Arrangements for Viola (Violoncello) and Organ. Par . This volume contains works inspired by the Jewish musical tradition, arranged for viola (or alternatively for violoncello) and organ. The music takes its bearings on the inimitable and highly emotional melodies of synagogue chant and Jewish folk music. The pieces are suitable for worship, private devotions as well as concert performance and can easily be tackled by amateur musicians. The arrangements shed light on a little-known but valuable repertoire. The Foreword (Ger/Eng) provides an historical overview of organ music in the synagogue, where the instrument has found use in solo performance and accompaniment since the 19th century, especially in the wake of the Jewish Reform movement./ Recueil / Alto [Violoncelle] et Orgue

Set 1 - Violin, Bass Viol and Organ. Par LAWES WILLIAM. Strings/ Répertoire / Violon, Viole de Gambe et Orgue

For Flute, Clarinet, Violin, Cello and Piano. Par HAYES MORGAN. Wind and Brass/ Répertoire / Flûte Traversière Clarinette, Violon, Violoncelle

This work was a test piece for the International string Quartet competition in 2005 Premio Paulo Borciani It was inspired by a keyboard piece of the same name A Sad Paven for these Distracted Tymes by Thomas Tomkins(1572-1656). Tomkins had a long association with Worcester Cathedral where he was organist - appointed magister choristarum in 1596 - and lived within the precincts until shortly before his death. At the same time he wasorganist of the Chapel Royal. When the city of Worcester surrendered to Cromwell's parliamentary forces in 1646 Tomkins had to watch the hasty dismantling of his cathedral organ and the abolition of all choral services. Thesewere the 'distracted tymes' of the 'sad paven' which he wrote in enforced retirement at Worcester.

Tonalité : C-Moll - Op.: 149 -. Par RHEINBERGER JOSEF GABRIEL. The field of sacred chamber music, apart from vocal music and the solo-organ repertoire, often lives in the shadows. Thus the reprint of this valuable trio is all the more welcome. The organ has the same role here as the piano in a piano trio! [Württembergische Blätter für Kirchenmusik May 1993, p. 192]/ Répertoire / Violon Solo, Violoncelle Solo, 2 Violons, Alto, Vi

Tonalité : C-Moll - Op.: 149 -. Par RHEINBERGER JOSEF GABRIEL. The field of sacred chamber music, apart from vocal music and the solo-organ repertoire, often lives in the shadows. Thus the reprint of this valuable trio is all the more welcome. The organ has the same role here as the piano in a piano trio! [Württembergische Blätter für Kirchenmusik May 1993, p. 192]/ Répertoire / Violon Solo, Violoncelle Solo, 2 Violons, Alto, Vi

Tonalité : C-Moll - Op.: 149 -. Par RHEINBERGER JOSEF GABRIEL. The field of sacred chamber music, apart from vocal music and the solo-organ repertoire, often lives in the shadows. Thus the reprint of this valuable trio is all the more welcome. The organ has the same role here as the piano in a piano trio! [Württembergische Blätter für Kirchenmusik May 1993, p. 192]/ Répertoire / Violon Solo, Violoncelle Solo, 2 Violons, Alto, Vi

Nadia Boulanger's Three Pieces for Viola and Piano transcribed from the original for Cello. Posterity has retained of Nadia Boulanger only her gifts as a virtuoso of the piano and organ her skill as a conductor (of vocal ensemble and orchestra) and most of all her incredible charisma as a teacher. For nearly sixty years 'Mademoiselle' made the most of her famous Wednesdays bringing rigour and passion to the training of several generations of musicians: among so many others Aaron Copland Leonard Bernstein Igor Markevitch Michel Legrand Witold Lutoslawski Astor Piazzolla Quincy Jones and John-Eliot Gardiner have all kept unforgettable memories of thesetimes.Was Nadia Boulanger wrong to let teaching music take precedence over her composing as Gabriel Fauré the great master she venerated believed? The publication of Three Pieces for Viola and Piano raises the question. This transcription of Three Pieces for cello and piano was composed between 1911 and 1913 and published by Heugel. The two initial pieces were originally written for organ: the first in E flat minor brings a moderate tempo to a melancholy cantilena with Romantic accents while the second in A minor exudes warmth and tenderness. The third piece (C sharp minor) most likely originally titled Danse espagnole heralds the Roaring Twenties with its restlessness and festive crackle. Together they emit a charm that is difficult to resist.

Tonalité : C-Moll - Op.: 149 -. Par RHEINBERGER JOSEF GABRIEL. The field of sacred chamber music, apart from vocal music and the solo-organ repertoire, often lives in the shadows. Thus the reprint of this valuable trio is all the more welcome. The organ has the same role here as the piano in a piano trio! [Württembergische Blätter für Kirchenmusik May 1993, p. 192]/ Répertoire / Violon Solo, Violoncelle Solo, 2 Violons, Alto, Vi

Tonalité : C-Moll - Op.: 149 -. Par RHEINBERGER JOSEF GABRIEL. The field of sacred chamber music, apart from vocal music and the solo-organ repertoire, often lives in the shadows. Thus the reprint of this valuable trio is all the more welcome. The organ has the same role here as the piano in a piano trio! [Württembergische Blätter für Kirchenmusik May 1993, p. 192]/ Répertoire / Violon Solo, Violoncelle Solo, 2 Violons, Alto, Vi

For Flute, Clarinet In Bb, and Piano. Par JALBERT PIERRE. Triple Set was commissioned by the Flute/Clarinet Duos Consortium, an organization of 17 groups which will give the premiere performances of the work. I’ve always been fascinated by the flute and clarinet, and when I was approached by my colleagues at Rice (Leone Buyse and Michael Webster) to write a piece for flute, clarinet and piano (I’m a pianist myself), for the Flute/Clarinet Duos Consortium, I was happy to oblige. Both of my sons also play the clarinet, so many of these sounds are around me all the time. The piece is in three contrasting movements. The first movement, Driving, marked “With great energy”, is rhythmically propelled forward by the piano’s muted strings and the flute and clarinet playing at first in rhythmic unison, then each taking a turn at solos while the other participates in the accompanimental syncopations. The second movement, Still, is marked “Timeless” and slowly unfolds its melodic and harmonic ideas. The third movement, Relentless, is a kind of 6/8 scherzo, which vigorously and relentlessly propels itself forward to the end, with just two minor interruptions of quasi-cadenza like passages for flute and clarinet duo. - Pierre Jalbert/ Répertoire / Flûte Traversière, Clarinette et Piano

Piano [Organ] & Percussions optional. Par HAYDN FRANZ JOSEF. / Niveau : Assez Facile / Répertoire / Quatuor à Cordes (2 Violons, Alto et Violoncelle)

Piano [Organ] & Percussions optional. Par MICHEL / NAULAIS. / Niveau : Assez Facile / Répertoire / Quatuor à Cordes (2 Violons, Alto et Violoncelle)