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Per Nørgård: Out Of The Cradle Endlessly Rocking: Chamber Ensemble: Score
Clarinette, Violon, Violoncelle, Piano
[Conducteur]
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Wilhelm Hansen
Out Of The Cradle Endlessly Rocking 'Wave Music' (2007-08) by Per Nørgård. Sco...
(+)
Out Of The Cradle Endlessly Rocking 'Wave Music' (2007-08) by Per Nørgård. Scored for Clarinet Violin Cello and Piano. Parts available: WH30883A Programme note The work was commissioned by the Ebb and Flow Ensemble for premiere at the Maui Arts and Cultural Center Kahului Hawaii 23 November 2008. The premiere performers will be (as of 241108: were) Scott Anderson clarinet Ignace Jang violin Mark Votapek cello and Robert Pollock piano.The title is borrowed from the first line of American poet Walt Whitman’s magnificent poem SEADRIFT a tribute to the sea. The poem forms part of Whitman’s magnum opus LEAVES OF GRASS which he revised extended and worked on practically all his writing life.I had previously drawn some lines from the poem SEADRIFT for another work of mine a work likewise entitled SEADRIFT (1978) for soprano and ensemble.In this present new piece I did not set out to depict in music ‘the soul of the sea’ or anything like that. I did however have an intention of making the piece a sort of outstretched hand from one small country with a multitude of islands and – necessarily – a lot of water around it (I am referring of course to my native Denmark) to another country with many islands: Hawaii with its far-away exotic appeal (at least for a Scandinavian) and its remoteness thousands and thousands of nautical miles away. Folkloristic Hawaiian chant (alluring samples of which were kindly forwarded to me from the commissioner of the work) fascinated and impressed me so much that my melodic repertoire in the new piece sometimes echo a Hawaiian Melodybrother.A latent wave-character is characteristic of the piece. You will hear a simultaneity of different ‘wavelengths’ and often a dense and complex melodic and rhythmic
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Jones: Viennese Fiddler: Violin: Instrumental Album
19.99
Jones: Viennese Fiddler: Violin: Instrumental Album
Violon et Piano
[Conducteur et Parties séparées]
Boosey and Hawkes
Viennese music has become almost synonymous with Johann Strauss II and his great...
(+)
Viennese music has become almost synonymous with Johann Strauss II and his great waltzes. But of course there were other luminaries: his father Johann Strauss I his talented brothers Josef and Eduard as well as their colleagues friends and rivals. This collection includes music by some of these; and apart from waltzes we have polkas (slow and fast) a couple of melodies from operettas and a march. The selection ranges from shorter eminently playable miniatures to a handful of more extended and challenging arrangements. The waltz kings were first and foremost fiddlers. They led their orchestras from the front instrument and bow in hand. As a young man JohannStrauss II used to practise his Violin in a full-length mirror so he would look every inch the part. They knew how to write for the Violin how to make it sing and dance and this helps to make the repertoire a perfect foil to the other volumes in this series. The arrangements in this collection can be performed as solos duets or trios or by larger ensembles. In fact here are all the resources to recreate a Viennese café orchestra! The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections you can create your own ceilidh barn dance jazz club Sarajevo street-café or Gypsy gathering. Some of this music is familiar some more exotic but all of it is absolutely authentic faithfully arranged and above all hugely enjoyable. Each title in the series is available in two formats: the Violin edition (with an optional easy Violin part and Guitar chords); or the complete edition which also includes both Keyboard and Violin accompaniments. Either format is hugely flexible which means the music can be played as solos duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance. And to help recreate the spirit of the music every book in the series is beautifully illustrated.
19.99 GBP - vendu par Musicroom GB
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Gustav Mahler: Ging Heut Morgen Ubers Feld: Violin: Instrumental Album
Violon et Piano
[Partition]
Universal Edition
Fünf Ausgewählte Lieder-Mahler for violin and piano? Why not! The violin is pr...
(+)
Fünf Ausgewählte Lieder-Mahler for violin and piano? Why not! The violin is probably the instrument most akin to the human voice and Mahler was a prolific song writer. Georgian violinist Lisa Batiashvili has chosen five songs in arrangements by Ronald Kornfeil to enhance her own and others? concert repertoire. She offers a selection from ?Aus der Jugendzeit? ?Fahrenden Gesellen? and ?Des Knaben Wunderhorn? including the gorgeous ?Urlicht?. The full-throated piano accompaniments of these originally orchestral songs will not only do the songs justice but also remind us of their use in Mahler?s symphonies where of course the solo violin often featured. With no huge technicaldemands these arrangements can be tackled even by intermediate players and will offer students a rewarding exercise in powerful yet lyrical playing.
