rogram Note:
Quote from, “Maya Badian, Her Life and Her Music: A Privilege to Soar” by Popovici, Fred, published by Pro Ars Publications, Ottawa, Canada, 2010:
“The GUITAR CONCERTO by Maya Badian is unique in Romanian musical history, acknowledged as the first Guitar Concerto ever composed in Romania.
Maria Livia Sao Marcos Fisch (1938-), a Brazilian virtuoso guitarist now living in Switzerland, commissioned to Maya Badian this Concerto.
The individual character of each of the three contrasting movements of Badian’s Guitar Concerto is clearly suggested by each movement’s title: I.- Moto perpetuo; II.- Aria;  III.- Marcia e Toccata.
Movement I, Moto perpetuo. The ambiance for the first entrance of the guitar is established by a syncopated solo trumpet rhythmic figure and a trialogue between solo trumpet, horn, and trombone sustained by string pizzicati. The solo guitar then develops the opening idea with an accompaniment that gradually involves the full orchestra. The solo guitar part is set apart from the orchestra not only melodically but also harmonically, rhythmically, and by its tone colour variety and shifting registrations. The economic use of the initial material in the orchestral part makes use of diverse musical parameters and composition techniques to maintain the unity while leaving the solo guitar clear and unobstructed.
 53
Cantabile, a short and contrasting section, features only the guitar and a solo pizzicato double-bass, while the maracas and castanets provide timbre colour. The full orchestra, without solo guitar, concludes the first movement in a return to Tempo primo, presenting the material based on the initial rhythmic figure. Regarding the solo guitar, it rests until the very last bar, when its chord laissez vibrer makes a bridge to the slow movement.
Movement II, Aria. A song-like theme presented by guitar makes use of the full range of the instrument, from deep and resonant low notes to the extreme of the high register. The long-held phrases poetically wander into fantasia-like passages of great beauty. The tender harmonic support offered by the strings pulses beneath the solo guitar. The accompaniment continues with the development of the song-like theme. The solo guitar briefly returns to the opening mood before a long string passage closes the movement, perdendosi. After listening to Badian’s Guitar Concerto, writer Andrée Laurier described this Aria as the “unforgettable second movement.” (Composing a home away from home. Maya Badian’s swift pen” by Andrée Laurier, The Canadian Composer, February 1989, p. 26).
Movement III, Marcia e Toccata, features two rhythmic characteristics: binary (Marcia) and ternary (Toccata).
The opening Marcia, a caricature-like march, evokes special moods similar to those of German composer Kurt Weil. The brasses are again present to outline the melodic sense of the opening. Harmonic and sharp rhythmic motion precede the entrance of the solo guitar, which restates the opening march, accompanied by castanets, viola and violoncello soli. The full orchestra completes the March section ending before the solo violin performs a short phrase in a free form. This leads (subito attacca) to the final section, Toccata.
The final movement’s Toccata opens from afar, misterioso, with solo guitar and pizzicato double-bass in perpetual motion of eigth- notes in a ternary rhythm. Gradually, all the strings borrow this motive. While maintaining the rhythm, a dialogue begins between the solo guitar and different sections of the orchestra. At some points, binary-march references in the brass contrast with the flowing ternary rhythm in the strings. Percussion links together the differing rhythmic patterns. This dialogue’s development increases in intensity, using diminution, and rhythmic energy created by syncopated accents. This contrasts with the solo guitar cadenza that follows.
The Concerto ends in a burst of energy tutti, reaching its conclusion in a brilliant flourish.”

