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Harry Chapin's album Dance Band on the Titanic (1977) is dedicated to the Titanic's ensembles and contains a song titled "Dance Band on the Titanic" The album Titanic: Music As Heard On The Fateful Voyage (1997), [55] by Ian Whitcomb and the White Star Orchestra, recreates songs played aboard the Titanic the night the ship foundered, and ...
Violin Concerto No. 1 in G minor, Op. 3 (1851), in one movement, dedicated to Franz Liszt; Violin Concerto No. 2 in D minor "in the Hungarian manner", Op. 11 (1861) Violin Concerto No. 3 in G major, WoO (1875) David Johnstone. The Four Seasons, for Violin solo and string orchestra (pub. 2008)
Violin Solo Sonata No. 1 (1940) -dedicated to Ruggiero Ricci- (I. Praeludium con bravura; II. Cantabile; III. Allegro) Philip Glass "Strung Out", for solo amplified violin (1967) "Knee Play 2", violin solo from Einstein On The Beach; Partita for solo violin (2010/11) -dedicated to Tim Fain- (I. Opening; II. Dance 1; III.
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The violin is primarily used as support for a vocalist, as the sound of a violin complements that of the singer, but is also largely played solo. In solo violin concerts, the violinist is accompanied by percussion instruments, usually the tabla, the mridangam and the ghatam. The violin is also a principal instrument for Indian film music. V.
Titanic: Music from the Motion Picture became the highest-selling primarily orchestral film score in history, with worldwide sales surpassing 30 million copies. The soundtrack quickly moved up the US Billboard 200 , going from number eleven to number one on the chart in January 1998, keeping Shania Twain's Come On Over and Madonna's Ray of ...
The Concerto Grosso No. 1 was the first of six concerti grossi by Soviet composer Alfred Schnittke.It was written in 1976–1977 at the request of Gidon Kremer and Tatiana Grindenko who were also the violin soloists at its premiere on 21 March 1977 in Leningrad together with Yuri Smirnov on keyboard instruments and the Leningrad Chamber Orchestra under Eri Klas. [1]
In 2006, The Washington Post characterized Salerno-Sonnenberg as a "fiercely original, deeply emotive violinist". Over the 25 years she had already been concertizing, "her playing, always mercurial and exciting but occasionally a little scattershot, has become positively reliable, both musically and technically, without losing any of the wild electricity that always set her apart."