21.50 GBP - vendu par Musicroom GB
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Kevin Volans: String Quartet No.9 - Shiva Dances (Parts): String Quartet: Parts
24.99
Kevin Volans: String Quartet No.9 - Shiva Dances (Parts): String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3...
(+)
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s) beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy' almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This of course has already been done by a numberof composers (many from New York Phil Niblock and La Monte Young to name but two) butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work and fearing this would make the label stick I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic an aesthetic which however pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure the ego underfoot.You get theimpression He dances on the spot not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.
24.99 GBP - vendu par Musicroom GB
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Kevin Volans: String Quartet No.9 - Shiva Dances: String Quartet: Score
16.99
Kevin Volans: String Quartet No.9 - Shiva Dances: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3...
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Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s) beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy' almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This of course has already been done by a numberof composers (many from New York Phil Niblock and La Monte Young to name but two) butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work and fearing this would make the label stick I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic an aesthetic which however pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure the ego underfoot.You get theimpression He dances on the spot not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.
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Pelle Gudmundsen-Holmgreen: All In One: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
-
Avancé
Wilhelm Hansen
All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2...
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All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12 13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12 ‘Each in Each’; String Quartet no. 13 ‘Mutual Ordering’ and String Quartet no. 14 ‘Well-Tuned Sounds’. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together as they are tonight the combined work is titled All in One. About this collection Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces which I had written for the two groups: one for Theatre of Voices (Green) and two for Kronos (New Ground and No Ground). They were played and sung by each group independently – but also both groups together concurrently on top of each other as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets adding also some percussion instruments as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play as David puts it. Unfortunately the ‘easier’ one was tough to play also! So I had to write one more which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations resulting in different kinds of
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Romanesca Op. 13/1
10.55
Romanesca Op. 13/1
Violon et Piano
Schott
Any violinist who hears the name Sitt nowadays will probably just think of the a...
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Any violinist who hears the name Sitt nowadays will probably just think of the author of studies and exercises that have long been a familiar feature in instrumental lessons. Of course the Prague violinist, music teacher and composer Hans Sitt (1850-1922) made a significant impact on methods of violin teaching, but he also wrote a whole series of other works worth listening to: concertos for violin, viola and cello and chamber music for various combinations of instruments. Sitt studied the violin in Prague and was then appointed first as leader of the orchestra and then as musical director in Breslau (now called Wroc?aw).After posts as director of music in Prague, Chemnitz - where he championed the work of Smetana - and Nice, he was eventually appointed professor of violin, orchestral playing and score reading at the Leipzig Conservatoire from 1884-1921. Besides this he also played viola in the Brodsky Quartet, organised concerts and was conductor of the Bach Society. The composers Franco Alfano - who completed Puccini's unfinished opera Turandot- and Frederick Delius studied with Sitt, as did the conductor Václav Talich. Three Album Leaves op. 13 were also composed during his time in Leipzig, published by Bosworth and Co in 1894. Romanesca, #1 in that collection, is a pretty, slightly melancholy piece of music with romantic appeal that draws out lyrical and expressive playing and is thus eminently suitable for tuition purposes and concert performances. / Violon Et Piano
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Form and Postlude (LASH HANNAH)
210.91
Form and Postlude (LASH HANNAH)
Flûte Traversière, Clarinette, Harpe et Quatuor à
[Conducteur et Parties séparées]
Schott Helicon Music Corporation
For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and P...
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For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à
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Theme And Variation On Volver
24.36
Theme And Variation On Volver
Orchestre, Violon
Advance Music
Volver was originally composed by the man whose name is more closely associated ...
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Volver was originally composed by the man whose name is more closely associated than any other with the tango genre, singer/composer Carlos Gardel (1887/1890 - 1935). His birthplace and birthdate are both uncertain and are fiercely debated between France and Uruguay, but he grew up in the Abasto section of Buenos Aires and subsequently became an Argentine citizen. He introduced tangos into his repertoire in 1917, and during his career he composed some of the best-loved of them such as Soledad, Por Una Cabeza, El Dia Que Me Quieras, and, of course, Volver. As a singer he interpreted and recorded literally hundreds of tangos, and he enjoyed enormous world-wide popularity. Gardel died tragically in an airplane accident in Medellín, Colombia, in 1935, a death that plunged all of Latin America into deep mourning. The present author has attempted to modernize Volver by giving it a kind of Afro-Cuban rhythmic structure in its 6/8 time scheme, and he has provided a significant technical and musical challenge to the soloist. / Violon Et Orchestre A Cordes
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Ten Pieces For Violin and Piano: Violin: Instrumental Album
Violon et Piano
[Partition]
Thames Publishing
Volume 2-The three pieces that form op 4 Idylle Pastourelle and Virelai were ...
