The composer made this arrangement of the Third String Quartet for string orchestra in March 2003. The first performance was given by the Eos Orchestra New York conducted by Ken Selden in the Concert Hall Ethical CulturalSociety New York City on 24 April 2003.Quoting composer: In the summer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responsesof some of the inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of KhorenMeykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no lessprofound experience of witnessing the images of the Romanian revolution on television during the latter part of December 1989.Just as the structure of my Third String Quartet (1990) may connect it with the First so they alsoshare a debt to Thurston Dart (my professor at King’s College London between 1961 and 1965). It was Dart who had the inspiration to send me to Romania in 1965 ostensibly to study folk music. The volumes of transcriptions that Ibrought back with me had remained unopened until with this proposed ‘celebratory’ string quartet (though at the time it was difficult to know quite what to celebrate in postrevolutionary Romania) an occasion arose where I coulduse this material in what seemed to me was a non-exploitative manner. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would besuperimposed quite often stretched into new intervallic shapes through the demands of the completely pre-formed harmonic structure.

E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

”Designed for the beginner this collection of pieces provides stimulating performing material at the easiest possible level. The accompaniments (piano or CD) provide a good solid backing and will inspire the soloist to play with energy and enthusiasm. I have made much deliberate use of the repetition of phrases as I feel that this is the best way for pupils to absorb new rhythms.” James Rae• Performing pieces for the beginner in a variety of styles including Swing Funk Reggae Blues and Latin• Each piece is recorded with a professional soloist for listening and learning. The following track provides the accompaniment minus the solo forplaying along• The versions available for other instruments can all be played together and used as elementary ensemble material• Ideal for group tuition• Pieces from Play it Cool Viola have been set on the new Trinity Guildhall Examination Syllabus 2007 for Viola Grades 1 and 2

Big Note/Large Print-Warm-ups for the Violist is an adaptation of Warm-ups for the Violinist. It is targeted to help build strengthen and develop the muscles and techniques needed for viola playing. It is especially suited and created for the morecasual violist who is sincerely interested in getting maximum benefit from a minimum of effort. I first tested these scales and exercises on myself for six months faithfully using them for about 20 minutes as warm-ups to my dailypractice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as I charted my metronomic progress on a calendar. I remember thinking 'I will never be able to play fasterthan this.' But then a couple of weeks later I would indeed climb a notch higher!Through the years I have used these exercises in countless workshops and with private students. The letters of thanks and positive feedback fromstudents who were thrilled with improved violin and fiddle technique have brought me great satisfaction. Progress with these exercises is like the progress of a body builder. Body builders do not get up in the morning and think 'I am going to develop and build my muscles today ' and instantly look like Mr. Atlas. It takes weeks months and for some years to attain results. It must be done over a period of time. Like all diets and exercise programs determination and dedication are most important to success! I sincerely believe that these exercises when faithfully practiced will help violists improve their skills. The exercises will help develop and strengthen muscles usedfor finger dexterity clarity of notes tone bowing-arm control intonation double stops and a flexible bowing-arm wrist. A companion audio play-along recording is available online.

Par CLARKE GENE. Hymns Made Easy for Viola is a collection of favorite traditional hymns with guitar accompaniment, suitable for church, teaching or recreational settings. The material includes viola parts and bowing indications in first position, with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Cello. Hymns Made Easy for Viola is a collection of favorite traditional hymns with guitar accompaniment, suitable for church, teaching or recreational settings. The material includes viola parts and bowing indications in first position, with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Cello. / Niveau : Facile / Musique religieuse / Date parution : 2019-05-27/ Recueil / Alto

Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Cette édition est basée sur les originaux dans la Gesellschaft der Musikfreunde de Vienne. Les Fugues de Bach ont été transcrites de Mozart et les préludes (Adagios) sont des compositions originales de Mozart / Violon, Alto Et Violoncelle

Par STAMITZ CARL. / Répertoire / Flûte Traversière ou Hautbois ou Violon), Violon,

