| Concerto for Violin and Wind Orchestra, Op. 12 Universal Edition
Score (Study Score) SKU: HL.49045775 Study Score. Composed by Kurt...(+)
Score (Study Score)
SKU: HL.49045775
Study Score.
Composed by Kurt Weill.
Study Score. Classical.
Softcover. Universal
Edition #UE35538.
Published by Universal
Edition (HL.49045775).
ISBN 9783702471132.
UPC: 803452068235.
7.0x10.0x0.436
inches. Kurt Weill
developed his creative
energies mainly within
the world of musical
theater, where he proved
to be an immensely
productiveand imaginative
innovator, but he also
left behind a small body
of work for the concert
hall. The Concerto for
Violin and Wind Orchestra
op. 12 dates from the
spring of 1924. Scored
for two flutes,
clarinets, bassoons,
horns, one oboe and
trumpet, percussion and
four contrabasses, the
concerto comprises three
movements. While
composing the work, Weill
informed his publisher:
'I am workingon a
concerto for violin and
wind orchestra that I
hope to finish within two
or three weeks. The work
is inspired by the idea -
one never carried out
before - of juxtaposing a
single violin with a
chorus of winds.' The
specific character of
Weill's concerto as music
written for chamber
orchestra (with an often
soloistic treatment of
instruments) leads to a
transparency that
requires utmost precision
in the ensemble playing.
In the quest for an
overall sonic balance,
the coarser-sounding wind
instruments need to
explore all dynamic
nuances. The solo part is
challenging not only from
a technical standpoint
but also from an acoustic
one (it is crucial to
make the violin 'sound').
In spite of these
challenges - or precisely
because of them - critics
in the 1920s called the
solo parthighly idiomatic
and extremely rewarding.
Since then the concerto
has become a 'modern
classic' in concert halls
around the world. (Elmar
Juchem, August 2010). The
score is based on the
critical text of the Kurt
Weill Edition Ser. II,
Vol. 2. $62.00 - Voir plus => Acheter | | |
| Amazing Grace Violon et Piano - Intermédiaire MorningStar Music Publishers
By Duane Funderburk. Arranged by Duane Funderburk. For violin, piano, optional o...(+)
By Duane Funderburk.
Arranged by Duane
Funderburk. For violin,
piano, optional oboe and
strings quintet. Organ
with Instruments.
General. Moderately
Difficult. Score and solo
part. 8 pages. Published
by MorningStar Music
Publishers
$12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto for Violin and Orchestra in E minor, op. 64 Orchestre, Violon Barenreiter
2 flutes,2Ob,2Clar.,2Bas.,2 horn,2 trumpet,Timp. (Flutes (2), Oboes (2), Clarine...(+)
2
flutes,2Ob,2Clar.,2Bas.,2
horn,2 trumpet,Timp.
(Flutes (2), Oboes (2),
Clarinets (2), Bassoons
(2), Horns (2), Trumpets
(2), Timpani) SKU:
BA.BA09099-65
Composed by Felix
Bartholdy Mendelssohn.
Edited by R. Larry Todd.
This edition: urtext
edition. Stapled.
Barenreiter Urtext. Set
of wind parts. Opus 64.
12/8/10/8/14/12/12/10/8/8
/6/6/6 pages.
Baerenreiter Verlag
#BA09099_65. Published by
Baerenreiter Verlag
(BA.BA09099-65). ISBN
9790006565672. 32.5 x
25.5 cm inches. Key: E
minor. WithElversku
d(The Erl-Kings
Daughter), Gade presented
his secondsecular cantata
for soloists, choir and
orchestra, the first
having been his
successfulComalaOp. 12
(1845/46). The genre was
quite popular among his
contemporaries. This
time, Gade planned to
base the work on the text
of a folk song.
Originally, he had
approached Hans Christian
Andersen for a text but a
collaboration did not
materialize. The text
Gade ultimately chose for
his music was that of a
ballad most likely penned
by Emil Erslev and Gade
himself. A German
translation by Edmund
Lobedanz was added at a
later time.
The
composition, started in
1851 and finished in
March of 1854, soon
became an international
success and one of Gade's
most-performed works. In
1864, the composer made a
number of changes to the
instrumentation. While
the new version was
subsequently used for all
performances conducted by
Gade, the changes were
never incorporated into
the printed edition of
the score. This edition
is the first to present
this 1864
version.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$96.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L). UPC:
680160585755. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Havanaise in E major Op. 83 Breitkopf & Härtel
Violin solo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, ti...(+)
Violin solo, 2 flutes, 2
oboes, 2 clarinets, 2
bassoons, 2 horns, 2
trumpets, timpani,
strings (solos: vl -
2.2.2.2 - 2.2.0.0 - timp
- str) SKU:
BR.PB-15137-07
Urtext. Composed
by Camille Saint-Saens.