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Volume 2-The three pieces that form op 4 Idylle Pastourelle and Virelai were published in 1883 with French titles to add glamour and appeal. All three works feature long attractive melodies with well-developed accompaniments. The pair that form op 13 Mot d’Amour and Bizarrerie are more contrasting in nature. Mot d’Amour was composed to pair with Salut d’Amour but was the less appealing of the two while Bizarrerie has distinct Spanish elements and is suggested by the editor Barry Collett as a fine encore piece.Violin was of course Elgar’s own instrument and the writing is idiomatic and sensitively created for the instrument.
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10 Fugues For String Quartet - Book 2 (BACH JOHANN-SEBASTIAN)
29.10
10 Fugues For String Quartet - Book 2 (BACH JOHANN-SEBASTIAN)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Spartan Press
10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for the...
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10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
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10 Fugues (BACH JOHANN-SEBASTIAN)
29.10
10 Fugues (BACH JOHANN-SEBASTIAN)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Spartan Press
For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arran...
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For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
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Klar/Obskur (SCHWEITZER BENJAMIN)
35.52
Klar/Obskur (SCHWEITZER BENJAMIN)
Hautbois, Basson et Piano
[Conducteur]
Schott
Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the ...
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Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano
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Violin Concerto op. 25 (SAY FAZIL)
42.18
Violin Concerto op. 25 (SAY FAZIL)
Violon et Piano
Schott
1001 Nights in the Harem. Par SAY FAZIL. 'My Violin Concerto consists of four mo...
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1001 Nights in the Harem. Par SAY FAZIL. 'My Violin Concerto consists of four movements whose inspiration is loosely connected with Scheherazade’s One Thousand and One Nights. The first movement is set inside the harem; a variety of women from the harem are introduced, each with her own different personality. The second movement is a frenzy of dance – in effect a party night with an abundance of different types of dance music. The third movement depicts the next morning and consists primarily of variations on a well-known Turkish song. The fourth movement begins dramatically, but develops during the course of the movement more and more into a reminiscence of all the previous events and the work culminates dreamily in a happy mood with sensuous oriental sounds. As appropriate for an oriental soundscape, the orchestra includes a series of Turkish percussion instruments such as a kudüm or bendir, but also glockenspiel, marimba und vibraphone, celesta and harp. It is however the solo violin which tells the story and also accompanies the listener through the entire work. The violin part is highly virtuoso and unites the four movements into an intensely atmospheric whole in which the solo violin soars off into a solo cadenza between each movement, sometimes accompanied by one of the percussion instruments. As is customary, the present piano reduction is initially intended as an aid for the study of this work, but during my tour programmes with Patricia Kopatchinskaya and Burhan Öçal we have utilised this material to create a trio version for violin, piano and percussion.' Fazil Say/ Répertoire / Violon et Piano
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John Luther Adams: Everything That Rises: String Quartet: Score
24.99
John Luther Adams: Everything That Rises: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Chester
John Luther Adams' Everything That Rises for String Quartet. Composers note: I n...
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John Luther Adams' Everything That Rises for String Quartet. Composers note: I never imagined I would write a string quartet. Then I heard the JACK Quartet and I understood how Imight be able to make the medium my own. The result was The Wind in High Places - a twenty-minute work composed entirely on natural harmonics and open strings. Over the next few years twomore quartets followed. The second quartet untouched is a further exploration of the aeolian sound world of the first. Then in Canticles of the Sky the musicians finally touch the fingerboards of theirinstruments. And now comes Everything That Rises. This fourth quartet is more expansive both in time and in space. It grows out of Sila: The Breath of the World - aperformance-length choral/orchestral work composed on a rising series of sixteen harmonic clouds. Everything That Rises traverses this same territory but in a much more melodic way. Each musician isa soloist playing throughout. They surround the audience. Time floats. Over the course of an hour the lines spin out - always rising - in acoustically perfect intervals that grow progressively smaller as they spiralupward... until the music dissolves into the soft noise of the bows sighing. Duration: 60 minutes
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Everything That Rises (ADAMS JOHN LUTHER)
35.23
Everything That Rises (ADAMS JOHN LUTHER)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Chester
Par ADAMS JOHN LUTHER. John Luther Adams' Everything That Rises for String Quart...