Instrumental Solos-Since its opening in 1957 the musical West Side Story has been a hit on Broadway. Made into a successful film starring Rita Moreno Natalie Wood and Richard Beymer in 1961 this tale of star-crossed lovers caught between feuding New York gangs has been gripping audiences for decades. The arrangements in the West Side Story: Instrumental Solos series remain faithful to Bernstein's original score. In this edition the pieces have been idiomatically adapted for the solo Viola. This book features 10 of the best-known songs from the musical including Maria Tonight America I Feel Pretty and more. West Side Story:Instrumental Solos - Viola comes with an enhanced CD featuring Piano accompaniments for all tracks. Playable on both CD player and computer tempo adjustment software is also included for CD-Rom computer use only.

Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Full score.This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall October 2 2012.'My Days is a ritualised memory piece about Orlando Gibbons (1583-1625) written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork and vocalists to singlike the Hilliard Ensemble so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39 which Gibbons himself set as well as an account of Gibbons's own autopsy which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music but made somehow electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions and many ornaments. In between iterations the voices in rhythmic unison intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate ?Gibbonsy? verses and responses. A series of semiimprovisedfragments on the text 'Take thy plague away from me' introduces the third section of the piece where plucked strings create a halo around the text 'hear my prayer OLord.' The piece ends with the ornaments wildly exploded over the voices singing two words endlessly repeated.' - Nico Muhly

La Sérénade ' petite musique de nuit ' en sol majeur est une des oeuvres les plus célèbres et populaires de Wolfgang Amadeus Mozart et une oeuvres de musique ' classique ' du tout. Tout sur le ' kleine Nachtmusik ' semble simple, divertissant u / 2 Violons, Alto, Violoncelle Et Contrebasse/2 Cors, 2 Hautbois, 2 Clarinettes En Sib Et 2 Bassons

for String Quartet - Urtext Edition-Mozart's Three Divertimenti KV136-138 have been edited by Karl Fussl. This is a set of performance parts for Violin I Violin II Viola and Cello. Barenreiter Urtext from the New Mozart Edition.With introductory text.

String Quartet No.4 was written for the Camilli Quartet who gave the first performance at the Queen Elizabeth Hall London April 1995. It is dedicated to the memory of Nyman's composition teacher Alan Bush.This quartet is anarrative made up of a chain of twelve complete but often cross-related movements each quite simple in design. For instance the Scottish melody first heard in the second half of I is hinted at in the 2nd violin/viola in thesecond fast section of II and is directly quoted again during III and XII. The theme of the fast section of IV is taken up again in VIII; IX reverts to the mood of the opening of I while the rising scale/syncopated themes of II IX and the bass of X and XII are related. X also reintroduces the slow harmonics theme from VII. XII is (apparently) cast in the form of a baroque French rondeau. The main theme of VI was plucked out of the Quartet and used inmy score for Christopher Hampton’s film Carrington. Duration 40 minutes. A set of parts is available for sale.

Description Solos For The Viola Player The purpose of this anthology is to make available to the viola player a substantial body of work, and introducing a valuable and enticing literature. Songlist Adagio (Arpeggione Sonata) [Schubert, Franz] Allegretto Grazioso [Bach, Carl Phillipp Emanuel] Andante (Violin-viola Duo No.2) [Mozart, Wolfgang Amadeus] Boston Fancy (Hornpipe) Choralprelude (O Mensch Bewein Dein Sunde Gross) [Bach, Johann Sebastian] German Dance (Landler) [Dittersdorf, Karl Ditters Von] I'm Just A-going Over Jordan March (Notturno) [Beethoven, Ludwig Van] Menuetto [Handel, George Frideric] Romance [Mehul, Etienne-nicolas] Shenandoah Tambourin [D'hervelois, Louis De Caix] Tema Con Variazioni (Couplets Des Folies D'espagne) [Marais, Marin] Verborgenheit (Renunciation) [Wolf, Hugo] Von Ewige Liebe (Love Is Forever) [Brahms, Johannes] Were You There?