Sonata No. 1 for Violin and Piano
Duration: 20'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1107
Online Perusal Score: https://issuu.com/robertpaterson/docs/sonata.i-vln.pno.-fs-bound-perusal
For More Information: https://robertpaterson.com/sonata-no-1-for-violin-and-piano

PROGRAM NOTE (SHORT VERSION FOR PROGRAMS)
The first movement, Adagio – allegro con uno trotto – adagio begins and ends in a somewhat Romantic style, but with a twist: the end of the movement sounds like a record scratch, as if what you just heard is a track from an old vinyl LP. I became fascinated with the sound of record scratches when I noticed them in many commercials, although this is somewhat ironic since no one really plays records anymore.

The imaginary title of the second movement, Schizando (derived from ‘schizophrenia’) is a word I came up with to describe a musical style centered on fast, abrupt changes. This movement also reveals an obsession with sequences: sequence-like chord patterns decay by gradually becoming more dissonant as they evolve. These sequential sections alternate with “siesta daydream” sections, akin to channel surfing with a remote control. I was recently on the road for two months with my wife Victoria while she was touring, so on a personal level, traveling on the road to a different hotel every week probably influenced how I wrote this movement. We were never in the same place for very long and many of the hotels looked the same. Our lives were not that dramatic. I started craving drama, particularly in the music I listened to, and this probably spilled over into how I wrote this movement.

The third movement, Largo is slow and broad and inspired by the phrase "the weight of the past." There are time markers that delineate certain sections, reminiscent of the ticking of a clock. There are a number of composers whose works influenced me in this movement, such as the later works of Arvo Pärt and the slow movements of some of Beethoven’s sonatas. I was also pre-occupied with wanting to write a movement that contained mostly “open” notes, i.e. half notes, whole notes and double whole notes.

My main influences for the last movement, Allegro con moto are the early formal ideas of Igor Stravinsky, folk-style fiddle playing and jazz. There are a few false starts when piano chords come crashing down and a few somewhat humorous sections. Many of the themes from the previous three movements reappear in this movement.

As with many of my earlier works, my goal was to create a four-movement work in which all of the movements are quite different from each other. In a sense, I view this multi-stylistic approach as the result of wanting to embrace a variety of tools. As a result, as I wrote this I did not have an allegiance to any one particular style, as each one hopefully elicits a certain, distinctive emotional response.

Joy: Music for Violin and Piano

Sonata No. 1 for Violin and Piano - I. Adagio, Allegro Con Uno Trotto, Adagio

Sonata No. 1 for Violin and Piano - I. Adagio – allegro con uno trotto – adagio

I'm composer based in Munich. I create original music and reimagining classical and film scores

Gustave Deresse (Lee G. Dupont) is an independent/experimental producer of music and audio focused on classical piano, ambient, and new age compositions. 

He dreams of hearing his work uniquely interpreted by other musical artists. Overshadowing the originals is vastly encouraged.

Personal, technical, and artful writings in the 'Free Readlionies' link below! Enjoy.

Zurab Janelidze's musical works explore emotions of abstract thought, such as those arising from an intellectual pursuit or conceptualization of one's dreams and desires. There is a strong emphasis on structure. While the music is in the classical style, it does not fit with the common boundaries of the classical musical form.

There are three broad types of music, categorized by the composition process. The "impromptus" are works based on once-off improvisations. This means that the music appears as it was played for the first time, without any prior work. The only post-performance modification that can be done to an impromptu is global key and tempto changes, and deletion of accidental notes (usually these are very few). In contrast, "compositions" are produced one motif or one phrase at a time. During this type of composition, a lot of time is spent on continuously reflecting on what has been composed in the composition process. The third type, "impromptu composition", is a mixture of the first two types. This means that some parts of the piece can be improvised while others composed, or merely that the improvised work is sectioned, adding repetitions and key changes. It can also mean that the impromptu is based on a motif or a phrase that was composed in advance.

The musical works presented here follow a common numbering system. Most of the time there are gaps in the numbers for consecutive works. This is either due to the omission of incomplete/failed pieces or they suggest a significant time lapse between consecutive compositions.

