Avance rapide, partie de hautement considéré facile série de la Colledge de chaîne, est depuis longtemps le choix du répertoire des enseignants de la chaîne. Les pièces aident à renforcer les éléments de base de la technique, de rythme et de doigté des patrons, allant de pièces pour les débutants - inter / Alto Et Piano / Partition

Par HAYDN FRANZ JOSEF. Editeur(s) d'origine: Gevaert, Francois A/ Répertoire / Alto et Piano

Par STAMITZ ANTON. Editeur(s) d'origine: Martin, William/ Répertoire / Alto et Piano

Reduction for viola and piano-William Walton composed his Viola Concerto in 1928-9 and it was given its premiere at a Promenade Concert at Queen's Hall London on 3rd October 1929. In the beginning Viola players adjusted the solo line to fit their own ideas of the work's character and Walton was generally happy to accomodate this. However he came to regard one player's version above all the others for its discipline and balance - that of Frederick Riddle. Riddle's edition was originally published with a Piano reduction of the first Orchestration in 1938 and it is this that forms that basis for the solo line in this edition. This present Piano reduction was made by Geoffrey Pratleyand published in 1993.

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

French composer and teacher Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded Sonata No. 2 for Viola and Piano being no exception. Milhaud's compositions are influenced by jazz and polytonality as exemplified in Sonata No. 2. Composed in 1944 Sonata No. 2 for Viola and Piano is an alternative exciting sonata made up of three movements; 1) Rural 2) Dramatic and 3) Rough. Milhaud makes use of variation in articulation complex rhythms chromaticism accidentals harmonics altering tempos variation in dynamics and a wide tessitura amongst other aspects. Milhaud's Sonata No. 2 for Viola and Piano is essential to all advanced violists seeking modern and exciting repertoire.

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.

Par MILHAUD DARIUS. French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, Sonata No. 2 for Viola and Piano being no exception. Milhaud 's compositions are influenced by jazz and polytonality, as exemplified in Sonata No. 2. Composed in 1944, Sonata No. 2 for Viola and Piano is an alternative, exciting sonata made up of three movements; 1) Rural, 2) Dramatic, and 3) Rough. Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud 's Sonata No. 2 for Viola and Piano is essential to all advanced violists seeking modern and exciting repertoire./ 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

I first heard Walton's Viola Concerto in my youth and the mixture of haunting sadness and exuberance won me over immediately. Although other composers have written works for the instrument they are seldom played and the viola remains under regarded and unappreciated as do viola players! Having recently composed a number of cello pieces culminating in my 'Umbrian Variations' for eight cellos I decided to try my hand at something else the result:- this Sonatina for Viola and Piano. Last year (2009) at Ian Christians' Dordogne Chateau the Quator Wihan gave a concert and I was very struck by the viola playing of Jiri Zigmund - hence the dedication.

Sonata in B flat major op. 36 for Piano and Viola-Henry Vieuxtemps' Viola Sonata In B Flat Op.36. Urtext edition.Following a concert by the 14-year old 'wunderkind' Henry Vieuxtemps in 1834 none other than Robert Schumann said 'WithHenri one can safely close one’s eyes. His playing is like a flower at the same time both fragrant and bright'. Vieuxtemps is nowadays considered to be the foremost exponent of the Franco-Belgian Violin school.The composer was however an excellent Viola player and wrote several compositions for the instrument. Sonata Op.36 published in 1862 is one of the gems of Viola literature with its oscillation betweenexpressive maestoso elegiac barcarola and scherzando passages. This edition by Henle is the first Urtext version of the work to be published.

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.

For Viola and Piano. This piece is one of the finest compositions for viola by one of the instrument's greatest players. It is luxuriant in melodic inventions and startlingly beautiful in its instrumental colours. The piano is a full partner to the viola contributing an equal share of melodic interest and colouristic effects.

Arrangement for Viola and Piano-?Sooner or later the ?Romantic Pieces? will pave their way through all the salons?: thus the periodical Dalibor predicted when the ?Romantic Pieces? op. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorák?s most popular works for violin and piano. Now they are being made available for violists also.Bella and Semjon Kalinowsky have arranged the four pieces on the basis of the ?Complete Edition of the Works of Anton n Dvorák?. The piano part of the original version remains while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.With theirentrancing melodies and poetry these pieces pose few technical challenges and are thus easy to play.

According to Elgar the concert overture came to him in a single moment of inspiration while visiting Italy with his family in the winter of 1904. It was given its premiere by the Hallé Orchestra in March of that year with the central Viola serenade winning particular acclaim. Elgar then adapted the work as a song then for Viola and Piano and then for other instruments.At the time this piece was written Elgar had achieved universal renown with his Enigma Variations and The Dream of Gerontius and was established not only as a composer at the peak of British music of that time but also as a major Romantic composer. The Italianate rendering of the work is a nod to thepiece?s beginnings on the Adriatic coast. The work is full of the unrequited yearning of Elgar?s lyric work and a very effective sonatina for performance.