SKU: SU.00220210

The CD Sheet Musicâ?¢ collection brings together over 350 works by 83 composers for violin solo, violin and piano, and 2 violins from all periods and at all levels of technical proficiency. Composers include: Albéniz, Bach, Bartók, Beethoven, Boccherini, Brahms, Bruch, Busoni, Chaminade, Chopin, Corelli, Debussy, DvoÅ?ák, Elgar, de Falla, Fauré, Franck, Gluck, Godard, Granados, Handel, Haydn, Janáček, Kodály, Kreisler (36 arrangements and original works), Lalo, Liszt, Massenet, Mendelssohn, Milhaud, Mozart, Paganini, Purcell, Rachmaninoff, Ravel, Saint-Saëns, Sarasate, Satie, Schubert, Schumann, Sibelius, Stravinsky, Suk, Tartini, Tchaikovsky, Telemann, Vieuxtemps, Viotti, Wieniawski and Ysaÿe, among others Also includes composer biographies and related articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2600 pages Companion collections for violin include: Violin Concertos (#00220549); Violin Methods and Studies(#00220546); Violin Sonatas (#00220548). Each is a comprehensive collection in its own right; together they encompass a unique and comprehensive anthology of music for the violin.

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: HL.50571795

SKU: HL.50571877

SKU: PR.416411770

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.