From Jewish Life
Arrangements for Viola (Violoncello) and Organ
- Works from the late-romantic Jewish tradition for use in worship, private devotions and concerts
- Variable instrumentation for viola and organ or violoncello and organ
- Separate parts for viola and violoncello enclosed
- Moderate level of difficulty
This volume contains works inspired by the Jewish musical tradition, arranged for viola (or alternatively for violoncello) and organ. The music takes its bearings on the inimitable and highly emotional melodies of synagogue chant and Jewish folk music. The pieces are suitable for worship, private devotions as well as concert performance and can easily be tackled by amateur musicians.
The arrangements shed light on a little-known but valuable repertoire. The Foreword (Ger/Eng) provides an historical overview of organ music in the synagogue, where the instrument has found use in solo performance and accompaniment since the 19th century, especially in the wake of the Jewish Reform movement.
- Zeitlin, Leo
Eli Zion
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- Ravel, Maurice
Kaddisch
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- Alman, Samuel
Haftara
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- Bloch, Ernest
Prayer (From Jewish Life, No. 1)
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- Stutschewsky, Joachim
Sechs israelische Melodien:
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1. Legend
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2. Raindrops
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3. You, the Earth
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4. Oriental Melody
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5. Prayer
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6. Wanderer´s Song
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- Halphen, Fernand Gustav
Andante religioso d´après un thème hébraique
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- Mendelsshon, Ludwig
Kol Nidre op. 99 / Partitions classique / Cordes / Alto / BARENREITER

Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d’amore, the subject of a manual he wrote entitled Tecnique de la viole d’amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called “original” part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the “original” version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today. / Partitions classique / Cordes / Alto / SALABERT