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Giga for Violin and Viola
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Vous avez sélectionné:
Giga for Violin and Viola
Partitions à imprimer
12 partitions trouvées
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1
Giga for Violin and Viola
Giga for Violin and Viola
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Alto, Violoncelle (duo)
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INTERMÉDIAIRE
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Aubert, Jacques
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Nick Lacanski
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Giga for Violin and Viola
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theupperstaff
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SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Viola - Level 3 - SKU: A0.648644 Composed by Aubert, Jacques. Arranged by Nick Lacanski. Baroque,Concert,Instr...
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Instrumental Duet Cello,Instrumental Duet,Viola - Level 3 - SKU: A0.648644 Composed by Aubert, Jacques. Arranged by Nick Lacanski. Baroque,Concert,Instructional. Score and parts. 7 pages. Theupperstaff #4794545. Published by theupperstaff (A0.648644).
$3.99 ≈
£3.09
Sonata X, Op.5-10 for Violin & Viola
Sonata X, Op.5-10 for Violin & Viola
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Violon, Alto (duo)
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INTERMÉDIAIRE
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Classique
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Arcangelo Corelli
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Kamada, Mikio
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Sonata X, Op.5-10 for Violin &
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ACORDO Sheet Music
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SheetMusicPlus
Instrumental Duet - Level 3 - SKU: A0.1285513 Composed by Arcangelo Corelli. Arranged by Kamada, Mikio. Baroque. 6 pages. ACORDO Sheet Music #876618. Pu...
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Instrumental Duet - Level 3 - SKU: A0.1285513 Composed by Arcangelo Corelli. Arranged by Kamada, Mikio. Baroque. 6 pages. ACORDO Sheet Music #876618. Published by ACORDO Sheet Music (A0.1285513). Corelli's Op. 5 consists of 12 sonatas for violin and basso continuo. Sonata, Op.5, No.10 has five movements: I. Preludio, II. Allemanda, III. Sarabanda, IV. Gavotta, V. Giga. The fourth movement (IV) is especially well-known.Basso continuo is usually played by harpsichord and cello. However, Lumiere Duo has released a beautiful CD recording of Op. 5, No. 7, performed as a duet for violin and cello. The sheet music we're sharing here is arranged for duets of Op. 5, No. 10, for violin and viola.Viola is tuned one octave above the cello. As a result, the viola can't faithfully replicate the cello part from the original. There are notes that are too low for the viola's range. In the arrangement for violin and viola, we strive to stay true to the original notes. If the notes aren't in the viola's range, we raise them by one octave. However, following this rule too strictly can lead to unnatural sequences. In such cases, even when the note is within the viola's range, we use a note one octave higher to maintain naturalness. While there's no rigid rule for this treatment, we're trying to imagine what Corelli might do if he were arranging for violin and viola. Additionally, in the third and fourth movements, we've swapped the solo part and basso continuo part in the repeating sections. Shifting the melody to the viola brings a fresh sound. In the audio samples below, we've used a flute sound for the violin part and a clarinet sound for the viola part. This should help you better understand how the swapping works.
$4.80 ≈
£3.72
Gigue (Giga) - for strings quartet
Gigue (Giga) - for strings quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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Orlan Charles
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Orlan Charles
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Gigue
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ORLAN CHARLES MARCHIORI PRADO
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - SKU: A0.814599 Composed by Orlan Charles. Arranged by Orlan Charles. Classical,Concert,Contemporary,S...
