SKU: PR.UE036649
UPC: 803452070405.
When a violinist lamented on the dearth of violin duets, Berio instantly began the process of creating a series of short duos, each named in honor of a friend or fellow musician/composer. Over the years, this set of 34 Duetti took shape, spanning a range of skill levels. Many feature a simpler role for one player, usually with an emphasis on a particular skill or technique. In her excellent transcription for two violas, Mayer-Lindenberg points out that No. 20 uses playing techniques necessary for those preparing Berio's Sequenza VI for Viola Solo. Violists have long created their own arrangements of the original violin duos. Mayer-Lindenberg has now transcribed the complete set, retaining original keys where possible or transcribing down to accommodate the viola's range.
SKU: HL.48186275
UPC: 888680838874. 9x12 inches.
“Maurice Hauchard (1870-1957) was a French violinist and composer. As a minor composer, often in the shadow of his contemporary, Maurice Ravel, much of Hauchard's music is not widely known. However, his Positions Studies have enhanced the technical progression of many violinists and Alain Mames' transcription of the studies for Viola have also been well-received. As an excellent, versatile musician, Hauchard loved his art and remains one of the greatest contributors to music education. Positions Studies (3rd Position) addresses the third hand position in the context of musical techniques, such as intervals, scales, chromaticism and is studies of varying styles. Mames' adaption for the Viola of Hauchard's Positions Studies is an imperative aid to technical progression.&rdquo.
SKU: SU.50502290
Transcription by the composer.Viola Duration: ca. 7' Composed: 2003 Published by: Seesaw Music.
SKU: PR.UE034346
ISBN 9783702474904. UPC: 803452072010.
Commissioned by the 1991 Yehudi Menuhin International Competition (Paris) and dedicated to Universal Edition director Alfred Schlee on the occasion of his 90th birthday. Originally for solo violin, Anthemes I is presented in a transcription for solo viola. Although the transcriber is unknown, it is known that Boulez approved.
SKU: PR.114418860
UPC: 680160667901.
Hailstork had originally written his Elegy in 1980, in memory of a friend's passing. Decades later, he was asked by cellist Tim Holly to finish the work, and the Caprice was added in 2016. Despite 35 years of intervening life and changes in musical language, Hailstork has matched the tonality of the earlier movement. His transcription for viola and piano was performed in October at New Music Norfolk (Hampton Roads) by Rebecca Sinclair Kim and Susan Ha.
SKU: HL.49007921
ISBN 9790001111911. 9.0x12.0x0.238 inches.
In these lieder, Robert Schumann seems to mirror his life full of crises. The composition coincides with the first signs of his illness. The picture of the drowning Ophelia evoked in the first chant conjures up the image of his suicide attempt three years later. Aribert Reimann's transcription seems to be opposed to Schumann's endeavours to make stronger use of 'the development of the accompanying instrument, the piano'. On the other hand, the complete integration of the vocal part in the musical setting of the string quartet confirms Schumann's assessment that the singing voice alone cannot 'express everything; apart from the expression of the whole, even subtle nuances of the poem shall become apparent'. These transcriptions show Reimann's sense of timbre and his many years of experience as a lied accompanist.
SKU: BR.EB-9243
ISBN 9790004185438. 9 x 12 inches.
It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.
SKU: BR.EB-9244
ISBN 9790004185445. 9 x 12 inches.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