Guitar Concerto: I. Moto Perpetuo by Maya Badian

Program Note:
Quote from, “Maya Badian, Her Life and Her Music: A Privilege to Soar” by Popovici, Fred, published by Pro Ars Publications, Ottawa, Canada, 2010: "The French violin virtuoso Jean-Jacques Kantorow (1945-) commissioned Maya Badian to compose a violin concerto, taking in consideration his virtuosity. In immediately accepting this commission to compose a 20th-century concerto for violin, Badian considered that it would be joining a huge and well-known body of existing repertoire.
The VIOLIN CONCERTO by Maya Badian is cast in a three-movement form:
I.- Prelude; II.- Fugue and Choral; III.- Sonata -, blending unusual fantasia-like cadenzas with a fugue, and ending with a contemporary sonata finale. The result is a virtuoso concerto for the solo violinist with fascinating orchestral components.
III.- Finale, Allegro giocoso e spirituoso, the third and last movement. Under the brilliant dance-like solo violin subject, the piano presents a staccato chromatic descending line in its lowest register accompanied by cellos and double-basses pizzicati. After this opening, there is a bridge passage featuring a powerful rhythmic piano figure combined with the original violin subject now presented by the orchestra. An ad libitum passage for the solo violin prepares the second subject that, based on long held notes and smooth phrases, contrasts with the first subject. On closer examination, this subject, presented by the entire orchestra, is both an augmentation and a mirror of the melodic and rhythmic opening subject. It becomes an aural puzzle for the listener. The development is replaced in this work by a brief interlude assigned to the percussion section, reminding the listener of the fugal material from the second movement and thus connecting this sonata with the previous movements. At this point, the recapitulation contains an orchestral distillation of all of the elements earlier presented in this movement. The conclusion of the entire Concerto is structured in two sections - the first movement, cadenza, now orchestrated as a dialogue between different instruments, followed by the formal fugal material presented superimposed and brilliantly blended, by both the solo violin and the orchestra.”

Violin Concerto: III. Sonata by Maya Badian

Program Note:
Quote from, “Maya Badian, Her Life and Her Music: A Privilege to Soar” by Popovici, Fred, published by Pro Ars Publications, Ottawa, Canada, 2010: "The French violin virtuoso Jean-Jacques Kantorow (1945-) commissioned Maya Badian to compose a violin concerto, taking in consideration his virtuosity. In immediately accepting this commission to compose a 20th-century concerto for violin, Badian considered that it would be joining a huge and well-known body of existing repertoire.
The VIOLIN CONCERTO by Maya Badian is cast in a three-movement form:
I.- Prelude; II.- Fugue and Choral; III.- Sonata -, blending unusual fantasia-like cadenzas with a fugue, and ending with a contemporary sonata finale. The result is a virtuoso concerto for the solo violinist with fascinating orchestral components..

II.- FUGUE AND CHORAL, the second movement, is a strict, classically structured Fugue in Allegro (reminiscent of Badian’s Chamber Concerto for Horn and Percussion), followed by a Choral in Adagio, molto legato, molto espressivo, and concluding with a Coda in Allegro. The timpani present the Fugue’s subject (based on a minor third), answered first by marimba (based on a major third), and then by tom-toms (undetermined pitches). At this point, the solo instrument makes its appearance with a dramatic vox vagans (ethereal voice). The movement continues with a counter-exposition using sequential statements of the theme in the low strings and based on the minor third, while the solo violin continues its ethereal voice in a high register. The high strings and orchestral percussion join and build together in a crescendo that finally pauses with a fermata. Rather than using a traditional development, Badian introduces here a surprising feature in the form of a lovely brass Choral. The vox vagans violin solo continues to soar above the brass instruments’ smooth passage. This leads to an extended Coda, a unifying full orchestral restatement of the fugal material, conceived as a blend of all the thematic material presented in this movement.

Violin Concerto: II. Fugue by Maya Badian

Program Note:
Quote from, “Maya Badian, Her Life and Her Music: A Privilege to Soar” by Popovici, Fred, published by Pro Ars Publications, Ottawa, Canada, 2010: "The French violin virtuoso Jean-Jacques Kantorow (1945-) commissioned Maya Badian to compose a violin concerto, taking in consideration his virtuosity. In immediately accepting this commission to compose a 20th-century concerto for violin, Badian considered that it would be joining a huge and well-known body of existing repertoire.
The VIOLIN CONCERTO by Maya Badian is cast in a three-movement form:

I.- Prelude; II.- Fugue and Choral; III.- Sonata -, blending unusual fantasia-like cadenzas with a fugue, and ending with a contemporary sonata finale. The result is a virtuoso concerto for the solo violinist with fascinating orchestral components.
I.- PRELUDE, the first movement, is introduced by a solo cadenza, ad libitum, unusually coupled with timpani, and continues with a dialogue between alto-saxophone and the solo violin. This dialogue is a reflection of the introduction and is based on a free retrograde inversion of the thematic material in the cadenza. It is orchestrated with a parallel dialogue/trialogue between three orchestral groups - the strings, the brass, and the woodwinds. The strings enter first, followed by the brass and finally the woodwinds. The central portion of this opening movement is based on the idea of mixing polyphony with heterophony. As it develops, thematic material recalling the initial cadenza is used in the polyphonic texture. A closing cadenza, mirroring the opening cadenza, features again the solo instrument but this time accompanied by a snare-drum instead of the timpani.

