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

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

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.

Easy Classics for Viola is part of the Easy Classics Series written to provide beginning to intermediate students with an enjoyable introduction to classical music. This book features 16 solos and duets in viola-friendly keys with accompaniment. All of the pieces may be played as solos or duets and the content in this book is fully compatible with Easy Classics for Violin and Easy Classics for Cello.

Piezas Elementales para Dos, Tres y Cuatro Violas con Piano. Par MATEU E. / OLIVER / ALCORLO. Música De …Ngel Oliver. Dibujos De Manuel Alcorlo. / Études et exercices / Recueil / Alto et Piano

for Viola & Piano-The nine easy fun-to-play fragments in this book can be played in the first position with occasional fourth finger use. These lovely pieces enable the beginner musician to perform comfortably at an early stage in their development - and performing experience is vital for any musician!

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.

13 easy pieces from the past-Timeless Treasures rassemble des trésors intemporels des siècles passés. Les 13 pièces de cet ouvrage sont enrichies d?un accompagnement de piano disponible à la fois sur compact disc et en version papier (intégrée dans le recueil). Sur le compact disc vous trouverez également une version intégrale de chaque pièce. Les accompagnements ont été réalisés avec soin de manière à contribuer au développement de vos acquis musicaux nécessaires pour le jeu en ensemble.

Par . The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. / Date parution : 2022-02-26/ Recueil / Alto

Viola and Piano. Par SAINT-LEGER PASCAL. Les jeunes musiciens se régaleront avec cette pièce qui trouvera toute sa place dans un programme d'audition ou de concert. - Pascal SAINT-LEGER - Une pièce adaptée pour un examen de Cycle I 2e année - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Alto 1 Piano - Niveau de Difficulté : 2/6 - Facile - Durée : 2 mn 15 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - / Niveau : Facile / Classique, Pédagogique / 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

Viola Concerto is a piece composed by Nico Muhly for Viola and Piano Reduction. This piece is dedicated to the violist Nadia Sirota for whom it was written and by whom it was first performed. A full performance lasts around 24 minutes this is the Score and Part.

Tired of the same old exam pieces? Need a little light relief? Then here's the answer to your problems. Play it Again is a lively collection of favourite tunes both new and old expertly arranged for easy viola with upbeat but playable piano accompaniments. All viola parts are written in first position so they are perfect for the absolute beginner helping young players to gain confidence and learn basic technique in a fun and lively way. Both you and your teacher can really relax and have fun!The solo viola part is also included on a separate insert.