Dominant Violin Strings
admin
December 22, 2011
Violins
No Comments
Tags: dominant violin strings, dominant violin strings colors, dominant violin strings review, dominant violin strings set, dominant violin strings uk
Bestselling Jargar 44 Cello String Set Medium
|
|
Strings $11.98 Altoist Jim Snidero is the main soloist throughout this showcase, backed by ten strings (including violinist Mark Feldman) and assisted by pianist Renee Rosnes. Snidero did all of the arranging and contributed six of the pieces, including his three-part “River Suite.” Although there are variations in the tempos, Snidero is at his best on ballads where his lyrical style and attractive sound are well-featured. The strings are integrated well into the music, the melodies are generally strong, and Jim Snidero balances a style influenced a little by Sonny Stitt with some post-bop improvising. This is one of his finest recordings to date. ~ Scott Yanow, Rovi Performers: Kenji Bunch – Viola; Mary Wooten – Cello; Ralph Farris – Viola, Violin; Tomas Ulrich – Cello; Billy Drummond – Drums; Cenobia Cummings – Violin; Jim Snidero – Flute, Sax (Alto); Joyce Hammann – Violin; Laura Seaton – Violin; Mark Feldman – |
|
|
Mendelssohn/Cto For Violin And Strings $3.99 Mendelssohn/Cto For Violin And Strings |
|
|
Essential Elements for Strings – Violin $4.84 Essential Elements for Strings – Violin |
|
|
Essential Technique for Strings – Violin $4.84 Essential Technique for Strings – Violin |
|
|
Violin Concerto, Introduction And Allegro For Strings $8.99 Violin Concerto, Introduction And Allegro For Strings |
|
|
Andrea Zani: Concertos for Violin & Strings $18 Andrea Zani: Concertos for Violin & Strings |
|
|
Barber: Adagio for Strings; Violin Concerto $10.05 Barber: Adagio for Strings; Violin Concerto |
|
|
Respighi: Violin Concerto; Suite for Strings $8.47 Founded in 2006 by composer and conductor Salvatore di Vittorio, the New York Chamber Orchestra ‘Ottorini Respighi’ has among its goals the promotion of Respighi’s works. This is a noble and worthwhile endeavor as many listeners are undoubtedly unfamiliar with the bulk of Respighi’s vast output apart from the extremely popular Roman Trilogy. The orchestra is made up entirely of young professional musicians, a model found less frequently in the U.S. than abroad. Listening to this Naxos album, di Vittorio’s orchestra sounds every bit as mature and seasoned as more veteran orchestras. The program features di Vittorio’s own revised version of the Suite for strings, a work that can easily be counted among the great string serenades of Tchaikovsky, Elgar, and Dvorák. In the suite, the able-bodied chamber orchestra produces a wonderfully rich, velvety tone that ideally complements Respighi’s melodious writing and expert scoring. The same appealing sound quality is achieved when the winds and brass join in for the Rossiniana Suite for orchestra. Top billing on the program goes to the A major Violin Concerto, P. 49. This concerto went unfinished by Respighi, and is heard here in a completed and revised version by di Vittorio. Though the work is interesting, it is also the least successful on the album. Respighi’s trademark lush orchestration and suave writing are absent here. What’s more, violinist Laura Marzadori’s playing of the solo part is sometimes strained and occasionally marred intonation difficulties. Still, the recording fills a gap in recordings of Respighi’s oeuvre and is more than worthwhile for the Suite for strings alone. ~ Mike D. Brownell, Rovi Performers: Laura Marzadori – Violin |
|
|
