Silversmile Sonatine, for violin and piano (2023)

1. Ode
2. Branle
3. Air

Silversmile Sonatine, for violin and piano (demo)

#umineko #metal #symphonicmetal #remix #remix2023  
Hello everyone! :) I made a symphonic metal cover from Umineko at my friend's request I hope you Enjoy! Leave a comment what you think!

Original music by zts
All rights are belong to respective owners.

Art is probably Official (I couldn't find an official source. If you are a creator let me know i will put you in description)

Follow me on Youtube: https://youtube.com/luxorsmusic
Twitter: https://twitter.com/yukatamaru
and Facebook: https://www.facebook.com/luxorsmusic

Umineko - Worldend Dominator [Symphonic Metal Remix]

Pieza para violín y piano basada en el huayño boliviano del mismo nombre. 

© Agustín Fernández 2024

Par Par Palomita Vn & Pf

Tatevik Ayazyan, violin and Ville Hautakangas, piano

Endangered was composed as a mandatory semi-final piece of the Ilmari Hannikainen Piano Chamber Music Competition international series. One of the starting points of the composition was Hannikainen´s Sick Bird op. 14 no 10 for piano (arranged for violin and piano by his brother Arvo Hannikainen), and its vulnerable, bird-like motif and the subsequent downward gesture. In addition, the work freely uses some sounds of birds classified as critically endangered in Finland.

Recorded September 16, 2023 at the Tampere Hall by the Finnish Broadcasting Company YLE.

Endangered

XII - The Hanged Man

Violinists in My Life with Eleanor Bartsch, by Laura Schwendinger
1. Eleanor Bartsch 
2. Wei He 3. Miranda Cuckson 
4. Desiree Ruhstrat 
5. Curtis Macomber

Violinists in My Life with Eleanor Bartsch, by Laura Schwendinger

PICTURES OF A CHANGING SENSIBILITY   
Music composed 2011 by Peter Machajdík
www.machajdik.com
​
SHEET MUSIC https://www.machajdik.com/pictures.html

Synagogue, Ružomberok

Milan Timčák (violin) & Zuzana Zamborská (piano)

_________________________


Born 1961 in former Czechoslovakia, Peter Machajdík is a composer of a wide range of chamber, orchestral and electronic music. He often takes simple materials and a simple mode of expression, and creates a vibrant and challenging sonic palette. His music, commonly characterised as emotive, hypnotic, imaginary and cinematic, has been performed to international audiences on five continents for over thirty years.

All music is copyright by Peter Machajdík and may not be used for commercial purposes without author's consent.

Unauthorised copying, public performance, broadcasting, hiring or rental of this recording prohibited.

Machajdík  ​PICTURES OF A CHANGING SENSIBILITY [2011]

DUO LIPSKY-SATO
Helmut Lipsky, violin, Mariko Sato, piano
Radio-Canada/CBC Recording 1982 - Montréal, QC, Canada

"Mythes", Op. 30 is a suite for violin and piano written by Karol Szymanowski in 1915 and premiered one year later by Paul Kochanski on violin and the composer on piano.

"Mythes" consists of three programmatic miniature tone poems drawing on Greek mythology. The piece was heavily inspired by the composer's earlier travels in Sicily and North Africa and by impressionist music.

The work is considered an important milestone in 20th-century violin writing and was heavily admired by Szymanowski's contemporaries, such as Béla Bartók and Sergei Prokofiev. It features heavy use of advanced violin techniques, and the third movement famously contains quarter tones.

3) Dryades et Pan
This movement is the most pictorial of the three, with contrasting themes depicting Pan’s wooing, which begins with the violin alone, as the score directs, imitating his flute, and a section of abandoned energy portraying the orgiastic dance of the Dryads, which are the nymphs of the forest trees. Its energy spent, this section, as the other two, ends quietly. It’s evidence of his artistic integrity, that Szymanowski didn’t end this major work with bravura fireworks, but instead allowed the subject matter to determine the form.

Cover Art: "Water Nymphs" by Gustav Klimt

Karol Szymanovski: "Mythes"  - 3) Dryades et Pan

DUO LIPSKY-SATO
Helmut Lipsky, violin, Mariko Sato, piano
Radio-Canada/CBC Recording 1982 - Montréal, QC, Canada

"Mythes", Op. 30 is a suite for violin and piano written by Karol Szymanowski in 1915 and premiered one year later by Paul Kochanski on violin and the composer on piano.

"Mythes" consists of three programmatic miniature tone poems drawing on Greek mythology. The piece was heavily inspired by the composer's earlier travels in Sicily and North Africa and by impressionist music.