The following terminology is used in describing the structure of each musical work (work in progress):
- interval: a section of music enclosed between two fixed timestamps
- motif: smallest repeating structural piece
- melody: a repeating structural piece consisting of several motives
- unimotivic: revolves around a single main motif
- bimotivic: revolves around two main motifs
- unimelodic: revolves around a single main melody
- explorative: evolves without fixating on any particular motif 
- explomotivic: evolves starting from one or several motifs
- dynamic: characterized by high tempo and volume of sound
- interjective: characterized by sudden short dynamic insertions

Always Open to Collaborating, Sharing 
Check out;
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lots of material that's available, Creative Commons

Hi. My name is Eltac. I'm 21 years old, from Georgia (country).
I'm an Independent Music Producer, I produce mostly Trap, Future Bass, Chill, Electronic, Hip-Hop, Progressive House, Piano Melodies and many more. LIKE and FOLLOW me for more tracks.
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American composer Robert Paterson is a true New Yorker—born and bred in Buffalo, he lived in Rochester and Ithaca for over ten years, in New York City for over twenty years, and now lives in Saratoga Springs, near the Adirondacks. Paterson’s colorful music embraces a wide variety of themes, everything from goddesses and online dating to mathematics and the environment. His music is filled with emotion and fierce rhythmic energy, marked by elegance, wit, and meticulous craftsmanship. Named Composer of The Year by the Classical Recording Foundation at Carnegie Hall, Paterson is the winner of the Alfred I. DuPont Award, and his opera Three Way won the Grammy® under Best Classical Producer of the Year. His music is often a Best of the Year pick on National Public Radio. His orchestral tone poem, Dark Mountains, regularly airs on NPR’s Performance Today. Three Way premiered with Nashville Opera, then BAM (Brooklyn Academy of Music), and across the United States. Minnesota Orchestra, Louisville Orchestra, The Oratorio Society of New York, Buffalo Philharmonic, Albany Pro Musica, Albany Symphony, Musica Sacra, Austin Symphony, Vermont Symphony, and ensembles worldwide perform his works. Paterson gives masterclasses at the Curtis Institute of Music, New York University, the Aspen Music Festival, the Cleveland Institute of Music, and more. He is the Artistic Director and house composer for Mostly Modern Projects. Robert is a lifelong vegan and advocates for animals and the environment, celebrating the natural world with ground-breaking works such as his Triple Concerto, A New Eaarth, Listen, and I Go Among Trees.

Our Adam is a DIY artist and producer from Old Trafford, Manchester. Adam combines ambient soundscapes over electronic drum programming, with influences of soulful electronica, hip-hop, and post-punk to create a dark and nuanced sound.

I am based in Serbia, and I am a composer, producer, and multi – instrumentalist specializing in a unique and elegant blend of Cinematic, Rock, Pop and EDM music. My dramatic, dynamic, and energetic tracks are appropriate for enhancing a variety of visual cues while creating images od emotional turmoil, suspense, and intrigue.

My music defies convention, eschewing strict technical boundaries in favor of allowing the raw essence of the soul to flow freely.

For me, music is more than just a collection of sounds; it's a profound expression of the soul's deepest emotions and experiences. I place a special emphasis on this ethereal connection. Music, in my view, possesses the power to produce vibrations that resonate not only in the visible realm but also in the hidden depths of our consciousness. It is a universal language, transcending cultural and linguistic barriers, capable of forging connections and speaking directly to the core of our being. It propels us toward uncharted horizons, inviting us to embark on a transformative journey of self-discovery and emotional exploration.

“I don't remember my dreams too much. I hardly have ever gotten ideas from nighttime dreams. But I love daydreaming and dream logic and the way dreams go” - David Lynch
​
I love to express stories through music and explore the visceral space that surrounds them. Sometimes I’m interested in creating sound collages, or tapestries of sound that are varied in their nature but unified in their aesthetic aim. Other times I surrender to something lyrical. Most of the time, I feel compelled to make sense of the world, which is impossible. But, after some work, which includes frustration, and occasional eureka moments, I find deep meaning and satisfaction in my music, especially as I near the finish line and embark on a collaborative journey with fellow creatives. 

www.dikachartoff.com

Sonata No. 1 for Violin and Piano - I. Adagio – allegro con uno trotto – adagio

Robert Paterson Composer