Violin Concerto: I. Prelude by Maya Badian

Marimba & Vibraphone Concerto: III. Prepetuum Mobile by Maya Badian

Marimba & Vibraphone Concerto: II. Aria by Maya Badian

Marimba & Vibraphone Concerto: I. Preludio by Maya Badian

exclusive KALPA playable soundtrack

Google bit.ly/3DXE7c9
AppStore apple.co/3DWr7mP

illustrated by ZG

黄昏の協奏曲 / Twilight Concerto

Violin Concerto In G Minor 'Pacific' - I. Allegro Ma Non Troppo

Die Beschäftigung des Salzburger Geigers Benjamin Schmid mit dem Violinwerk W.A. Mozarts dauert nun schon mehr als vier Jahrzehnte an, wurde anfangs von den damaligen Mozarteums-Professoren Sándor Végh und Nikolaus Harnoncourt geprägt und erfuhr mit zunehmender Personalisierung seines Interpretationsstils zahlreiche Auszeichnungen. Auch seine erste CD-Einspielung im Jahre 1990 mit Mozarts Violinkonzerten Nr. 1 und 2 mit dem Mozarteumorchester Salzburg unter Hans Graf wurden von der Kritik als Entdeckung gefeiert. 32 Jahre und hunderte Aufführungen später komplettiert Benjamin Schmid nun seine Aufnahmen der Violinkonzerte mit dem schwedischen Orchester Musica Vitae, dessen musikalische Leitung er seit vergangenem Jahr innehat, und beschreibt seinen Weg mit folgenden Worten: „Als ein in Wien und Salzburg aufgewachsener Geiger war Mozart letztlich für mich immer der wichtigste Komponist; diese Vorliebe habe ich schon im Volksschulalter definiert, und das Interesse wuchs mit der Entdeckung des Gesamtwerks dieses vermutlich zumindest begabtesten aller Komponisten. Für mich liegt der Schlüssel zur Mozartinterpretation in der Dualität des Singens und der Klangrede; Gesang als unmittelbare Emotion sowie Phrasierung und Artikulation als formgebende Grammatik.“

Benjamin Schmid & Orchestra Musica Vitae - Konzert für Violine & Orchester Nr. 3 G-Dur KV 216

sarvatmanaha manogatat richaha kendrat
richaha saranthu lokartham sarvamanava manase
diptihi samayathu bhumao

sarvatmano hridayagatat premakendrat
prema purassarathu naranamm hridayeshu
kalki atma mahatmacha bhumau punahatishtathu

yatra devasya sankalpo bhavati tasmat kendrat
parama gatirnayathu dhiyo naranam
yad rishayo vidanthi kurvanthi cha

yamtcharanthi jatir naranam
tasmadavarohatu visvaprema pranalika
ayathu rupaam apanudatu mrityum sada
kantihi prema cha saktischa
samasthapayathu bhumau pranalika

Mahodaya

David Ludwig shares a Valentine's Day surprise for his wife Bella Hristova in his Violin Concerto!

Valentine's Day: David Ludwig Violin Concerto

Co-incidence

Nigror (Ritualis I.) for solo violin

Co-incidence pour violon solo, Op. 63

Oyuki (Ritualis II.) for solo violin

In-folio pour violon solo

Cirque du Soleil: the Jazzy Violin

by Roches & Kai 

jazzy violin: Rinatti La Roche
actress: Eirini Tornesaki (lead singer)(france)
violin concert: Cirque du Soleil (canada)

joint production in Vancouver Pacific Rim by Cirque du Soleil

celebrity cruise: 
Pan Pacific (canada place)
and Fairmont Pacific Rim
(in the port of Vancouver)

Jazzy Violin

This expansive, lyrical, passionate violin concerto is based on a few bars of several of the great violin concertos.