The work is considered an important milestone in 20th-century violin writing and was heavily admired by Szymanowski's contemporaries, such as Béla Bartók and Sergei Prokofiev. It features heavy use of advanced violin techniques, and the third movement famously contains quarter tones.

2) Narcisse
Echo, an Oread, a mountain nymph, spied Narcissus and become immediately infatuated, following him, waiting for him to speak so her feelings might be heard. Narcissus sensed he was being followed and shouted "Who's there?" Echo repeated "Who's there?" After a few rounds of this, in which Narcissus' confusion and frustrations mounts, Echo came close enough so that she was revealed, and attempted to embrace him. Horrified, he stepped back and told her to "keep her chains". Echo was heartbroken and she wasted away, losing her body amidst lonely glens, until nothing but her chaste verbal ability remained of her.

Nemesis, the goddess of revenge, heard the pleas of a young man, Ameinias, who had fallen for Narcissus but was ignored and cursed him; Nemesis listened, proclaiming that Narcissus would never be able to be loved by the one he fell in love with.

Narcissus finds a pool of water which no animal had ever approached. Leaning down to drink, Narcissus sees a reflection as beautiful as a marble statue. Narcissus did not realize it was his own reflection and fell deeply in love with it, as if it were someone else; unable to leave the allure of this image, Narcissus eventually realized that his love could not be reciprocated and he melted away from the fire of passion burning inside him, eventually turning into a gold and white flower.

Cover Art: "Water Nymphs" by Gustav Klimt

Karol Szymanovski: "Mythes"  - 2) Narcisse

DUO LIPSKY-SATO
Helmut Lipsky, violin, Mariko Sato, piano

Radio-Canada/CBC Recording 1982 - Montréal, QC, Canada

"Mythes", Op. 30 is a suite for violin and piano written by Karol Szymanowski in 1915 and premiered one year later by Paul Kochanski on violin and the composer on piano.

"Mythes" consists of three programmatic miniature tone poems drawing on Greek mythology. The piece was heavily inspired by the composer's earlier travels in Sicily and North Africa and by impressionist music.

The work is considered an important milestone in 20th-century violin writing and was heavily admired by Szymanowski's contemporaries, such as Béla Bartók and Sergei Prokofiev. It features heavy use of advanced violin techniques, and the third movement famously contains quarter tones.

1) La Fontaine d'Aréthuse
In Greek mythology, Arethusa was a nymph who fled from her home in Arcadia beneath the sea and came up as a fresh water fountain on the island of Ortygia in Syracuse, Sicily.
The myth of her transformation begins in Arcadia when she came across a clear stream and began bathing, not knowing it was the river god Alpheus, who flowed down from Arcadia through Elis to the sea. He fell in love with her during their encounter, but she fled after discovering his presence and intentions, as she wished to remain a chaste attendant of Artemis. After a long chase, she prayed to her goddess to ask for protection. Artemis hid her in a cloud, but Alpheus was persistent. She began to perspire profusely from fear, and soon transformed into a stream. Artemis then broke the ground allowing Arethusa another attempt to flee. Her stream traveled under the sea to the island of Ortygia, but Alpheus flowed through the sea to reach her and mingle with her waters. Virgil augurs for Arethusa a salt-free passage beneath the sea on the condition that, before departing, she grant him songs about troubled loves...

Cover Art: "Water Nymphs" by Gustav Klimt

Karol Szymanovski: "Mythes"  - 1) La Fontaine D'Aréthuse

A neo-romantic duet for violin and piano, composed in 2011.

Noir (Violin and Piano)

I Repeat Myself When Under Stress

Once considered a pleasant daydream, but now polluted by modern-day problems, Reverie evokes a sense of longing and despair through the “weeping” or drastic intervallic leap and cantabile style of the violin above a simple yet consistent piano line.

Premiered by Leanna Oliver and Jae Ahn-Benton

Reverie (Live)

Autumn Dance

A casa de um grande homem (2025)
I. Volátil e difuso
II. Como uma noite distante
III. Como uma tentativa fracassada de voo
Mariusz Monczak, violino
Durval Cesetti, piano
Gravado ao vivo no Teatro da Reitoria da UFPR, Curitiba, PR, Brasil, Em 19/09/2025.

A casa de um grande homem (2025)

I. Allegro ma non troppo 
II. Larghetto
III. Allegro ben preciso
Dúo Promuisca     Alfredo Muñoz | violin     Maria Victoria del Collado | piano 

Grabación del concierto en vivo ofrecido dentro del Festival de Música Contemporánea de La Habana, 2014. Gracias a Duo Promusica por esta interpretación tan expresiva y poderosa. Un homenaje sentido al maestro y amigo Alfredo Muñoz.

