SKU: HL.49007122
ISBN 9783795722197. UPC: 196288077480. 9.0x12.0x0.282 inches. German.
The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addressed in a language that corresponds to their age. Furthermore, the method provides a stylistically varied range of classical and folkloristic instrumental pieces, and always gives a lot of interesting information on the music and its composers.Vol. 1: Detailed introduction to the bow hold - songs and instrumental pieces, using exclusively the first type of fingering while focussing on rhythmic, melodic and technical variety - playful touching and feeling of violin-playing techniques such as pizzicato, position playing, harmonics and double stops. Vol. 1 is accompanied by a CD (T 3272) containing all songs and pieces with funny dialogues spoken by children. A motivating addition to violin lessons and a great gift idea!
SKU: BO.B.3340
ISBN 9788480207591.
English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentarios del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
SKU: MB.30878M
ISBN 9781513470535. 8.75X11.75 inches.
You may not fall in love, but the 257 online piano accompaniment tracks that come witháI Love My Scalesáare likely to change your attitude towards playing tetrachords, scales, arpeggios, and double stops on the violin. In fact, anyone who plays a C instrument with a comparable range will enjoy playing along with these imaginative and elegant recordings.áWhile this book was written primarily for violinists to enhance intonation, agility, overall musicianship, and the sense of time essential to playing with an ensemble in any style, mandolinists will benefit equally in improving sight reading and fretboard knowledge. Like the famous Hanon studies for piano, once these exercises become a part of muscle memory, improved technical, ear training and improvisation skills will follow.Useful for violinists of any skill level, this book and its extensive companion recordings offer a complete workout for 1 to 3-octave major and minor scales and arpeggios in commonly used violin keys. The book also addresses scales in various intervals plus chromatic, modal, and exotic scalesùall with piano accompaniment that makes scale practice a labor of love.Includes access to online audio.
SKU: MB.95393M
ISBN 9780786690107. 8.75 x 11.75 inches.
The over 425 reels, jigs, set-tunes, waltzes, marches, strathspeys, and airs transcribed from the playing of traditional fiddlers in this collection, represent a large portion of the current Island repertoire. It is believed that over 100 of these tunes have never been in print previously. Even the titles that have appeared in print before, feature new and intriguing details. Because each tune is a transcription of a specific performance by an individual player, many subtleties of style--such as ornamentation, double stops, and slursâ??are included. Also included are each playerâ??s melodic idiosyncrasiesâ??called twists in local parlance. You will find living, breathing versions of tunes filled with the vitality of a people whose great love for their music is expressed in every bow-stroke. Includes access to online audio.
SKU: HL.49033268
ISBN 9790001136846. 9.25x12.0x0.175 inches.
The five strings quartets by Jorg Widmann are compact studies, like those of his teacher Wolfgang Rihm. Performed individually, the focus is on the respective central technical and aesthetic idea. Performed as a cycle, however, they get closer to the well-known classical multi-movement form.The theme of the first string quartet is the quintessential beginning: in an introduction, it takes some time for the strained sounds to turn into harmonics. Then it is the viola, the 'poor cousin' in the string quartet literature, which takes up and defines the musical work. The workconcludes with a demanding eight-part double-stopping polyphony of all instruments.