The first movement employs the most famous three notes of Sibelius' "Violin Concerto."  On the whole, the first movement, to me sounds more like a work that could have been written by a composer who studied with Shostakovich.

I am delighted to report, that composer Micah Levy has described my music as "A very powerful voice and endless creativity."

Violin Concerto No. 5 Mov. I

Dr. Maya Badian is a Contemporary Classical Music Canadian Composer of Romanian Origin. 
Maya Badian has more than 100 published original compositions including symphonies, orchestral music, concertos, cantatas, chamber music, music for multimedia, and musicology and pedagogy works. All her works are published and internationally distributed by Lucian Badian Editions. Her musical output is part of the collections of international libraries, such as Library and Archives Canada, The Library of Congress in Washington, D.C., Bibliothèque Božidar Kantušer, Paris, France, and of many music libraries across Canada, the USA, Europe, Australia, Japan, and National Library of New Zealand. 
”Maya Badian is an important composer, if it does not use some of the extreme devices discovered by earlier 20th century composers, Badian’s music does reflect the accumulated wisdom of a century of experiment and invention.” – The Ottawa Citizen
Dr. Maya Badian have her life and achievements reflected in an international biography work: The Life and The Music of Maya Badian, A Privilege to Soar by Fred Popovici, Pro ARS Publications, Ottawa, 2010.
“An internationally acclaimed composer” – as described in Orchestral Works CD Review, Winnipeg Sun, 1999.
Dr. Badian is a member of the Canadian Music Center, Canadian League of Composers, Association of Canadian Women Composers, Ottawa New Music Creators, Romanian Union of Composers and Musicologists, Union of Composers and Musicologists of Moldova.

>>> 

after a decade of relentless performances on MTV, Alex Roch & the Flying Dutchman co-founded two (nightclubs) in Pacific Rim®

>>> the Flying Dutchman® & Pan Pacific®

>>> the 1st Flying Dutchman® (nightclub) in Pacific Rim was opened in 2003 in Vancouver Granville Island >>> one of the first exotic Disney parks in Atlantis overseen by Walt Disney himself.

>>> the 2nd Flying Dutchman® (nightclub) is located next to Bauhaus® >>> in exotic mini island, surrounded by tic tonic plates in Pacifica, Pacific Rim is a hidden-gem with surreal gothic waterfronts/mountains & exotic alien nature

for franchise investors >>>  and for stockholders >>> contact Alex Roch (alex.roch@usa.com)

>>> for exotic DJ parties in Pacific Rim, join us in Pan Pacific® & enjoy the show

Als österreichischer Ableger des tschechisch/englischen Schallplattenproduzenten gleichen Namens wurde Gramola im Jahr 1924 in Wien gegründet und ist seit damals in allen Tätigkeitsbereichen rund um die Klassische Musik aktiv. Der Schwerpunkt hat sich in den letzten Jahren auf die CD-Produktion verlagert und Gramola ist mit etwa 30 Produktionen jährlich schon seit einiger Zeit Österreichs Klassikproduzent mit der höchsten Produktionsrate. Gramola hatte zunächst natürlich die großen Komponisten der Wiener Klassik, wie Haydn, Mozart, Beethoven und Schubert, im Focus. Im Vordergrund der Produktionsaktivitäten steht jetzt aber auch die Förderung junger österreichischer Musiker und nicht zuletzt die Zusammenarbeit mit "Exilarte", die sich der Musik ermordeter und exilierter Komponisten widmet.

I compose the work inspired from hindu philosophy and christian myticism.

Kenneth Lieberson is a composer of symphonies, concertos, tone poems, theater and chamber music, songs, a cantata and a one act opera. His music has been heard on National Public Radio, at The Library of Congress, Lincoln Center, Queens College, NYU, Stony Brook, CAMI Hall, Merkin Hall and at high and middle schools. His B. M. and M. M. are from Juilliard. He also earned an M.B.A. at NYU's Stern School of Business.

Mr. Lieberson has also written two novellas, dozens of short stories and hundreds of poems.  He illustrated some of these.

New tracks tagged #Violin concerto