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Thomas Adès

Adès: Violin Concerto

Concentric Paths

$ 39.99
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Faber  |  SKU: 0571541887  |  Barcode: 9780571541881
  • Composer: Thomas Adès (1971-)
  • Format: Solo Part with Piano Reduction
  • Instrumentation (this edition): Piano Reduction, Violin
  • Originally for: Violin, Orchestra
  • Work: Violin Concerto (Concentric Paths)
  • ISBN: 9780571541881

Description

Thomas Adès's Violin Concerto Concentric Paths , written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti's. Cast in three contrasting movements—each linked by a preoccupation with circling musical figures— the concerto, subtitled Concentric Paths now occupies a place in standard repertoire. Two lithe, rhythmically driven movements, "Rings" and "Rounds" bookend "Paths," an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. This is the violin part and piano reduction.

"In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space." The Guardian (Tom Service)

Faber

Adès: Violin Concerto

$ 39.99

Description

Thomas Adès's Violin Concerto Concentric Paths , written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti's. Cast in three contrasting movements—each linked by a preoccupation with circling musical figures— the concerto, subtitled Concentric Paths now occupies a place in standard repertoire. Two lithe, rhythmically driven movements, "Rings" and "Rounds" bookend "Paths," an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. This is the violin part and piano reduction.

"In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space." The Guardian (Tom Service)

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