Elgar: Violin Concerto; Serenade for Strings $17.58 In its way, this is as fine a recording of Elgar’s Violin Concerto as has ever been made. As befits this intensely romantic work, its way is passionate, intimate, and persuasive. But, as befits the intensely reticent composer, it is also restrained, reserved, and objective. In other words, don’t expect the emotional displays of violinists like Menuhin, Perlman, or Zukerman in this performance by young Canadian violinist James Ehnes. While his technique is immensely impressive — there’s nothing in this enormously difficult work he can’t play with ease and assurance — it is Ehnes’ interpretation that really makes his recording stand out. Like the composer who famously hid his emotions behind riddles and enigmas, and the work that manifestly wears its heart on its sleeve even as it holds back from complete surrender, Ehnes does not reveal his heart in this performance but rather reveals the music’s heart, letting Elgar’s artistry speak for itselfe. Accompanied by the seasoned Andrew Davis leading the venerable Philharmonia Orchestra, Ehnes turns in a performance that, in its almost understated way, demands to be heard by anyone who loves the work. As a filler, Davis and the Philharmonia add a suave but very sentimental reading of Elgar’s Serenade for Strings. Recorded in part in performance and in part in rehearsals, Onyx’s digital sound is a bit heavy and a tad distant, but still clear enough and quite lush. ~ James Leonard, Rovi Performers: James Ehnes – Violin |
|
|
Especially For Strings-Violin 2 $3.95 By Robert Frost. Orchestra. For violin 2. Especially for Strings. Grade 2. Music book. Published by Neil A. Kjos Music Company |
|
|
Essentials For Strings-Violin $6.5 By Gerald E. Anderson. Orchestra. For violin. Essentials for Strings. Intermediate. Method book. Published by Neil A. Kjos Music Company |
|
|
Especially For Strings-Violin 1 $3.95 By Robert Frost. Orchestra. For violin 1. Especially for Strings. Grade 2. Music book. Published by Neil A. Kjos Music Company |
|
|
Chamber Works For Violin And Strings (New Hellenic Quartet) $10.49 Chamber Works For Violin And Strings (New Hellenic Quartet) |
|
|
Adagio For Strings, Violin Concerto, Cello Concerto $4.49 Adagio For Strings, Violin Concerto, Cello Concerto |
|
|
Violin Sonata, Dreaming, Quartet For Strings (Ambache) $10.49 Violin Sonata, Dreaming, Quartet For Strings (Ambache) |
|
|
Elgar: Violin Concerto; Introduction and Allegro for Strings; Etc. $15.87 Elgar: Violin Concerto; Introduction and Allegro for Strings; Etc. |
|
|
Wedding Trios for Strings Violin A $9 Arranged by Deborah Greenblatt. String Trio. For violin 1. Trios for Strings. Wedding. Part book. Standard Notation. 48 pages. Published by Greenblatt & Seay |
|
|
Harmonized Rhythms For Strings, Violin $5.95 “By Charles Forque. Edited by James Thornton, Gerald Anderson. Orchestra. For violin. Harmonized Rhythms for Strings. Intermediate. Method book. Published by Neil A. Kjos Music Company” |
|
|
Champion Strings – Violin $6.5 Edited by Miltona Moore. Orchestra. For violin. Champion Strings. Instructional and Method. Elementary. Instructional book. Published by Neil A. Kjos Music Company |
|
|
Barber: Violin Concerto; Piano Concerto; Adagio for Strings $9.59 Active throughout his long lifetime, Samuel Barber was one of a group of American composers whose musical ideals seemed to focus on the aesthetics of the Romantic era rather than seeking to define a uniquely American style in the manner of Copland, Gershwin, or even Bernstein. His penchant for Romanticism, lush orchestration, and soaring melody secured a position of respect and admiration throughout his lifetime and into the present. This 2009 Sony reissue presents two of Barber’s three main concertos along with three of the shorter orchestral works that catapulted his career. The disc opens with a 1964 recording of the Violin Concerto performed by Isaac Stern with the New York Philharmonic under Leonard Bernstein. This particular performance, though essentially solid, is one of more interest to historical recording fans than first-time listeners. Stern’s playing is just not as lush, connected, or effortless as it needs to be. The Presto finale is taken at a rather leisurely, unexciting tempo. Hilary Hahn and the Saint Paul Chamber Orchestra provide a superior alternative. The program continues with a 1964 performance of the Piano Concerto with John Browning (who premiered the work) with the Cleveland Orchestra and George Szell. The Barber concerto has long been one of Browning’s trademark works and commands the work as much now as he did in the ’60s. Here again, though, more modern recordings (the release with Leonard Slatkin and the Saint Louis Symphony in particular) offer a more vibrant, lush sound quality. Eugene Ormandy and the Philadelphia Orchestra achieve this warmth and richness in their 1957 performance of the Adagio for strings and the New York Philharmonic’s playing of the Second Essay and the Overture for the School for Scandal is equally committed. ~ Mike D. Brownell, Rovi Performers: Isaac Stern – Violin; John Browning – Piano |