Javier IHA _ Sonatina para violin y piano I

One of four 'Cocktails' for violin and piano which mix two major reasons for music: song and dance. Here the tunes combine chant-like song, and waltz-like dance, in what i hear as a suave, even smoochy, mood. Do take a listen and let me lead you a song-and-dance...!

Cocktail: Chant & Waltz (with a twist)

“Labyrinthine - for Violin and Piano" was completed in August 2025 in Fairview, TX. Performance time is about 16 minutes. Printed and electronic copies of the score and parts will be available soon from www.CreativeSpiritOnline.com. The work is in one movement.

About this recording:
The engraving and virtual recording were produced using Dorico Pro 6. For the best listening experience, high quality headphones are recommended. This recording was mastered by EMastered.

Performance notes:
• Tempo, expression, and dynamic markings should be strictly observed.
• There is no key signature. Accidentals apply to the end of the measure or to the note or notes tied over the measure, and only to notes of the same pitch class, in the same octave.
• Hairpin pairs indicate a temporary volume change of one dynamic level.

The meaning of "labyrinthine" in this work:
•    Complex structure:  The term "labyrinthine" is used to describe compositions that have a complex, intricate, and difficult-to-follow structure, like a maze.
•   Intricate harmony:  Some pieces labeled "labyrinthine" feature dense harmonic systems that can be challenging for the performer to learn and understand.
•   Sense of searching:  The term can also describe a piece that creates a feeling of searching or wandering, as the music seems to pursue an elusive goal.
•   Resolution:  Despite the initial complexity, these sonatas often have a sense of logical development that eventually leads to a resolution or a clear conclusion. 

Contact information:
Robert John Brooks, Fairview, Texas USA
Email: robtjbrooks@yahoo.com
Web: www.CreativeSpiritOnline.com
Web: eMastered.com/profile/robtjbrooks

Engraving by the composer
Artwork by the composer
Copyright 2025

Labyrinthine - for Violin and Piano

Composer, pianist and pedagogue Javier Iha Rodríguez graduated with a degree in Composition from Havana’s University of the Arts (ISA) in 2017, with "Gold Title" distinction, and earned a Master in Management of Historical Heritage - Music from the University of Havana in 2019. As a composer he has participated in Cuban music festivals such as the Havana Festival of Contemporary Music, Festival of the Arts, Festival "A tempo con Caturla" and the Festival of Chamber Music. Rodríguez has won numerous composition awards from the National Union of Writers and Artists of Cuba (UNEAC). He has been a professor of Harmony at the National School of Art (ENA) since 2014 and a professor of Orchestration and Analysis at the University of the Arts since 2020.

Rodríguez has created works for piano, voice, choir, chamber ensembles and electroacoustic media for ensembles such as the Dúo Promúsica, the Trío Emanuel, the Trío Lecuona, and the Orquesta de Cámara de las Tunas among others. He has collaborated with audiovisual producers and with the Gaia Teatro theater company. He is a member of the Hermanos Saiz Association (AHS), the National Union of Writers and Artists of Cuba (UNEAC) and the Musical Copyright Agency (ACDAM). Part of his work has been recorded under the Colibrí record label as part of  the "New Music" compilation of the UNEAC Composition Awards and "Portrait and Pilgrim Scenes", which won the Cubadisco Prize in Chamber Music in 2021.



Thanks for visiting. 
What's new:  I have completed my violin sonata. It is posted first in line to your left.  My new symphony, "Symphony for Chamber Orchestra," is posted and waiting for you.  rjb

Scores and parts for many of my works are available from my publisher Creative Spirit Music Publications. Go to  https://www.creativespiritonline.com and select "Robert John Brooks." There, you can also follow the score while listening to a recording.

My music is fully notated and is intended for live performance by live musicians.

After completing my doctorate in composition in 1979 from UNT, I took 30 years off from composing to join the computer software revolution as a software engineer.  In 2010 I began composing again and have not stopped. So, I find myself beginning (restarting?) a composition career rather late in life...but that's OK.  Most of the works posted here were written since 2010. 

Thanks for visiting.

Sophie Moorea is an Argentinian-American composer, arranger, and trombonist from São Paulo, Brazil. With over 10 years of experience in music and dance across three continents, she seeks to highlight shared human experiences and raise awareness of social justice issues through her work.