Edited by Christiane
Strucken-Paland. Stapled.
Partitur-Bibliothek
(Score Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Romantic; Late-romantic.
Study Score. 36 pages.
Breitkopf and Haertel #PB
15137-07. Published by
Breitkopf and Haertel
(BR.PB-15137-07). ISBN
9790004214732. 6.5 x 9
inches. The
Havanaise possibly has
its roots in the
friendship of the
composer with the
Cuban-born violinist
Rafael Diaz Albertini. It
is thus perfectly
plausible that
Saint-Saens borrowed the
Cuban syncopated slow
dance Habanera out of
kindness towards his
performance partner when
he was getting ready to
write a work for Diaz
Albertini in 1887.
Saint-Saens originally
wrote a version for
violin and piano, which
was later followed by the
orchestral version that
the publisher Durand had
urged him to write. Diaz
Albertini, to whom the
work was dedicated, gave
its world premiere before
other virtuosos adopted
it for themselves and
spread its fame
throughout the world. The
basis of this first
Urtext edition of the
piece is the first
edition, which was
presumably personally
overseen by
Saint-Saens. $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Woodland Suite. Solo Violin (or Fl) & Pf Stainer and Bell
Violin (or Flute) & Piano SKU: ST.Y349 Composed by George Dyson. String m...(+)
Violin (or Flute) & Piano
SKU: ST.Y349
Composed by George Dyson.
String music. An Evening
Bell. Silken Sails.
Moon-Fairy. Elfin Market.
Score and part. Stainer &
Bell Ltd. #Y349.
Published by Stainer &
Bell Ltd. (ST.Y349).
ISBN
9790220225499. This
four-movement suite was
first published in 1918
by Joseph Williams (now
part of Stainer &
Bell) as In
Pixieland for Solo
Violin or Flute and
Piano. In 1921 string
parts were added and then
in 1930 optional parts
for flute, oboe, clarinet
in A or B flat and
bassoon became available,
making the work ideally
suited for school or
amateur orchestra. In
1999 the Sir George Dyson
Trust decided that the
original title was
slightly out of tune with
the times and it was
changed to Woodland
Suite. $14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Violin Concerto Orchestre, Violon [Conducteur d'étude / Miniature] Oxford University Press
Composed by William Walton (1902-1983). Edited by David Lloyd-Jones. For violin ...(+)
Composed by William
Walton (1902-1983).
Edited by David
Lloyd-Jones. For violin
and orchestra (solo
violin, 2 flutes, 2
oboes, 2 clarinets in A,
2 bassoons, 4 horns, 2
trumpets, 3 trombones,
timpani, percussion,
harp, strings). William
Walton Edition. Pieces
and Studies. Level D
(difficult). Study score.
184 pages. Duration 30'.
Published by Oxford
University Press
$37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Kanonische Sonate Hautbois, Violon, Piano [Conducteur et Parties séparées] Peters
Chamber Trio Oboe, Violin, Piano SKU: PE.EP14618 For Oboe, Violin and ...(+)
Chamber Trio Oboe,
Violin, Piano SKU:
PE.EP14618 For
Oboe, Violin and
Piano. Composed by
Kit Armstrong. Oboe,
Violin, Piano; Solo Small
Ensembles; Trio. Peters
Contemporary Chamber
Series. Form: Canon.
Classical; Contemporary.
Score and Part(s). 42
pages. Edition Peters
#98-EP14618. Published by
Edition Peters
(PE.EP14618). ISBN
9790014139056.
German. Kano
nische Sonate by Kit
Armstrong is an 11-minute
work for Oboe, Violin and
Piano, inspired by the
music of Johann Sebastian
Bach. As the title
suggests, it is based on
the canon, a structure
Bach often used and which
is particularly
impressive in his vocal
music. Commissioned by
the German festival
Bachwoche Ansbach, it was
premiered on 1 August
2021 by Viola Wilmsen
(oboe), Franziska
Hölscher (violin) and
Kit Armstrong (piano).
Score and parts are
available for sale as
part of the Peters
Contemporary Chamber
Series. This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite
retailer. $105.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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