|
|
Royal Strings $14.38 The strings were first orchestral instruments to reach their modern state, and they have always been at the very core of the ensemble. There’s also an extensive repertoire of music originally written for strings that has been adapted time and again by composers and conductors alike. With Telarc’s 2001 release of Royal Strings, Maestro Charles Rosenkrans and the Royal Philharmonic Orchestra have created an anthology of some of the most lyrical and varied selections from the vast string repertory. Royal Strings spans over two hundred years of music. The recording opens with an uneventful reading of Felix Mendelssohn’s Allegro Moderato from his. The second piece on this recording is a rather staccato and quick interpretation of Ralph Vaugh-Williams Fantasia on Greensleeves, like many interpretations of this work it’s either done too fast or too slow, and rarely just right, fortunately Cleo Gould’s lush violin work is the saving grace for this piece as you can almost hear the bow on the neck of the instrument as she wistfully caresses the notes from the strings. The third track on this recording, Antonin Dvorak’s Moderato is uneventful and bland, almost without character; but the work that follows, Tomaso Giovanni Albinoni’s dirge-like Adagio for Strings may, quite possibly, be the freshest rendition of this piece to date. Cleo Gould brings this piece to life as well with her gently evocative violin performance. Royal Strings moves on through six more tracks of uneventful and overly programmed works. Gould’s performances on this recording are the highlight. This recording is worth having just to hear the pieces that she plays on. This is a well done recording, but the works on the recording have been done quite a bit and Maestro Rosenkrans doesn’t breathe new life into any of the performances, they are, merely, rerecorded. ~ Matt Borghi, Rovi Performers: Christine Jackson – Cello |
|
|
Gypsum Strings $11.98 From listening to the opening guitar lick of “Confidence Man,” you can tell Gypsum Strings is like no Oakley Hall album before it. The quick-as-lightning distorted guitar and the accompanying bass groove set the tone for the rest of the album — it’s raw, grimy, and immediately striking. On Gypsum Strings, Oakley Hall strays from the alt-country-rock that has taken the center stage on the band’s previous studio albums. The twang is still present, but this album, the second to be released by the band in 2006, spends more time experimenting with distortion and muddy tones than the tried and true country sound. But at times, Claudia Mogel’s once omnipresent violin is missed, it’s there, but, with the exception of the rollicking “If I was in El Dorado,” it’s not as noticeable as it is on Second Guessing. But where the violin is lacking, the banjo comes in full-force, like on “Bury Your Burden.” It’s a smooth, gentle song, unique in its melancholy beauty. The banjo steps into the spotlight for a version of a public domain song, “Spanish Fandango.” Gypsum Strings is more riff-heavy than their other albums, and Fred Wallace’s guitar, especially on “House Carpenter,” another public domain song (with a mysterious edge thanks to Rachel Cox’s incredible vocals), give this album a unique, eerie, and, above all, loud allure. Where as Second Guessing, released just four months earlier, was largely an upbeat album, Gypsum Strings is far more moody, dark, and ominous. It’s slow and brooding just as often as it is vivid and lifting. Gypsum Strings is every bit as excellent as its most recent predecessor, it’s just completely different. ~ Megan Frye, Rovi Performers: Brian Chase – Tabla; Claudia Mogel – Fiddle, Vocals; Fred Wallace – Lap Steel Guitar, Banjo, Guitar; Pat Sullivan – Dulcimer, Organ, Vocals, Guitar; Barry London – Piano; Greg Anderson – Drums; Jesse Barnes – Vocals, Bass; Rachel Cox – Guitar, Vocals |