I love composing; always have done. 
The infinite potential for ways to put notes together is endlessly fascinating, and the capacity for expressing one's own feelings and personality through this process is rich, intimate and very precious to me.  
I write Opera, Oratorio, Orchestral music, Chamber music, Church music and Song. An ongoing project is composing 'Songs without Words' for solo piano; it is a way of trying to articulate my experience of life, its joys and its pains, its hopes and its disappointments. Currently I have composed 255 Songs without Words.
For further information, including how to access scores of my music, and any projects you may have that may need a composer, please message me on SoundCloud - I will get back to you and we can use other media to discuss music (one of my favourite pastimes!)

Not to be confused with Agustin Fernandez (without the accents) who, as far as I can tell, produces music of a very different kind.

HELMUT LIPSKY - Violinist, Composer and Artistic Director of Melosphere Productions

Violinist Helmut Lipsky is the prototype of the accomplished musician of today: born in Germany, raised in Switzerland in the tradition of classical music, he went on to study with the great masters, including Itzhak Perlman, in New York City, where Lipsky developed as an improviser and composer. He lives now in Montreal, Canada and is very active on the national and international scene.

His mix of musical languages (jazz, tango, classical, popular and traditional music of other cultures), solidifies Lipsky’s very personal and identifiable style. He has recorded several critically acclaimed albums and has been nominated twice in Canada for Felix awards for Best CD, Best Canadian Violinist and Best Concert of the Year. He has collaborated with the likes of GRAMMY winners Swiss harpist Andreas Vollenweider and American cellist David Darling.

His latest album with his group Melosphere, called "Tempi con Variazioni", which includes guest artist soprano Suzie LeBlanc and was produced by Earl McCluskie for the Chestnut Hall Label, garnered the prestigious Prix OPUS by the CQM (Conseil Québécois de la Musique) and can be found on iTunes, eMusic, CDBaby and Amazon.com.

Lipsky has performed in many countries at prestigious events, such as the Montreux Jazz Festival in Switzerland, Berlin’s Summer Festival, Toronto's IdeaCity Conference, the Montreal International Jazz Festival and the International Very Special Arts Festival at the Royal Palace in Brussels, Belgium and has opened for artists like Dave Brubeck, Stéphane Grappelli and Toots Thielemans.

He has written, interpreted and produced music for cinema, television, theatre and multimedia installations. Special events, like his Concerto for violin and chainsaw, which premiered at the opening of the international Symposium of Contemporary Arts in Amos, and a Harbour Symphony-Concerto for amplified violin, shiphorns, train and cathedral bells at the Montreal Harbourfront, brought his eclectic style to international attention. Sheet music of his works have been published by Doberman Editions and Ovationpress.com.

Helmut Lipsky teaches classical violin at the Conservatoire de Musique de Montreal, jazz violin at Concordia University and gives master classes in performance and improvisation throughout Quebec and Europe. He has degrees in Performance and Pedagogy from the Conservatory of Zurich, Switzerland, and a Master’s degree from the City University of New York.

Lipsky’s numerous awards include the Order of French Music, the Presidential Scholar Award of the Council of the City of New York and First Prize at the international radio broadcast competition "Jazz à la Carte".

The Melosphere is the realm where there are no boundaries between musical languages — a space where Jazz, Classical, Tango, Latin, Gypsy, Rock, and music from various past and present world cultures interact to create a vibrant and fascinating sound, structured by programmatic and narrative elements.

Violinist, composer and bandleader Helmut Lipsky created the foundation for his very personal sound while still in his teens in Switzerland. He nurtured it during his six years of studies in New York City and further cultivated it after moving to the province of Québec, Canada, in 1980, where he founded his first Mélosphère Ensemble with musicians from Québec City: Yves Léveillé (piano and keyboards),Daniel Charron (saxophone), Gérard Paradis (bass) and François Samson (drums).

Reconstituted in Montréal with Simon Stone (saxophone), James Gelfand (piano), Bernard Marchand (synthesizers), Marc Langis (bass), James Hillman (drums),Pierre Dubé (percussion) and guest vocalist Karen Young, the group recorded the album Mélosphère for the CBC Jazzimage label in 1986. The group appeared at the Montreux Jazz Festival in Switzerland in 1987 and, until the late eighties, was a regular guest at the Festival International de jazz de Montréal and many other major Canadian festivals.

The Mélosphère Ensemble also collaborated with artists as diverse as classical flutist André-Gilles Duchemin (Trois Images, Suite for Flute and Jazz Ensemble) and popular singer Sylvie Tremblay (theme songs for Leucan and the international Very Special Arts Festival in Brussels in 1994).

Since the mid-90s, Helmut Lipsky has collaborated in Canada and Europe in numerous concert and recording projects with Berlin-based L’Art de passage musicians Stefan Kling (piano) and Tobias Morgenstern (accordion). Together they recorded Helmut Lipsky’s CD Moontide and introduced the music of Tango Nuevo master Astor Piazzolla into their repertory.

