The 14 classical and traditional melodies in this volume are perfect first performance material for viola players in the initial stages of learning. Technically they are fairly easy and the pieces have been arranged in order of increasing difficulty. The play-along CD features performances by two professional musicians and a beautiful classical accompaniment is also included without soloists for use in rehearsals and performances.

This is a celebration of music from the time the pioneers explored the vast reaches of North America. A presentation of eleven imaginative and idiomatic arrangements for elementary Viola (Grade 1-3) with Piano. Helpful background notes help players to understand the style and spirit of the music. The book is also compatible with the Cello and Violin editions giving an opportunity for young players to experience ensemble playing at quite an early stage.

by Bach, Händel, Mozart, Vivaldi etc. Music Partner backing CD. For the corresponding music edition, see EP 3853a and EP 3853b (CD Price includes VAT in the UK) / Alto Et Piano

Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano

April: the beginning of spring joyful melodies for young violists.Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote Avril for violists with an ability of approximately 3 4 years’ experience. He paid special attention to an easy-to-follow attractive musical style. Avril is an ideal performance or competition work for young musicians.

for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice

Version for Viola-In the later years of his life in the 1890s Johannes Brahms was inspired by the clarinettist Richard Mühlfeld to compose Trio Op.114 Quintet Op.115 and the Sonatas Op.120 – three gems inthe Clarinet chamber music repertoire. Brahms also provided a part for Viola as an alternative to the Clarinet. The revision of this Henle Urtext edition of the Viola version of Op.120 is based onthe musical text of the New Brahms Complete Edition and in many respects contains significant improvements: the original autograph was consulted for the first time the newly set Piano score now contains the Viola part and Violaplayers can benefit from fingerings and bowings by Tabea Zimmermann in the solo part.

Born in the village of Brand in the Upper Palatinate Max Reger (1873 1916) was taught by the renowned music theoretician Hugo Riemann. After finishing his studies and working as a freelance performer and composer in Wiesbaden he moved to Weiden beset by personal crises and eventually to Munich. To make himself better known in the musical scene he had some of his smaller works inserted in the magazine Neue Musikzeitung. This is how his Romanze G-Dur for violin and piano was published in November 1901 a beautiful occasional work ideal for music lessons or as a tranquil encore after a concert also in an arrangement for viola and piano.

1st Sonata was written by Darius Milhaud and is based on anonymous tunes of the XVIII century and was dedicated to Germain Prevost. Initially composed for Viola and Orchestra this score features the Viola and Piano scores. It is composed of four distinct parts:  1. Entrée 2. Française 3. Air 4. Final Fairly difficult this Sonata can be used for recitals and contests by upper-intermediate players. Born in 1892 Darius Milhaud became a professor at the Paris Conservatoire after the WWII and composed a wide musical repertoire. One of thecharacteristic of the music he composed was its polytonality and its numerous influences (mainly French Provence Jazz South American and Jewish).

Remember fighting off the Sandman, desperately struggling to stay awake at the chance that you might catch a glimpse of Saint Nick. Every rustle or bump made you jolt from your quilted pod and race to the living room where the lit tree posed, draped in soft light. Still no Santa! It took all your energy to climb back into bed with your eyelids drawn and your body heavy. Tucked back in as best as you could with the sheets and pillows slightly disheveled, you dozed off while musical thoughts fill your groggy head. A wide, animated grin filled your face as you dreamt of chilly nights of caroling and warm, fire-lit sing-a-longs. Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Viola is also written as solos or duets in accommodating keys for Violin, Cello and Bass. This best selling Santorella Publication includes a piano accompaniment CD with lyrics, so the whole family can sing along. The Piano Accompaniment book for this Stringed Instrument Edition is sold separately. Santorella's Horn Edition is also available for trumpet, clarinet, flute, alto sax and trombone../ Recueil / Alto et Piano

For Viola and Piano this is the composer's first opused work. Premiered at the Wigmore Hall in July 1959 by Cecil Aronowitz and Margaret Kitchen.Wood: In 1957 I knew I had newly discovered the music of Schoenberg and hispupils and I knew at once that they were to show me the way forward for my music; as indeed they have ever since. The revelation was primarily an emotional experience for me and however imperfectly their influence wasreceived it was obviously reflected in the all-out chromaticism (new for me then) in the many chains of twelve notes or lesser chromatic formations (which do not here amount to serial working and have only rarely done sosince) in the characteristic harmonic and rhythmic formations the wide and sometimes angular intervals of the melodies and in general the introverted romanticism. Anyway I knew then that this was the sort of music that Ihenceforth would want to write and so I called these Variations my Opus One.The declamatory Introduction leads into the Theme heard on the viola. Six Variations follow of which No.3 is the most violent and No.4 the mostsustainedly lyrical. The recitative-like sixth variation leads into the Finale a more extended movement. The Theme returning on the piano leads to a climax at which there is a citation from Beethoven’s C minor Variations forpiano. Then their characteristics sequence of chords is heard on the piano as an accompaniment to the final statement of my own theme on the viola in the closing bars of the work.

Piano reduction-Georg Philipp Telemann's Viola Concerto In G Major. Piano reduction.The Viola is often not credited with being able to take over a soloistic role but this is completely unjust. In 1738 JohannPhilipp Eisel already wrote of the Viola as being the ?very bowels of music? and stressed that it was not only needed to ?flesh out? the Orchestral sound but also as a 'concert voice which is fully proven by the concertos andconcert overtures by the famous Capell-Meister Telemann'.Telemann?s Concerto In G Major is considered to be one of the earliest works for solo Viola and Orchestra and forms part of thecore repertoire for pupils and students. In this Urtext Piano reduction the specialist Kai Köpp has provided information regarding historical performance practice.

Par MILHAUD DARIUS. Second of the series of ; Four Faces by Darius Milhaud, II. The Wisconsonian is a short piece for Alto and Piano. Easy to play, it requires some technique of the instrument and some theory knowledge to read in different keys. The book includes the parts for Viola and Piano and for Viola only. The music is cheerful and quite fast, with the Viola part playing mainly semisquavers alternating up and down every two bars. It is supposed to represent an American girl coming from Wisconsin. She is part of the four faces with: I. The Californian girl, II. The Wisconsonian and IV. The Parisian girl. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He was also part of the Les Six and was strongly influenced by Jazz. His opus list ended at 443./ Répertoire / Alto et Piano

The music of Glinka's Ouverture to his opera 'Ruslan and Ludmila? is presented as arrangement for viola and piano by Diemut Poppen here. It is a sparkling virtuos little piece for viola and piano in D major that should be played as a last movement to Glinka's Sonata for Viola in d minor but can also be performed separately. / Alto Et Piano