SKU: BT.MUSVWP000044
UPC: 894313001065.
Tommaso Vitali's Chaconne as arranged for Viola with Piano accompaniment by Alan H. Arnold.
SKU: BT.MUSVWP000029
UPC: 890346001683.
Novacek's virtuosic Perpetual Motion has been skilfully arranged for Viola with Piano accompaniment by Alan Arnold, and so can now be performed and enjoyed by advancing and accomplished Violists alike. The solo Viola part is also included on a separate insert.
SKU: BT.MUSVWP000046
UPC: 890346001478.
Henryk Wieniawski's Scherzo Tarantella for viola and piano, transcribed by Alan Arnold.
SKU: BT.MUSVWP000014
UPC: 890346001423.
Dvorak's Romance Op.11 has been arranged for viola and piano by Alan Arnold.
SKU: BT.MUSVWP000011
UPC: 890346001287.
Dancla Carnival of Venice for viola and piano arranged by Alan Arnold.
SKU: BT.MUSVWP000042
UPC: 894313001041.
Tchaikovsky Serenade Melancholique for viola and piano transcribed by Alan Arnold.
SKU: BT.MUSVWP000007
UPC: 890346001249.
Brahms Scherzo transcribed by Alan Arnold.
SKU: BT.MUSVWP100221
UPC: 894313001133.
Arranged for Viola and Piano by Alan Arnold.
SKU: BT.MUSVWP000012
UPC: 890346001300.
Claude Debussy's The Girl With The Flaxen Hair has been transcribed for viola and piano by Alan Arnold.
SKU: BT.MUSVWP100166
UPC: 890346001843.
A remarkable set of 40 variations derived from a single melody by Otaker Sevcik. Arranged for the Viola with Piano accompaniment, the variations become progressively more complex and difficult throughout the work, making this set ideal as a set of challenging exercises for the Viola student. As well as presenting a huge variety of technical goals, much can be learned from this work about the nature of composition, melody-building and the potential versatility of a single melodic idea. A superb and satisfyingly musical teaching aid.
SKU: HL.48024311
ISBN 9780851629582. 9.0x12.0x0.165 inches.
New edition of this charming suite by the British composer Richard Walthew (1872-1951), originally published in 1900. The work was frequently performed by Lionel Tertis over his long career; his fingerings and bowings are of great interest to students and scholars, so these are included for reference in the viola cue stave in the piano score; the viola part itself is left 'clean' for performers to make their own decisions In 1943 Tertis premiered A Mosaic in Ten Pieces in the version for viola and orchestra in a concert broadcast by the BBC. The performance was reviewed in the Musical Times: “It is the work of a happy craftsman, genial, jesting (so few composers joke now). In a slow movement Walthew is at his serene best. Brahms would have enjoyed the Valsette, and Elgar beamed upon other parts. Tertis's phrasing is the best lesson I can imagine for any young musician...â€.
SKU: BT.MUSVWP000125
Born in Nottingham, England, in 1862, Edmund Severn moved to the United States at the age of four along with his family who settled in Hartford, Connecticut. Severn began to study the Violin with guidance fromhis father, who taught the instrument professionally. He later studied with Franz Milcke and Bernard Listemann, concertmaster of the Boston Symphony Orchestra, before moving to Berlin to study bowing technique under Emanuel Wirth,the first assistant of Joseph Joachim at the Berlin Hochschule.
As a composer Edmund Severn wrote mainly orchestral music, as well as many pieces for the Violin including a concerto; he also wrote threestringquartets.
To this day, the Polish Dance for Violin and Piano has remained Severnâ??s most famous work. The piece is arranged here by Alan Arnold for Viola and Piano.
SKU: BT.MUSVWP100199
UPC: 890346001454.
The Young Prince And Princess is a familiar melody by distinctive and influential Russian composer Nikolai Rimsky-Korsakov. This is a stunning composition set here for Viola and Piano, and comes from his most famous work, Scheherazade .
SKU: BT.MUSVWP000017
UPC: 890346001904.
Transcribed for Viola by Alan Arnold.
SKU: BR.EB-9441
ISBN 9790004189184. 9 x 12 inches.
The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently.
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