|
|
Ermanno Wolf-Ferrari: Violin Concerto, Op. 26; Serenade for Strings $13.58 Performers: Ulf Hoelscher – Violin |
|
|
Strings Attached $9.58 Although this is technically a set featuring cornetist Peter Ecklund with strings, there is actually no real string section. The “strings” include (on various tracks) guitarists Frank Vignola, Chris Flory, Molly Mason, and Marty Grosz, bassists Greg Cohen and Murray Wall, violinist Jay Ungar, banjoist Cynthia Sayer, and Kenny Kosek on mandolin, plus Scott Robinson on various reeds, Lenny Pickett on clarinet and tenor sarrusophone (!), and drummer Richard Crooks. Ecklund contributed nine originals to the 16-song set, which also includes “Try a Little Tenderness,” “I’ll Be a Friend With Pleasure,” and “Jubilee.” The fresh material, constantly changing instrumentation, and Ecklund’s consistently excellent playing make this CD easily recommended. ~ Scott Yanow, Rovi Performers: Lenny Pickett – Sarrusophone, Clarinet; Peter Ecklund – Whistle (Human), Cornet, Guitar; Cynthia Sayer – Banjo; Kenny Kosek – Mandolin; Chris Flory – Guitar, Guitar (Electric); Frank Vignola – Guitar; Greg Cohen – Bass; Jay Ungar – Violin; Marty Grosz – Guitar; |
|
|
Strings for Holiday $11.18 Always eager to record in new situations, on this CD Lee Konitz is showcased with a string sextet (two violins, violas and cellos), bassist Michael Formanek and drummer Matt Wilson. The cool-toned altoist pays tribute during a dozen songs to both Billie Holiday and (in a more subtle fashion) tenor great Lester Young, two of his early idols. Daniel Schnyder contributed all of the arrangements for the set. Rather than weighing down the proceedings, Schnyder has the strings adding rich harmonies and phrases that seem to anticipate the leader’s phrases, and they even swing. Lee Konitz, who added a vibrato to his sound for the project so he could recreate some of Billie Holiday’s feeling, handles the ballads and medium-tempo material beautifully. Highlights include “The Man I Love,” “I Cried For You,” “All Of Me” and “Easy Living.” A memorable and heartfelt effort by all concerned. ~ Scott Yanow, Rovi Performers: Daniel Pezzotti – Cello; Erik Friedlander – Cello; Jill Jaffe – Viola; Michael Formanek – Double Bass; Ron Lawrence – Viola; Cenovia Cummins – Violin; Lee Konitz – Sax (Alto); Mark Feldman – Violin; Matt Wilson – Drums |
|
|
Strings Of Praise – Violin $14.95 Arranged by Stan Pethel. For violin (Violin). Shawnee Press. Softcover with CD. 56 pages. Shawnee Press #SB1055. Published by Shawnee Press |
|
|
Apron Strings $11.98 The Memory Band played richly textured, mild-mannered guitar-based folk music with some influences from vintage British folk and folk-rock on Apron Strings, their second album. Instrumentally, they’re most distinguished from other acts working in similar territory by their prominent use of both violin and viola, usually in the same track. Listen to the opening instrumental, a version of the traditional warhorse “Blackwaterside,” and you’ll be reminded of Donovan songs like “The Fat Angel,” though the vibe is here relayed in a more detached, somber fashion. There’s some other traditional material on the album too (as well as an unexpected cover of Ronnie Lane’s “The Poacher”), though most often the songs are the work of guitarist-founder Stephen Cracknell, and convey an autumnal, slightly melancholic outlook. The use of both male and female vocals (Cracknell and Nancy Wallace being the most prominent contributors in that regard) helps vary the moods, but the singing, and to a lesser degree the playing, would benefit from some more intensity and emotion. ~ Richie Unterberger, Rovi Performers: Rob Spriggs – Viola; Adem Ilhan – Bass, Vocals; Alan Doyle – Cello, Guitar (12 String); Jennymay Logan – Violin; Nancy Wallace – Harmonium, Guitar, Vocals; Simon Lord – Bass, Vocals; Stephen Cracknell – Vocals, Percussion, Guitar, Bass |
|
|