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String Quartet Cello,String Quartet,Viola,Violin - SKU: A0.814599 Composed by Orlan Charles. Arranged by Orlan Charles. Classical,Concert,Contemporary,Standards. Score and parts. 16 pages. ORLAN CHARLES MARCHIORI PRADO #4293683. Published by ORLAN CHARLES MARCHIORI PRADO (A0.814599). Gigue - A little piece for quintet recorder arranged for strings quartet, with a medieval atmosphere.IIf you want to see other arrangements like this, look for my channel, Orlan Charles on Youtube, or follow my social networks below:Email: orlandagaita@gmail.comInstagram: @orlancharlesFacebook: https://www.facebook.com/orlancharlespage/
$10.99 ≈
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Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
£18.57
Gigasonic Race
Gigasonic Race
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Quatuor à cordes: 2 violons, alto, violoncelle
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DÉBUTANT
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Jeux Videos
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A
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Gigasonic Race
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Bl��serwinds Music
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SheetMusicPlus
Composed by A. J. Fortuna. Contemporary, Standards, Video Game. Score and parts. 10 pages. Bl��serwinds Music #6525901. Published ...
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Composed by A. J. Fortuna. Contemporary, Standards, Video Game. Score and parts. 10 pages. Bl��serwinds Music #6525901. Published by Bl��serwinds Music
$9.99 ≈
£7.73
Eternal Bridge For Oboe Harp And Strings
Eternal Bridge For Oboe Harp And Strings
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Luis Anjos Teixeira
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Eternal Bridge For Oboe Harp A
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Luis Anjos Teixeira
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and part...
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Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
$25.00 ≈
£19.35
Giga Op. 1 #1
Giga Op. 1 #1
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Violon, Alto (duo)
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INTERMÉDIAIRE
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Classique
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Aubert, Jacques
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Nick M Lacanski
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Giga Op. 1 #1
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theupperstaff
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Viola,Violin - Level 3 - SKU: A0.1178446 Composed by Aubert, Jacques. Arranged by Nick M Lacanski. Baroque. Score an...
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Instrumental Duet Instrumental Duet,Viola,Violin - Level 3 - SKU: A0.1178446 Composed by Aubert, Jacques. Arranged by Nick M Lacanski. Baroque. Score and parts. 8 pages. Theupperstaff #778409. Published by theupperstaff (A0.1178446). This is the final movement of four composed for this sonata. I have named this series of publications – Just the Notes, simply because that’s all you get. No dynamics, bowings, phrasings, fingerings, etc. This simplifies your editing. There is not a need to erase from the original, or even worse, try to write over the original print. Also, to save you money movements are sold individually. No need to purchase a multi-movement work when your only desire is to perform only one. Thank you for looking.
$3.99 ≈
£3.09
All Creatures of Our God and King - instrumental for orchestra
All Creatures of Our God and King - instrumental for orchestra
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Orchestre
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Musique Sacrée
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Gospel Spirituel
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Public Domain
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Jeff D
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All Creatures of Our God and K
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AnderKamp Music
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SheetMusicPlus
Full Orchestra - SKU: A0.742700 Composed by Public Domain. Arranged by Jeff D. Anderson. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 102 ...
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Full Orchestra - SKU: A0.742700 Composed by Public Domain. Arranged by Jeff D. Anderson. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 102 pages. AnderKamp Music #3639389. Published by AnderKamp Music (A0.742700). This powerful arrangement of this majestic and well known hymn will be a welcome addition to your orchestral library. Jeff arranged this with a more modern cinematic approach to orchestra. This means that although the arrangement may sound big and bombastic, it is not extremely difficult to play and does not require a huge group for a successful performance. A lot of the brass are in unison or octaves so you don’t have to have four french horns to play this piece. Though four horns would be NICE. The flexibility in this arrangement is that this modern film score approach means you can play this arrangement when you only have a couple trumpets and a horn BUT you can absolutely play this piece with four horns, tons of trumpets and a huge low brass section and it will be gigantic! Most of the giant action films you hear today record with 6-8 (French) horns and they are often playing in unison or octaves. That is part of the massive sound. So, this arrangement can absolutely grow with your group. And if you’ve got extra folks that want to play, this is the PERFECT opportunity to feature a large group.Instrumentation is: Flute 1 & 2 Oboe Clarinet 1 & 2 Bassoon Horn Trumpets 1-3 (these parts are in octaves) Trombone 1-3 Bass Trombone/Tuba Violin 1 & 2 Viola Cello Bass Timpani Percussion 1-3 Harp Piano Supplemental Parts: Bass Clarinet for Bassoon Alto Sax for Horn Tenor Sax 1 & 2 for Trombone 1 & 2 String Synth 1 String Synth 2 String Synth 3 String Synth 4
$69.95 ≈
£54.15
Star Wars (Main Theme): 3rd Violin (Viola [TC])
Star Wars (Main Theme): 3rd Violin (Viola [TC])
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Orchestre à Cordes
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Larry Clark
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Movie
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Star Wars
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
String Orchestra - SKU: AX.00-PC-0017546_VN3 3rd Violin (Viola [TC]). Arranged by Larry Clark. Light Concert; Movie. Part. 2 pages. Alfred Music ...
