SKU: HL.48186796

UPC: 888680882181. 7.25x10.75x0.213 inches.

1.Une Sainte et son Aureole; 2.Puisque l'Aube grandit; 3.La Lune blanche luit dans le Bois; 4.J'allais par les Chemins perfides; 5.J'ai presque Peur en Verite; 6.Avant que tu t'en ailles; 7.Donc ce sera par un clair Jour; 8.N'est ce pas?; 9.L'Hiver a cesse.

SKU: FH.VA3

ISBN 978-1-55440-565-7.

This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.
Concertinos, Airs Varies, and Divertimentos:
Divertimento in D Major - Haydn, Franz Joseph arr. Gregor Piatigorsky
- Third Movement
Air varie (Air with Variations), op 23, no. 3 - Rieding, Oskar
Concertino NO. 5 in D Major -Breval, Jean-Baptiste arr. Pierre Ruyssen
- First Movement
Sonatas:
Sonata in D Minor, op. 5, no. 8 - Corelli, Arcangelo arr. Jason Noble
- First Movement: Prelude
- Second Movement: Allemanda
Sonata in A Major, TWV 41:E1 - Telemann, Georg Philipp arr. Kathleen Wood
- First Movement
- Fourth Movement
Concert Repertoire:
Three Miniatures (complete) - Miller, Michael
Waltz, op. 12, no. 2 - Grieg, Edvard
Toy Soldiers' March - Kreisler, Fritz
Abracadabra - Duke, David
Musette and Air de ballet - Gluck, Christoph Willibald arr. Kathleen Wood
Boston Fancy - American folk dance arr. Harold Birston
Ave Verum Corpus, K 618 - Mozart, Wolfgang Amadeus arr. Jason Gray
Conte serieux (Solemn Story), op. 62, no. 6 - Mendelssohn, Ludwig
Alla Greco - Baxter, Timothy.

SKU: BR.PB-15122

ISBN 9790004212721. 6.5 x 9 inches.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung).

SKU: BR.PB-5524

ISBN 9790004212134. 6.5 x 9 inches.

Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources. In his preface, Monnard examines Ravel's sound aesthetics against the background of concert reception and historical recordings. Moreover, he also provides insights into Ravel's ideas concerning the tempo: ,,I must say that the Bolero is rarely conducted the way I think it should. Mengelberg speeds up and slows down excessively. Toscanini takes it twice as fast as it should be and broadens the tempo at the close, which is indicated nowhere. No: the Bolero should be played in one single tempo from the beginning to the end, in the plaintive and monotonous style of Spanish-Arabian melodies. The performance material to Ravel's Bolero can now also be purchased in its entirety for the first time.

Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.