cecilio CVNSTRINGS Violin Strings $70.2 A set of violin strings (G D A E). Available in sizes: 1/32 1/16 1/10 1/8 1/4 1/2 3/4 and 4/4. Huge selection to choose from. Designed to suit any budget. High quality components. Satisfaction ensured. |
|
|
Gypsy Strings $15.18 The downside — or it may well be the upside — of this British release is that members of established audiences who buy it probably won’t get what they expect. It’s an exuberant piece of work that fearlessly combines kinds of musicians that likely have never been put together before. Gypsy Strings is far from a traditional recording of gypsy music — it’s way too arranged for that, and it gives the strings of the London Concertante a lot to do. Yet it’s not gypsy music arranged for classical or light-classical ensemble, either. The focus is squarely on the two violinists, Britain’s Adam Summerhayes (also known for his work with the experimental crossover ensemble ZUM) and Bulgaria’s Emil Chakalov. Both are classically trained, yet both have roots music in their backgrounds, and there is improvisation going on at every level of the performance. The pieces mix traditional tunes with original compositions by Summerhayes (track 5, The Lark, is by Grigoras Dinicu, who also wrote Hora Staccato), but the compositional element from Summerhayes is more akin to what a jazz composer like Bill Evans does to composition than in the classical sense: he proposes sets of elements for the players to work with, providing in most cases the framework of an arrangement. Improvisation can, and does, jump over the ostensible boundaries of the work at any time. Summerhayes brings a lot of jazz to gypsy music, and of course he is not the first to attempt that combination. But he never falls into a well-established groove of gypsy swing; he pushes the music into odd forms and spectacular string-orchestra accompaniments. Sample the little Last Train to Barking for an idea of the madly pour-spices-into-the-pot atmosphere here: the piece is blues, set to a traditional Bulgarian wedding dance rhythm (in 11/16 time, no less), with a sort of punk energy and a string section that seems to force simpler rhythms across the patterns laid down by the two solo violins — all in a minute and 50 seconds. The whole album is a lot of fun — maybe too much fun for some listeners who will find it a bit overstuffed, but never dull in the least. ~ James Manheim, Rovi Performers: Adam Summerhayes – Violin; Emil Chakalov – Violin; Emil Chakarov – Violin |
|
|
Touch Strings $15.18 As its title implies, Touch Strings culls works for or involving string instruments. This two-CD set fits squarely in Phill Niblock’s œuvre: fans will not be surprised (or disappointed), and detractors will not be changing their minds. There are at least two ways to experience Niblock’s music. One is to stick to the surface and find in his lengthy drones (“Stosspeng” is a full hour long) a calm, static, introspective music that can provide the ultimate background for meditation. The other is to turn up the volume and immerse yourself in it (no headphones though, never with Niblock) to explore his near-infinte world of incremental changes engineered through the use of quasi-unisons obtained from multiple octaves and multi-tracking near identical notes, and the flapping effects they produce. His soundworld is in constant flux — a slow, hypnotic movement that happens as much within the listener as between the loudspeakers. Disc one is entirely devoted to “Stosspeng.” Here, Niblock is using drone samples from Susan Stenger (guitar) and Robert Poss (bass) to build a very quiet and delicate one-hour piece ranking among his most enjoyable to simply listen to. Disc two features to shorter pieces: “Poure” (24 minutes) and “One Large Rose” (46 minutes). “Poure” is built from multi-tracked samples provided by cellist Arne Deforce. Here we have less flapping and more grating, as tones are separated enough to be clearly perceived as out of tune. The piece remains sedate and majestic, but its texture is unnerving and disquieting, awaiting a resolution that will never happen. “One Large Rose” takes a different path to reach a similar goal: The Nelly Boyd Ensemble (cello, piano strummed with nylon strings, violin, acoustic bass guitar strummed with nylon strings or e-bow) is heard performing a 45-minute score of microtones four times, each take having been recorded throughout, and each time the musicians playing a different set of microtones. Whereas the other tracks feature a lot of post-recording work (altering tones, layering, etc.), here Niblock limited his interventions to lining up the takes and mixing them to stereo. The piece starts rather angelic and very gradually builds up to a gritty form of atonality. Touch Strings is not what you would call an exciting listen, but Niblock’s approach remains relevant, and there is an endearing clarity and simplicity to his artistic concepts. ~ François Couture, Rovi Performers: Jan Feddersen – Guitar (Nylon String), Piano; Robert Poss – Bass; Susan Stenger – Guitar |
|
|
Irish Trios for Strings Violin B $9 Arranged by Deborah Greenblatt. String Trio. For violin 2. Trios for Strings. Irish Folk. Part book. Standard Notation. 50 pages. Published by Greenblatt & Seay |
|
|
Wedding Trios for Strings Violin B $9 Arranged by Deborah Greenblatt. String Trio. For violin 2. Trios for Strings. Wedding. Part book. Standard Notation. 48 pages. Published by Greenblatt & Seay |
|
|
Wedding Trios for Strings Violin C $9 Arranged by Deborah Greenblatt. String Trio. For violin 3. Trios for Strings. Wedding. Part book. Standard Notation. 48 pages. Published by Greenblatt & Seay |
|
|
Worms With Strings $14.38 Ignore the puerile musings by the good professor, and instead enjoy his slightly demented music, which includes a collection of tracks from four different conglomerations, recorded over the course of five years. Concentrating on various combinations of strings, Chadbourne leads with his acoustic banjo and guitar. Most of the pieces are multitracked performances with Chadbourne overdubbing on guitars, banjos, and assorted homemade instruments, while one features mandolin soloist Barry Mitterhof with a trio. Others add accordion, bassoon, and oboe, and the results, if not electrifying, should please admirers of Chadbourne. While some might find the extensive doodling tiresome, there is no question that the humor, creativity, and incomprehensible melange add up to a good time. ~ Steve Loewy, Rovi Performers: Brian Ritchie – Shakuhachi, Guitar (Bass), Guitar (Acoustic); Leslie Ross – Bassoon; Barry Mitterhoff – Mandolin; Carrie Shull – Oboe; Eugene Chadbourne – Banjo; George Cremaschi – Contrabass; Tony Trischka – Banjo; Carla Kihlstedt – Violin; Ted Reichman – Accordion, Piano |
|
|
Dominant Domain $15.98 Fans of John Scofield, Pat Metheny, and Mike Stern are going to find a good deal to enjoy here. Peter Kienle on guitars and guitar synth is a strong, inventive player. Monika Herzig keeps things full-sounding, be-boppin’, and soulful on keyboards. “Quiet Earth” opens things in a laidback, meandering groove. Guesting is Miles Davis alumnus, Bob Berg, on tenor sax. Tom Clark, saxes and flute, brings that Bill Evans style to mind on a Chick Corea-like/ Mark Egan and Elements sounding track called “Tell Me Your Stories.” Also guesting are Ron Brinson on drums and Jeff Nearpass on percussion and marimba. Beeble Broxian Paul Surowiak is always steady and flowing on drums throughout. Jack Helsley provides faultless and inspired acoustic and electric bass. On “Now What?,” in a Latin American way, Clark, Kienle, and Herzig have plenty of time to stretch. Probably, the most enthralling, take-your-mind-faraway, signature piece was “A German in New York.” This song and “The Third Passenger” clearly establish Herzig as a fine composer. “Half Past Forever” was my favorite piece for fusiony guitar work. ~ John W. Patterson, Rovi Performers: Jeff Nearpass – Marimba, Percussion; Bob Berg – Sax (Tenor); Jack Helsley – Double Bass, Bass (Electric), Bass; Monica Herzig – Piano, Keyboards; Paul Surowiak – Drums; Peter Kienle – Guitar (Synthesizer), Guitar Synth, Guitar; Ron Brinson – Drums; Tom Clark – Flute, Sax (Tenor), Sax (Soprano) |
|
|