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String Orchestra - SKU: AX.00-PC-0017546_VN3 3rd Violin (Viola [TC]). Arranged by Larry Clark. Light Concert; Movie. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017546_VN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017546_VN3). ISBN 9780757936296. UPC: 029156997668.Darth Vader lives! It's the most important entertainment story of the decade. The marvelously exciting music of John Williams has created a magical aura, and Larry Clark has masterfully created a fresh version of this gigantic anthem for string orchestra. Need more be said? (2:31).
$5.99 ≈
£4.64
Starry Night
Starry Night
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Steve Martland
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Starry Night
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Schott Music - Digital
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SheetMusicPlus
String quartet and marimba - difficult - SKU: S9.Q6902 For marimba and string quartet. Composed by Steve Martland. This edition: score. Downloada...
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String quartet and marimba - difficult - SKU: S9.Q6902 For marimba and string quartet. Composed by Steve Martland. This edition: score. Downloadable, score. Duration 20 minutes. Schott Music - Digital #Q6902. Published by Schott Music - Digital (S9.Q6902). Van Gogh’s visionary painting The Starry Night provides the title, if not the stimulus, for this music. Rather, personal memories of Africa are recalled and in particular the sound of music and dancing both near and in the distance all taking place under the vivid starry night sky. So this music is dance music and maybe it tries to emulate the dancing of Van Gogh’s gigantic stars. Steve MartlandVan Goghs visionäres Gemälde The Starry Night gab diesem Stück seinen Namen und diente wohl auch als musikalische Inspiration. Es ruft persönliche Erinnerungen an Afrika hervor: besonders an den Sound der Musik und der Tänze – sowohl nah als auch in der Ferne – und das alles unter dem lebendigen Sternenhimmel. Dieses Werk ist also Tanzmusik, vielleicht musikalisiert sie sogar das Tänzeln der gigantischen Sterne Van Goghs. Steve Martland.
$25.99 ≈
£20.12
Starry Night
Starry Night
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Steve Martland
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Starry Night
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Schott Music - Digital
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SheetMusicPlus
String quartet and marimba - difficult - SKU: S9.Q7196 For marimba and string quartet. Composed by Steve Martland. This edition: set of parts. Do...
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String quartet and marimba - difficult - SKU: S9.Q7196 For marimba and string quartet. Composed by Steve Martland. This edition: set of parts. Downloadable, Set of parts. Duration 20 minutes. Schott Music - Digital #Q7196. Published by Schott Music - Digital (S9.Q7196). A virtuoso work for an increasingly popular instrumental combination, the title (after Van Gogh's visionary painting The Starry Night) gives a sense of the intensity of this music. Personal memories of Africa are recalled and in particular the sound of music and dancing both near and in the distance all taking place under the vivid starry night sky.Van Gogh’s visionary painting The Starry Night provides the title, if not the stimulus, for this music. Rather, personal memories of Africa are recalled and in particular the sound of music and dancing both near and in the distance all taking place under the vivid starry night sky. So this music is dance music and maybe it tries to emulate the dancing of Van Gogh’s gigantic stars. Steve Martland.
$49.99 ≈
£38.70
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Giga for Violin and Viola
