The long-awaited third volume of the much-loved and often used fake book series. Includes choice standards, motown and pop classics, Blue Note and jazz classics, and even contemporary tunes with no duplication of tunes from Volumes 1 or 2. / Instruments En Do

Par STEWART CRANFORD PAUL. This book celebrates the vibrant musical culture of Cape Breton Island. It gives a refreshing glimpse into a rooted, community-based, living tradition. Fiddle tunes from more than seventy-five contemporary composers are presented together with Scottish and Cape Breton music from earlier centuries. Compiled as a part of Cranford Publications Cape Breton Musical Heritage Series, this collection is presented to give recognition to The Cape Breton Fiddlers Association. / Niveau : Débutant à Intermédiaire / Canadian - / Recueil / Violon

Par ADES THOMAS. Thomas Adès?s Violin Concerto ?Concentric Paths?, written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti?s. Cast in three contrasting movements ? each linked by a preoccupation with circling musical figures ? the concerto, subtitled ?Concentric Paths? now occupies a place in standard repertoire. Two lithe, rhythmically driven movements ? Rings and Rounds ? bookend Paths, an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. ?In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space.? The Guardian (Tom Service) / Date parution : 2023-07-31/ Répertoire / Violon et Piano

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

Par PAUS RAMON. The composition represents an apparently contradictory quality and colour, since the colour enunciated in the title of the work does not have lightness as an essential component of its chromatic nature. In the course of this work, very light arpeggios are traversed where the melody of the upper voice appears fragmented while the performer completes the rest of the notes harmonically associated with this melody. This fragmentation, far from cutting the singing line, gives this melody a special way of being. In contrast to these passages where lightness and fluidity are essential characteristics, others appear where double, triple and even quadruple strings are present, giving the work a more leaden aspect. / Date parution : 2022-02-03/ Répertoire / Violon

Compiled by Paul Stewart Cranford the Lighthouse Collection celebrates the vibrant musical culture of Cape Breton Island. It gives a refreshing glimpse into a rooted community-based livingtradition.Presented in a book and CD set format the Lighthouse Collection includes original tunes from more than 75 contemporary composers alongside examples of Scottish and Cape Breton music from earliercenturies.Compiled as a part of Cranford Publications' Cape Breton Musical Heritage Series this collection gives recognition to The Cape Breton Fiddlers Association.

Critical Edition Violin Solo Part-This new edition of the violin solo part to the Korngold Violin Concerto in D Major is the first-ever to include Jascha Heifetz's performance notations edited by Endre Granat one of his star proteges. Born in Austria Korngold was forced into US exile by the annexation of Austria by the Nazis. He vowed to give up composing anything other than film music until Hitler was defeated. With the end of World War II he retired from films to concentrate on music for the concert hall. The violin concerto was the first such work that Korngold wrote following some initial persuasion from violinist and fellow émigré Bronislaw Huberman. Korngold was hurt by the assumption that he hadsold his integrity to Hollywood. He was thus determined to prove himself with a work that combined vitality and superb craftsmanship. Korngold composed his Violin Concerto in D major Op.35 in 1945 dedicating it to Alma Mahler the widow of his childhood mentor Gustav Mahler. The work was premiered on February 15 1947 by Jascha Heifetz and the St. Louis Symphony under conductor Vladimir Golschmann. It received the most enthusiastic ovation in St. Louis concert history at the time. On March 30 1947 Heifetz played the concerto in Carnegie Hall with the New York Philharmonic conducted by Efrem Kurtz: the broadcast performance was recorded on transcription discs. Heifetz's performance launched the work into the standard repertoire and it quickly became Korngold's most popular piece. Concerning Heifetz's performance of the work the composer wrote In spite of the demand for virtuosity in the finale the work with its many melodic and lyric episodes was contemplated more for a Caruso than for a Paganini. It is needless to say how delighted I am to have my concerto performed by Caruso and Paganini in one person: Jascha Heifetz.

The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B

for 2 Violins Viola Basso and 2 Horns-Wolfgang Amadeus Mozart's A Musical Joke is filled with intentional mistakes by the composer who inserted odd notes into this amusing and mischievous piece in order to take an angry side-swipe atdilettante composer-colleagues of his time whose lack of imagination and artless compositional technique are here mercilessly demonstrated - the piece was not intended to parody musicians who play wrong notes as its later title?Village Musicians? suggests. A musical and intellectual delight for today?s performers and audiences alike this piece is now performable for the first time using a genuine Urtext quality edition based onthe autograph in Berlin. A Musical Joke is scored for 2 Violins Viola Basso and 2 Horns in F.

24 Etudes-Caprices op. 41 par Delphin Alard (1815-1888) sont des matériaux excellente étude. Alard, le professeur de violon de Sasasate, composé de ces études dans les 24 touches. En raison de leur diversité musicale, beauté mélodique et la voix cantabile conduisant, ils sont beaucoup plus que des études techniques '- ils pourraient être décrits comme' pièces de caractère 'dans le meilleur sens du terme. Les études de répondre aux deux exigences essentiellement faites sur ce genre: à la fois la couverture spécifiquement certaines tâches techniques et être attrayant comme un morceau de musique de telle sorte que le musicien se plaît à les jouer. / Violon / 72 pages / niveau : Intermédiaire / Avancé / Partition

Through the centuries, the Christmas season has inspired composers, poets, lyricists and hymn writers to apply their craft in devotion to this event.This book presents 100 arrangements of favorite Christmas carols and advent hymns for violin solo with guitar accompaniment. Suggested chordal accompaniment is included for each solo so that any chordal instrument can accompany the violin. The author has also indicated whether the guitarist should use fingerstyle or strum accompaniment. The music in this book spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year. / Niveau : Intermédiaire / Musique religieuse / Date parution : 2018-05-04/ Recueil / Violon et Guitare

Famous classics for violin-Essential Melodies is a delightful collection of repertoire pieces by famous composers. These pieces have been skilfully adapted for the violin by a number of excellent arrangers with the emphasis on variety musical quality and melodic interest. Various dance forms are presented in this book including the rondeau waltz and tango. With a selection of styles to choose from you can be confident that concerts and school performances will be a success. Some of the pieces can be played entirely in the first position; others involve some position changing but none of them requires virtuoso technique.

Music Minus One Violin-Here are many of the best-loved melodies by the 'three B's' for violin and orchestra. Suitable for a range of technical levels they will challenge and delight any violinist amateur student or professional for years to come. The solo parts are performed by American violinist Geoffrey Applegate then you take his place in these beautiful classics alongside maestro Emil Kahn and the Stuttgart Symphony Orchestra. Includes a high-quality printed music score and a compact disc containing a complete version with soloist in split-channel stereo (soloist on the right channel) then a second version in full stereo of the orchestral accompaniment minus the soloist. Includes: BRAHMS- Arioso Sleeper's Awake Come Sweet Death Gigue BEETHOVEN - Moonlight Sonata Prometheus In God's Honor BRAHMS - 3 Waltzes Lullaby Hungarian Dance No. 2. Performed by Geoffrey Applegate violin Accompaniment: Stuttgart Symphony Orchestra Conductor: Emil Kahn

Up-Grade! is a collection of new pieces and duets in a wide variety of styles for Violinists of any age. The book is designed to be especially useful to students who have completed Grade 2 and would like a break before plunging into the syllabus for Grade 3. Whether you're looking for stimulating material to help bridge the gap between grades or simply need a bit of light relief Up-Grade! is for you!