Broadway Favorites For Strings – Violin $6.99 Arranged by Lloyd Conley. For violin. Hal Leonard Essential Elements String Method. Broadway. Difficulty: medium. Violin solo songbook (no accompaniment). 36 pages. Published by Hal Leonard |
|
|
Introduction to Artistry in Strings Violin $7.95 “By Robert Frost. Edited by Gerald Fischbach, Wendy Barden. Orchestra. For strings. Method book. Artistry in Strings. Primer. Music book. Published by Neil A. Kjos Music Company” |
|
|
Dominant Curve $11.98 Despite the hip name and the intricate, rather Yellow Submarine-like design, this release by the string quartet Brooklyn Rider is less closely tied to popular traditions than any number of other releases by the many contemporary groups that have followed the model of the Kronos Quartet. The influences here come instead from musical traditions around the world. Several of the works are connected with the centerpiece, Claude Debussy’s String Quartet in G minor, Op. 10; the opening Achille’s Heel refers to Debussy’s middle name, while Uzbek composer Dmitri Yanov-Yanovsky’s … al niente quotes the quartet itself, which in turn shows numerous effects of Debussy’s encounter with the music of Java and Bali. John Cage’s In a Landscape, composed in 1948 and altogether one of his less radical pieces, is oriented toward Asian traditions more generally, and an added electronic track by Justin Messina brings another cyclical dimension to a program with a lot of them. Shakuhachi player Kojiro Umezaki’s (Cycles) what falls must rise neatly incorporates traditional Japanese melody into the wider concept. Best of all, Brooklyn Rider’s performance of the Debussy itself achieves the goal of defamiliarizing the work, without which the entire project would founder. They deliver a brisk, punchy reading that sets up the music’s rhythmic experiments in an unusual way. All the music is more or less tonal, and each work treats the instruments of the string quartet in a different way without fundamentally departing from the conventions of the ensemble. Rather puzzling notes are in English only. ~ James Manheim, Rovi Performers: Justin Messina – Electronics; Kojiro Umezaki – Shakuhachi, Electronics |
|
|
Becker 1000A Violin 1/2 $317.93 Crafted in Romania from select seasoned woods with graduated solid spruce top, solid maple back, maple sides, solid maple scroll and neck, inlaid purfling, ebony fingerboard, pegs, nut, saddle and tailpiece, fully fitted Bausch maple bridge, composite chinrest, four Wittner string adjusters, DAddario Prelude strings or Dominant Strings upgrade option, Wittner tailpiece adjuster. Choice of red-gold polished lacquer gloss or gold-brown satin finish. Set up and adjusted to MENC specifications. Includes: TKL Zero Gravity backpack case, wood horsehair bow, rosin |
|
|
Becker 1000F Violin 1/8 $337.77 Crafted in Romania from select seasoned woods with graduated solid spruce top, solid maple back, maple sides, solid maple scroll and neck, inlaid purfling, ebony fingerboard, pegs, nut, saddle and tailpiece, fully fitted Bausch maple bridge, composite chinrest, four Wittner string adjusters, DAddario Prelude strings or Dominant Strings upgrade option, Wittner tailpiece adjuster. Choice of red-gold polished lacquer gloss or gold-brown satin finish. Set up and adjusted to MENC specifications. Includes: SKB thermoplastic molded case, wood horsehair bow, rosin |
|
|
Becker 1000G Violin 4/4 $354.77 Crafted in Romania from select seasoned woods with graduated solid spruce top, solid maple back, maple sides, solid maple scroll and neck, inlaid purfling, ebony fingerboard, pegs, nut, saddle and tailpiece, fully fitted Bausch maple bridge, composite chinrest, four Wittner string adjusters, DAddario Prelude strings or Dominant Strings upgrade option, Wittner tailpiece adjuster. Choice of red-gold polished lacquer gloss or gold-brown satin finish. Set up and adjusted to MENC specifications. Includes: SKB thermoplastic sculpted case with interior shoulder rest compartment, Glasser horsehair bow, rosin |
|
|
