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A Fishsummer Night's Dream (IGUDESMAN ALEKSEY)
28.31
A Fishsummer Night's Dream (IGUDESMAN ALEKSEY)
2 Violons (duo)
Universal Edition
Easy Violin Duets. Par IGUDESMAN ALEKSEY. Sir Roger Moore's drawings together wi...
(+)
Easy Violin Duets. Par IGUDESMAN ALEKSEY. Sir Roger Moore's drawings together with Aleksey Igudesman's music and poems make a wonderful package - all about fish. Written for two violins, these easy pieces would be great fun for developing players. The enclosed CD provides inspiring demonstration performances and play-along tracks for each part. The pieces could be performed with or without the relevant poem, either way, they are sure to be appreciated! Proceeds from the sale of each book are donated to UNICEF. • Easy violin duets with humorous poems by Aleksey Igudesman and amusing fish drawings by Sir Roger Moore • Incl. CD recorded live with full performances and play-alongs for the first and second parts • All duets are suitable as performance pieces • Proceeds from the sale of this book are donated to UNICEF/ Recueil / 2 Violons
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The Sky Stretched Thin (FRANCES-HOAD CHERYL)
8.13
The Sky Stretched Thin (FRANCES-HOAD CHERYL)
Violon
[Partition]
Chester
Par FRANCES-HOAD CHERYL. The Sky Stretched Thin, a four-minute piece for baroque...
(+)
Par FRANCES-HOAD CHERYL. The Sky Stretched Thin, a four-minute piece for baroque or modern violin, takes inspiration from a poem by Simon Armitage written during lockdown with the same title. The week that I read this newly published poem, I also swam in the (very cold!) saltwater of the River Crouch in Essex for the first time in the year. The view from the middle of the river of land, water and sky seemed to stretch for miles, and the waves of high tide were gentle yet powerful: in this short work I sought to convey the sense of peace and connection to nature that I experienced whilst swimming. ?Cheryl Frances-Hoad, 2021 / Date parution : 2022-09-07/ Répertoire / Violon
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Per Nørgård: Out Of The Cradle Endlessly Rocking: Chamber Ensemble: Score
Clarinette, Violon, Violoncelle, Piano
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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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Cheryl Frances-Hoad: The Dreams That Fly From Me: String Quartet: Score
16.99
Cheryl Frances-Hoad: The Dreams That Fly From Me: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Cadenza Music
Cheryl Frances-Hoad's The Dreams That Fly from Me for solo String Quartet and St...
(+)
Cheryl Frances-Hoad's The Dreams That Fly from Me for solo String Quartet and String Orchestra. Score. 'The Dreams That Fly From Me is a ten minute work for solo string quartet and string orchestra. It is in two movements (one slow one fast) that are played without a break. I spent ten years at the Yehudi Menuhin School (a specialist music school for string and piano) growing up so this piece cannot help but be strongly influenced by the music I played in the school orchestra during this time. In particular the work is influenced by Elgar’s Introduction and Allegro Strauss’s Metamorphosen (fortwenty-three solo strings) and Tippett’s Concerto for Double String Orchestra although the harmonic language of the piece (which is essentially very jazzy) helps to obscure these musical references. In terms of extra musical inspiration the work was inspired by a poem by Ivan Goll called Bloodhound which includes the lines “Catch the dreams that fly off from me.... And savage the ankles of my fleeting angel” I was inspired by the idea of a “fleeting angel” which at a time when I had been having difficulties composing seemed very poignant: the angel of the poem seemed to be a poetic representation of my inspiration. The Dreams That Fly From Me was premiered by the Szymanowsky Quartet and the Northern Sinfonia (Bradley Creswick director) at Hovingham Hall on the 28th July 2013 as part of the 2013 Ryedale Festival.' - Cheryl Frances-Hoad
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Bent Sørensen: The Lady Of Shalott: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Wilhelm Hansen
The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a pai...
(+)
The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo Viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s painting: The Lady Of Shalott. The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poem by the same title which again plaits into theold English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.
12.99 GBP - vendu par Musicroom GB
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Simon Holt: Piano Trio - Los Ojos: Chamber Ensemble: Score and Parts
23.99
Simon Holt: Piano Trio - Los Ojos: Chamber Ensemble: Score and Parts
Piano Trio: piano, violon, violoncelle
Chester
Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cell...
