SKU: 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.
SKU: PR.416413660
ISBN 9781598063578. UPC: 680160601899. 9x12 inches.
Trained as a violinist in his native Tehran, composer Behzad Ranjbaran eagerly drew inspiration from the traditional Persian kamancheh and its delicate, lyrical sound when creating his profoundly luscious and brilliant Concerto for Violin and Orchestra. This work was completed in 1994 and premiered in England by Joshua Bell, who also gave the first American and Canadian performances. The Concerto for Violin and Orchestra is the recipient of the Rudolf Nissim Award from ASCAP, and it was supported in part by a grant from The National Endowment for the Arts. The solo part with a piano reduction as well as a large score are available on custom print. For advanced players. Duration: 31'.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.
SKU: HL.132256
UPC: 884088970901. 6.0x8.25x0.142 inches. Chopin National Edition (ed. Jan Ekier and Pawel Kaminski).
This calls up national feelings in a slightly sentimental way. The stile brillant appeared here not just in full bloom, but sweetens and even the folky Dumka has been transformed into a romanticising nocturne. The orchestra merely accompanies, providing the piano with an oneiric shell. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form.
SKU: HL.132241
ISBN 9788392036517. UPC: 884088970758. 9.25x12.0x0.257 inches. Chopin National Edition (ed. Jan Ekier and Pawel Kaminski).
Called Concerto No. 2, it was written before what is known as Concerto No. 1 (Op. 11). The piece is also available in other Urtext National Editions. 00132292 is the version for one piano. 00132242 is the two piano reduction. 00132289 is a historical version of the full score. The National Edition of the Works of Fryderyk Chopin Published by PWM Exclusively Distributed by Hal Leonard Corporation Co-Editors Jan Ekier and Pawel Kaminski The objective of the National Edition is to present Chopin's complete output in its authentic form, based on the entire body of available sources. Sources were analyzed with up-to-date scientific and musicological methodology. The National Edition was based on sources originated from the composer, mainly autographs, copies of autographs and first editions with the composer's corrections, and pupils' copies with Chopin's annotations. In cases when original sources were lacking, the closest possible materials were used. Collecting the source materials was a laborious task which took years of effort. The characteristics of sources, the links and discrepancies between them as well as the reasons for particular editorial decisions are discussed in the Source Commentary in each volume. The Performance Commentary appended to each volume includes: the realization of ornaments, comments on pedal markings (the original markings sometimes are inadequate, due to the difference in sound between pianos used in Chopin`s times and modern pianos), suggestions as to the harmonic legato (a performance technique often used by Chopin and now forgotten). About the National Edition Full Introduction to the Polish National Edition of the Works of Fryderyk Chopin.
SKU: HL.132265
UPC: 884088970994.
In the leading part the stile brillant is displayed in a version most in agreement with its name - it is brilliant, showy and spectacular. The central section is in the character of a nocturne, Andante spinato, and creates a subtle mood that is destroyed by the stormy rhythms of the polonaise. This work is often performed without the orchestra - the Andante spinato was immediately prepared for piano solo. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form.
SKU: HL.49004607
ISBN 9790001048330. 0.215 inches.
SKU: HL.49000972
ISBN 9790001005210. 7.5x11.0x0.036 inches. German.
Der 1912 entstandene 130. Psalm von Heinrich Kaminski zahlt zu seinen meist aufgefuhrten Kompositionen. Drei kompakte Satze in spatromantisch-herber Harmonik erfreuen das Publikum ebenso wie den Chor.
SKU: HL.132243
UPC: 884088970772.
Piano concertos combine two elements: pure playing and full poetic expression. Virtuosity and romance. Pianistic brilliance, educated in the works in the stile brillant, brought to perfection, but at the same time - a farewell. Both are forms of direct expression of the personality of the composer, which showed itself in them for the first time with so much strength and is manifested in a group of characteristics of forming Chopin's individual style. Piano Concerto in F minor In terms of size, substantially smaller than the E minor concerto and also a different kind of expression: more lyrical, drawn in delicate pastel colours. Especially famous is the second movement, the Larghetto, which Chopin wrote under the inspiration of his first love. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form.
SKU: HL.132231
UPC: 884088970659.
Chopin wrote works for piano and orchestra between 1827 and 1832. They were written successively therefore there are traces of the gradual crystallisation and maturation of the composer's style. Their form and nature are dominated by the rules of the stile brillant, as well as the tendency to accent the national aspect. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form.
SKU: PR.416415110
UPC: 680160621286.
Commissioned by Kennesaw State University Symphony Orchestra in 2012, Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as the soloist and the KSUSO led by Prof. Michael Alexander at Bailey Center in KSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical story telling, Quyi, in a form of mixed reciting and singing style, with interludes played by percussion and plucking instruments in accompaniment. The folk musical story telling is sung in dialects from different geographic regions. I mixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.Commissioned by Kennesaw State University Symphony Orchestra in 2012,Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as thesoloist and the KSUSO led by Prof. Michael Alexander at Bailey Center inKSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical storytelling, Quyi, in a form of mixed reciting and singing style, with interludesplayed by percussion and plucking instruments in accompaniment. The folkmusical story telling is sung in dialects from different geographic regions. Imixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.
SKU: PR.41641511L
UPC: 680160621293.
SKU: HL.132293
UPC: 884088971274.
Piano concertos combine two elements: pure playing and full poetic expression. Virtuosity and romance. Pianistic brilliance, educated in the works in the stile brillant, brought to perfection, but at the same time - a farewell. Both are forms of direct expression of the personality of the composer, which showed itself in them for the first time with so much strength and is manifested in a group of characteristics of forming Chopin's individual style. Piano Concerto in F minor In terms of size, substantially smaller than the E minor concerto and also a different kind of expression: more lyrical, drawn in delicate pastel colours. Especially famous is the second movement, the Larghetto, which Chopin wrote under the inspiration of his first love. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. The historical version of the score of the Concerto, based on the semi-autograph and parts from the first editions, forms volume 21 A XVe, and the concert version of the score, recreated by taking into consideration also other sources which present Chopin's intention, constitutes volume 34 B VIIIb.
SKU: HL.284849
8.0x8.5x6.023 inches.
The National Edition is the first source-critical edition of Chopins complete works, edited by J. Ekier and P. Kaminski, based on all accessible sources original autographs, copies approved by Chopin and first editions. The sources have been analysed with the use of up-to-date scientific methodology. The objective of the National Edition is to present Chopins output in its authentic form. National Edition is recommended for the entrants in the rulebook of the International Fryderyk Chopin Piano Competition in Warsaw.
SKU: SU.50007400
Published by: Seesaw Music.
SKU: SU.50007490
SKU: SU.50007390
SKU: NR.105074
Aus dem Ballett Till Eulenspiegel : fur KlavierAdmoni, Iogan, 1906-1979, ed, Kamenskii, Aleksandr, 1900-1952, ed, Khorovod : iz baleta, Til' Ulenshpigel' : dlia fortepiano.