The new Mélosphère Ensemble includes these musicians plus Jean-Francois Martel (bass), Pierre Tanguay (percussion) and Alex Weimann (keyboards), and collaborates with the renowned Canadian Baroque soprano Suzie LeBlanc.

Harry Crowl is a Brazilian composer and musicologist (Belo Horizonte, Oct. 6th, 1958). His music studies started in his native town and later, in the USA, where he took composition lessons with Charles Jones, both privately and at the Juilliard School of Music. Further composition studies later, took place under Peter Sculthorpe in Dartington, UK. He has written numerous chamber, orchestral and vocal works, as well as incidental music for film and theater. His music has been performed all over the world, especially in Europe and Latin-America.

In recent years Paul Brantley’s compositions have been performed or commissioned by The Knights (at Tanglewood, BRIC, Dumbarton Oaks and Naumburg Concerts), Minneapolis Guitar Quartet, Horszowski Trio, Flux Quartet, New Esterházy Quartet, Memphis Symphony Orchestra, U.C. Berkeley Chamber Chorus (on tour), Monadnock Music Festival, Bridgehampton Chamber Music Festival, St. Bartholomew's Summer Festival of Sacred Music, The Young People’s Chorus of NYC, Philharmonic Orchestra of the Americas (NYC’s Town Hall), Left Bank Ensemble (Kennedy Center), Ethel (Kimmel Center), Excelsior Trombone Ensemble (NPR’s Performance Today), The Goliard Ensemble on tour, The Manhattan School of Music Symphony, Belladonna (Schubert Club, St. Paul, MN), L’Opera du Village (Pourrieres, France), SONYC (the Kitchen), and as featured composer on these various series: Bargemusic, Ecstatic Music (Merkin Hall), The Harry Jacobs Chamber Music Society, HVG, North River, MOSA and Concerts in the Heights. 

His cello concertino, The Royal Revolver, was premiered in December 2017 by cellist Eric Jacobsen (The Knights, Silk Road Project) and members of The University of Michigan Symphony conducted by Kenneth Kiesler. The Washington Heights Chamber Orchestra will give 25th anniversary performances of On the Pulse of Morning this May, with Abigail Fischer, soprano, Spring 2021. It was recently announced that Brantley is one of three winners of the Aliénor Composition Competition sponsored by the Historical Keyboard Association of North America to compose a new full-length piece for solo harpsichord. Boyd Meets Girl recently gave the premiere of Filles de l’Elysee which will featured on their forthcoming CD.

Paul is a six-time MacDowell Colony Fellow who has also received fellowships from Banff Centre and Anderson Center. Brantley has been composer-in-residence for Monadnock Music Festival, Gabriel Fauré Conservatoire (Angoulême, France), Goliard Ensemble, Yara Arts Group, The Seal Bay Festival, Children’s Choral Celebration, Sewanee Music Festival, Washington and Lee University, and the Sophia Institute at Union Theological Seminary in NYC. He has given composition seminars at Yale School of Music, Hunter College (Anthropology Dept.), and The University of Michigan School of Music.

Multifaceted musician, Brantley has performed or recorded as solo cellist with Trey Anastasio (Phish), Cantata Profana, CITH, Cassatt Quartet, Jeff Coffin Mutet, Béla Fleck and the Flecktones, Dave Gregory (XTC), Heartbeat Opera, Jimmy Page and Robert Plant, Lenny White, and SONYC. Brantley has arranged and conducted for David Binney, Ethel, Todd Rundgren, and Christian Scott.

Paul studied at Manhattan School of Music (B.M), Curtis Institute (diploma), Eastman School of Music (M.M.) as well as Fontainebleau, Tanglewood, and The Yellow Barn where he was later artist faculty. His principal teachers include Samuel Adler, Leonard Bernstein, Eugene Eicher, Alan Harris, David Loeb, Ned Rorem, and David Wells.

He co-founded the Seal Bay Festival of American Music and was artist faculty at Yellow Barn Music Festival for many years. In addition to positions at Syracuse University and Washington and Lee University, Brantley was a Manhattan School of Music faculty member from 2000 to 2014.

Paul Brantley currently resides in New York City where he free-lances as a composer, cellist, and conductor. His music is published by Bill Holab Music and Oxford University Press. He has recorded solo cello for Sony/Columbia, Rounder, Warner Bros., Polydor, Compass, and others.

More at http://craigbove.com or go to: https://soundcloud.com/user-664425648

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