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Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cello.Piano Trio: Los Ojos was first performed on 25th November 2013 in the Amaryllis Fleming ConcertHall at the Royal College of Music London by Johannes Marm?n (Violin) Zo? Saubat (Cello) and Gwenaelle Rouger (Piano).I finished writing Piano trio: Los Ojos in early May 2007. It is approximately13 minutes long and has a three-movement structure of essentially two slow movements separated by a central fast section. The final slow movement is a variation of the opening movement ending with a ?toy? defined by ThomasMace(a contemporary of William Lawes) in his 1676 book Musicke?s Monument as ?a light-Squibbish Thing only fit for Fantastical and Easie-Light-Headed People; and are of any sort of Time?.The Machado poem behindthe piece Los Ojos (the eyes) is about a widower who has locked himself away but after a year begins to wonder about the colour of his beloved?s eyes. He is horrified that he can?t remember. One spring day he leaves the houseand just happens to glimpse a flash of eyes through a window and instantly recalls the colour; ??Como esos!?; ?Like those!?. The three movements have the titles: 1] su memoria y el espejo ?his memory and the mirror?; 2] ?Comoeran? ?How were they??; and 3] ?Como esos! ?Like those!?. - Simon Holt
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Bent Sørensen: Lady Of Shalott: String Quartet: Instrumental Work
Quatuor à cordes: 2 violons, alto, violoncelle
Wilhelm Hansen
Version for String Quartet.Score available: KP00510The composer writes: 'In Febr...
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Version for String Quartet.Score available: KP00510The composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s paint-ing: 'The Lady of Shalott'. The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poemby the same title which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources. As suggested above the piece was originally written for viola solo. The version for string quartet is from 1993.'
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Forme di Felicita (CAMPOGRANDE NICOLA)
30.96
Forme di Felicita (CAMPOGRANDE NICOLA)
Violon et Piano
[Partition]
Breitkopf & Härtel
Par CAMPOGRANDE NICOLA. For a long time after Romanticism had come to the fore, ...
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Par CAMPOGRANDE NICOLA. For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow ?did not get it?: History and Progress ? it was thought - were proceeding along one clear path and Brahms ? who was composing sonatas and symphonies instead of nocturnes and symphonic poems ? had taken the wrong way. Almost one century later, Schönberg wrote an essay, Brahms, der Fortschrittliche ( Brahms, the progressive ), in which he explained that it wasn?t like that at all. Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present ? and the future ? can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1 , I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places ? even imaginary ones ? where we can give happiness a form of its own. Nicola Campogrande, December 2020 / Date parution : 2022-10-12/ Répertoire / Violon et Piano
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A Box of Darkness With a Bird in Its Heart (MENDONCA VASCO)
23.17
A Box of Darkness With a Bird in Its Heart (MENDONCA VASCO)
Violon
[Partition]
Leduc, Alphonse
Par MENDONCA VASCO. 'Terrance Hayes? series of sonnets is an extraordinary colle...
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Par MENDONCA VASCO. 'Terrance Hayes? series of sonnets is an extraordinary collection of poems: his poetry captures the spiralling social and political chaos in America (and the world) in a way no newspaper article or scholarly essay has been able to; his words have the rare quality of clarifying a collective feeling that is messy and confusing, an elusive and disturbing combination of fear, hope, perhaps despair. I have never personally experienced (and probably never will) the reality Hayes writes about: the oppression, danger and ambiguity he reflects upon are alien to my own experience. But I nevertheless felt compelled to create something inspired by his words. To engage - how can you not engage' The first movement of ''A Box of Darkness with a Bird in its Heart'' is a hurtful ostinato with an uneven, organic pulse - not unlike the way we breathe under physical or emotional strain. The second is a quiet, delicate birdsong; its very high melody almost a secret that?s unwillingly shared - followed by an expressive lament. The ending in the low register brings me the image of a viola da gamba played outside in a warm summer night, a distant tale of violence and loss. In the final movement the energy picks up, in a relentless and unforgiving mechanism of pizzicati. This piece was written for the wonderful violinist Diana Tishchenko, and is dedicated to her. (Vasco Mendonça)' / Date parution : 2022-04-26/ Répertoire / Violon
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