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Par ADAMS JOHN LUTHER. John Luther Adams' Everything That Rises for String Quartet. John Luther Adams' Everything That Rises for String Quartet. Composers note: I never imagined I would write a string quartet. Then I heard the JACK Quartet, and I understood how Imight be able to make the medium my own. The result was The Wind in High Places - a twenty-minute work composed entirely on natural harmonics and open strings. Over the next few years, twomore quartets followed. The second quartet, untouched, is a further exploration of the aeolian sound world of the first. Then, in Canticles of the Sky, the musicians finally touch the fingerboards of theirinstruments. And now comes Everything That Rises . This fourth quartet is more expansive, both in time and in space. It grows out of Sila: The Breath of the World - aperformance-length choral/orchestral work composed on a rising series of sixteen harmonic clouds. Everything That Rises traverses this same territory, but in a much more melodic way. Each musician isa soloist, playing throughout. They surround the audience. Time floats. Over the course of an hour, the lines spin out - always rising - in acoustically perfect intervals that grow progressively smaller as they spiralupward... until the music dissolves into the soft noise of the bows, sighing. Duration: 60 minutes/ Répertoire / Quatuor à Cordes
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Per Nørgård: Helle Nacht - Violin Concerto No. 1: Violin: Score
Orchestre, Violon
[Partition]
Wilhelm Hansen
Per Nørgård's Helle Nacht (Light Night) - Violin Concerto No. 1 dating from 19...
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Per Nørgård's Helle Nacht (Light Night) - Violin Concerto No. 1 dating from 1986-87. Programme note: This is my third work for solo string instrument and orchestra the other two being 'Between' for cello and 'Remembering Child' for viola. The title 'Light Night' refers to the caracteristics of each of the four movements. The 'light' translucent quality of the melody sound and rhythm woven into a fine filigree; the Night revealed in the multi-layered possibilities of interpretation like/constantly/changing the aspect of a turning prism with each performing appearing differntly to the listeners. Ofcourse this is more or less the case with every musical work but in HELLE NACHT the ambiguity is made innermost principle. The first and last movements form a symphonic frame for the inner two more static interludes though even in these light is constantly breaking through. I wrote the concerto during 1986-87 at the request of Anton Kontra. Per Nørgård
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Helen Grime: Romance for Violin and Piano: Violin: Instrumental Work
10.99
Helen Grime: Romance for Violin and Piano: Violin: Instrumental Work
Violon et Piano
[Partition]
Chester
'Romance for violin and piano is a short reflective piece that exploits the lyr...
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'Romance for violin and piano is a short reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.'???????????? - Helen GrimeBorn in 1981 Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07 Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison Michael Gandolfi Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO London Symphony Orchestra BCMG Britten Sinfonia BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding Oliver Knussen Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Hall? from the
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Silvano Perlini: Il Mio Secondo Anno Di Violino: Violin
12.50
Silvano Perlini: Il Mio Secondo Anno Di Violino: Violin
Violon
Ricordi
In 60 Lezioni-A new method for violin spread over two years that teaches how to ...
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In 60 Lezioni-A new method for violin spread over two years that teaches how to use the first second and third fingers of the left hand from the very first lesson. Over the course of the first year the student learns all the ?applications? for the first fourfingers in the first position and the main bow strokes. The first volume contains a brief look at the history and construction of the violin together with a functional inroduction to the theory of music plus basic explanations and exercises ideal for practice and revision over the summer holidays.The second volume is split into lessons each concentrating on a fixed tonality. The two volumes are aimed at students in their first year of Music at Secondary School (Corsi ad Indirizzo Musicale della Scuola Secondaria di 1° grado) but can also beused by other students at any music school and by students at Music Academies.
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Silvano Perlini: Il Mio Primo Anno Di Violino: Violin
9.99
Silvano Perlini: Il Mio Primo Anno Di Violino: Violin
Violon
Ricordi
In 120 Esercizi-A new method for violin spread over two years that teaches how t...
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In 120 Esercizi-A new method for violin spread over two years that teaches how to use the first second and third fingers of the left hand from the very first lesson. Over the course of the first year the student learns all the ?applications? for the first fourfingers in the first position and the main bow strokes. The first volume contains a brief look at the history and construction of the violin together with a functional inroduction to the theory of music plus basic explanations and exercises ideal for practice and revision over the summer holidays.The second volume is split into lessons each concentrating on a fixed tonality. The two volumes are aimed at students in their first year of Music at Secondary School (Corsi ad Indirizzo Musicale della Scuola Secondaria di 1° grado) but can also beused by other students at any music school and by students at Music Academies.