Molinari 321-4 Romanian – High Quality 4/4 Size Professional Violn Outfit (oil finish) $499 This Molinari Euorpean professional VENETIAN SERIES violin is hand-crafted in Romania It features (DOMINANT STRINGS), an OIL finish, hand-carved tight grain solid spruce top, solid HIGHLY FLAMED maple back & sides, ebony fingerboard, pegs, chinrest, endpin, & deluxe tailpiece. One fine tuner. Includes an octagonal Brazil wood horsehair wood bow and a deluxe plush oblong canvas case. Size: 4/4 Only |
|
|
Silver Creek Model 4 Violin 4/4 Outfit $599.99 These remarkably affordable Silver Creek violins are crafted by European luthiers who work with carefully selected and aged tone woods from the Carpathian forest. This Stradivarius Model 4 Violin has a carved spruce top with carved flamed maple back, sides, neck, and scroll. It also has deluxe ebony pegs, purfling, and tailpiece with 1 fine tuner, a Guarneri chin rest, German maple bridge, and beautiful hand-rubbed spirit finish. Set up and shop adjusted in the U.S., the outfit comes with Thomastik Dominant strings, lightweight casewith hygrometer, 4-bow holder, string tube, 3 inside pockets, soft blanket, and Brazilwood half-lined bow stick.Crafted in Europe of select woodsStradivarius modelHand-graduated spruce topCarved and flamed maple back, sides, and neckEbony fingerboard, pegs, and tailpieceSingle fine tuner on E-stringHand-rubbed spirit varnish finishThomastik Dominant stringsSet up and shop adjusted in the U.S.Brazilwood half-lined bowLightweight caseHygrometer4-bow holderString tube3 inside pocketsSoft blanket |
|
|
Thomastik Dominant 1/16 Size Violin Strings 1/16 D String $16.1 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 1/16 Size Violin Strings 1/16 G String $17.45 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 1/16 Size Violin Strings 1/16 Wound E String, Ball End $8.2 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 1/2 Size Violin Strings 1/2 Steel E String, Ball End $5.15 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 1/2 Size Violin Strings 1/2 Wound E String, Ball End $8.2 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 3/4 Size Violin Strings 3/4 Set, Steel E String, Ball End $42.95 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 3/4 Size Violin Strings 3/4 Steel E String, Ball End $5.15 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 3/4 Size Violin Strings 3/4 Wound E String, Ball End $8.2 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color |
|
|
Thomastik Dominant 4/4 Size Violin Strings 4/4 A String $11.35 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant 4/4 Size Violin Strings 4/4 Set, Steel E String, Ball End $38.99 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant 4/4 Size Violin Strings 4/4 Set, Wound E String, Ball End $45.47 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant 4/4 Size Violin Strings 4/4 Steel E String, Ball End $5.14 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant 4/4 Size Violin Strings 4/4 Steel E String, Loop End $5.15 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant 4/4 Size Violin Strings 4/4 Wound E String, Ball End $8.19 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant 4/4 Size Weich (Light) Violin Strings 4/4 D String, Silver $17.45 Comparable in sound to gut, without gut’s disadvantage. These strings have a highly flexible, multi-strand nylon core and cater to artists who feel uncomfortable with steel strings. The resounding success of the Dominant string owes a lot to its similarity in tone and response to gut strings, without gut’s inherent drawbacks.The sound of the Dominant string is full and mellow, yet rich in overtones. Its radiance, its ability to project sound without being metallic, comes to the fore both in arco and pizzicato. Other advantages are Dominant’s effortless response to intricate fingering and its tuning stability even under extreme atmospheric conditions. But Dominant’s beauty of tone is not as long-lasting as that of a steel string, a price the discerning musician will be prepared to pay for this quality of sound. Dominant strings should be changed at appropriate intervals to ensure continuity of tone color. |
|
|
Thomastik Dominant Rosin for Violin & Viola $8.95 A natural rosin engineered to optimize the performance of synthetic core strings. |