chamber,Classical,Contemporary,Contest,F...
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Instrumental Duet,Violin - Level 5 - Digital Download SKU: A0.1503126 Composed by Robert A. Howard. 21st Century,Chamber,Classical,Contemporary,Contest,Festival. 45 pages. Robert A. Howard #1078708. Published by Robert A. Howard (A0.1503126). This piece is an extended, three movement Violin Sonata for violin and piano. The work explores the subtitle concept of 'circling'. This is pursued through a wide variety of musical elements. These include: circling melodies, repetitive chains of (modulating) chord sequences, motoric cross-rhythms and syncopation, heterophonic canonic textures, and large-scale concentric structures. The fast, first movement is in a loose symmetrical sonata form in D (modal) minor. The resolute and scalic first subject, based on the opening core motif, is followed by a transition to a more lyrical and repetitive, cantabile second theme. The ensuing development section passes through various keys, with a new, modal third theme at its centre, featuring parallel motion, syncopation, and an ostinato in the accompaniment. The varied recapitulation presents the opening two themes in reverse order (thus giving overall structural symmetry to the movement). The heart of the work as a whole is the slow romanza-like second movement, centred on G. In ternary form, the outer sections present a highly memorable lyrical theme in a series of modulating and canonic textural variations. The contrasting middle section is much more unsettled in its three varied statements of a new theme accompanied by uncertain minor sevenths chords. The rondo-like finale in D is the most minimalist in style and rhythm. A circling, motivic and scalic main theme appears between highly contrasting episodes. The first of these is a folk-like rustic theme, while the second is a sentimental melody, played over an arpeggio and descending bass line accompaniment. Heard 3 times, in 3 different keys and registers, this idea leads to an recap of the main rondo theme, signalling the end of the work. Overall, the piece is genuinely melodic and is accessible to the listener. The work is suitable for performance by higher grade or professional violinists and pianists. Please note that the document provided is the full score only (also serves as the piano part), with reference audio.Duration: 22 minutes.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk.
$14.99
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