Based on the Complete Edition of the Works of Anton n Dvo ákRepertoire of medium difficultyIn 1887 Anton n Dvo ák composed two terzettos for two violins and viola in quick succession as occasional compositions for amateurs. A little later Dvo ák arranged the second terzetto as four pieces for violin and piano with the title Romantic Pieces Op.75. Both works that is the first Terzetto in C major and the Romantic Pieces were published in May 1887 by Simrock in Berlin.

With Piano Accompaniment. Par MILLER DONALD. These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known, others will sound fresh and new to most players. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas, Inc. If performed with full orchestra, no solo parts should be played except the 1st violin part. Note also, if you wish to perform these works with full orchestra and you are short certain instruments, you still have some flexibility with the score. For example, if there are not enough violas for balance, the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas. / Niveau : Débutant / Christmas - Ensemble / Recueil / Violon 1 et 2 et Accompagnement Piano

Over the years many examination pieces have captured the imagination of teachers and students but the stars of past syllabuses are often forgotten. This collection brings together best-loved grade 4 Violin pieces including Hindu Song (Rimsky-Korsakov) Sometime Maybe (Wedgwood) and Fly me to the Moon (Howard).Containing fresh editions of folk and classical masterpieces alongside contemporary favourites all pieces have been rigorously researched by violin expert Jessica O’Leary. A CD of performance and accompaniment tracks is included as are useful practice tips. This book includes pieces from current and past Trinity andABRSM syllabuses.Jessica O’Leary has a successful career as a teacher professional violinist ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields and has performed with Madonna Led Zeppelin the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul’s Girls’ School Eltham College and Junior Guildhall London.

This work brings me as much pleasure as if I were writinga major symphony... This washow Dvorak communicated to his publisher Simrock the joy he felt while workingonopus 75a (Miniatures for Two Violins and Viola), and he immediately set aboutreworkingit for violin and piano, giving it a new title, Romantic Pieces. The four shortmovementsfully evoke the atmosphere of home music-making for which it was written. TheCzechedition goes by the title Drobnosti (Miniatures) and is accompanied by a shortGavotte,dated 1890 and also written in a simpler style for three violins. This title ispart of the firstComplete Critical Edition of Works by Antonin Dvorak.

Partition pour Viole - Violon Edition : Opera secunda, Lubeca, 1696. Présentation de Marie-Françoise Bloch : Corrections et suggestions. Fac-similé de l’édition originale en parties séparées : violino – viola da gamba – cembalo. C'est une musique de grande qualité, qui s'inscrit dans la tradition des sonates en trio allemandes, dans lesquelles les deux parties de dessus sont jouées par un violon et une viole de gambe ; il faut un clavecin et une seconde viole pour exécuter la basse continue. Fac-similé de l'exemplaire de la Bibliothèque de l'Université d'Uppsala. Second volume des trios de Buxtehude. Compositeur : BUXTEHUDE Dietrich Auteur : BLOCH Marie FranCoise Collection : Dominantes Contenu : Sonata I, en Si b Majeur : allegro – adagio – allegro – grave – vivace – lento – presto - Sonata II, en Ré Majeur : adagio – allegro - largo – arietta (part.I A X) – largo – vivace - Sonata III, en sol mineur : vivace – lento – allegro – largo – andante – grave – gique - Sonata IV, en ut mineur : poco adagio – allegro – lento – vivace - Sonata V, en La Majeur : allegro – adagio pour viole et b.c. – concitato – allegro - Sonata VI, en Mi Majeur : grave – vivace - adagio – poco presto – lento – allegro - Sonata VII, en Fa Majeur : adagio – forte [allegro] – lento – vivace - largo – allegro Format : 24 x 33 Nombre de pages : 124 Date de parution : 02/2003

for Violin Viola and Orchestra-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

Wedding Music for Violin and Viola includes 14 favorites for weddings recitals parties and receptions. New adaptations of these arrangements allow each musician to share melodic harmonic and accompanying elements. These duets are well suited for intermediate to advanced musicians and include bowings fingerings articulations and dynamics. Includes two separate 28-page pull-out parts for violin and viola.

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

The Hidden Face is a prayer for solo counter-tenor oboe and a distant group of muted violins and violas. It tries to hold within it a whole tradition with nothing personal or idiosyncratic as in ikon painting though this is asevere challenge for a composer working at the end of the 20th Century.

Scales For Viola-For several decades the 'Carl Flesch Scales System' for both violin and viola has been a central technical manual for aspiring advanced and professional players and teachers of these string instruments. However it has become increasingly clear that the 'system' needs upgrading for 21st Century applications and the opportunity has been taken to clarify the essential principles that Flesch outlines in his 'Art of Violin Playing' to which the Scale System was an explanatory and practise supplement.3 and 4 Octave Single-Stop Scales and Arpeggios Collated and Fingered by Mark Knight.