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Wolfgang Amadeus Mozart: Complete Works For Violin And Piano - Volume 1: Violin:
41.00
Wolfgang Amadeus Mozart: Complete Works For Violin And Piano - Volume 1: Violin:
Violon et Piano
[Partition]
Barenreiter
Early Sonatas / Frühe Sonaten 1764-1779-This new two volume publication contain...
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Early Sonatas / Frühe Sonaten 1764-1779-This new two volume publication contains all the completed works by Wolfgang Amadeus Mozart for Violin and Piano (BA5761 BA5762). Several works by Mozart which are not found in competing editions are presented in the new B?renreiter Edition with the Urtext of the New Mozart Edition: Sonatas 6–9 Sonatas 26–31 the Andante and Allegretto in C major K. 404 as well as the three sonata fragments K. 372 403 and 402 completed by Maximilian Stadler. All this with the Urtext of the New Mozart Edition and in the large format 24 3 x 31 cm plus a new preface by the Mozart scholar Dietrich Berke. Not just some but all the works for Violinand Piano Urtext violin part plus an additional violin part prepared with fingerings and bowings Large format 24 3 x 31 cm New informative preface by Mozart scholar Dietrich Berke 'The result is impressive and should have a widerspread appeal among scholars and performers alike… Thankfully B?renreiter have made it far easier for amateurs students and professional musicians alike to choose their own course and free themselves from such intervention.' (The Concort Summer 2007) '...a highly researched performing edition that will be of great interest to all violonists ...' (ESTA – News Views“ Spring 2006) Volume 1 contains: Sonatas KV 6-9 Sonatas KV 26-31 Sonatas KV 301-306 Sonata in C-Dur KV 296 Sonata in B-Dur KV 378
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Wolfgang Amadeus Mozart: Complete Works For Violin And Piano - Volume 2: Violin:
42.00
Wolfgang Amadeus Mozart: Complete Works For Violin And Piano - Volume 2: Violin:
Violon et Piano
[Partition]
Barenreiter
Viennese Sonatas 1781-1788 with fragments and variations-This new publication in...
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Viennese Sonatas 1781-1788 with fragments and variations-This new publication in two volumes contains all the completed works by Wolfgang Amadeus Mozart for Violin and Piano (BA5761 BA5762). Several works by Mozart which are not found in competing editions are presented in the new Bärenreiter Edition with the Urtext of the New Mozart Edition: Sonatas 6–9 Sonatas 26–31 the Andante and Allegretto in C major K. 404 as well as the three sonata fragments K. 372 403 and 402 completed by Maximilian Stadler. All this with the Urtext of the New Mozart Edition and in the large format 24 3 x 31 cm plus a new preface by the Mozart scholar Dietrich Berke. Not just some but all the works for Violinand Piano Urtext violin part plus an additional violin part prepared with fingerings and bowings Large format 24 3 x 31 cm New informative preface by Mozart scholar Dietrich Berke 'The result is impressive and should have a widerspread appeal among scholars and performers alike… Thankfully Bärenreiter have made it far easier for amateurs students and professional musicians alike to choose their own course and free themselves from such intervention.' (The Concort Summer 2007) '... a highly researched performing edition that will be of great interest to all violonists ...' (ESTA – News Views“ Spring 2006)
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LULLABY (BERCEUSE) QUATUOR A CORDES - PARTIES SEPAREES
8.75
LULLABY (BERCEUSE) QUATUOR A CORDES - PARTIES SEPAREES
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
G. Henle
Für Streichquartett-In 1919-20 George Gershwin was making a name for himself wi...
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Für Streichquartett-In 1919-20 George Gershwin was making a name for himself with Broadway songs and a first show of his own in New York. But he was already attracted to the world of classical music a world he would enter with a bang in 1924 withhis Rhapsody in blue. He prepared himself for this by taking an intensive course in composition during which he wrote this brief ?Lullaby? for string quartet as an exercise probably in 1919. He liked its catchy melody so muchthat he later used it again in his one-act ?jazz opera? Blue Monday Blues. ?I find the piece charming and kind? wrote his brother Ira in 1968 when the quartet movement appeared in print for the first time. Thus the world wasgiven a second lullaby by this American composer one worthy to stand alongside his famous ?Summertime? from Porgy and Bess.(englisches Originalzitat: ?I find the piece charming and kind.?)
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Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
44.36
Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
Clarinette, Violoncelle et Piano
[Conducteur et Parties séparées]
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligar...
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano
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Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
44.36
Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
Piano Trio: piano, violon, violoncelle
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris ...
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano
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Sonata Op. 40 (CALLIGARIS SERGIO)
93.66
Sonata Op. 40 (CALLIGARIS SERGIO)
Violon et Piano
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Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in R...
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Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Violon et Piano
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