La référence CC2273 2 de l'éditeur Billaudot dont l'auteur célèbre est Bournonville Armand, qui a pour titre LAMENTO, a été écrite et composée pour Alto et plus particulièrement pour Alto Et Piano. Cette partition musicale appartient à la catégorie Classique. / Alto Et Piano / Partition

for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice

The music scene took notice of Erik Satie (1866-1925) all of a sudden: The world premiere of his ballet Parade on 18 May 1917 caused quite a scandal. The production which involved Sergey Diaghilev with his 'Ballets Russes' Pablo Picasso (scenery and costumes) Jean Cocteau (story) as well as Léonide Massine (choreography) divided the music scene of Paris yet made the composer widely known. Satie who hardly had had any solid musical training and lived in Paris for almost all his life developed a new musical style in deliberate rejection of the 'Wagnérisme' of his time. Classical form models new harmonies stylistic ease meditative and clownish elements amalgamated in an original way the perfect example being his 3 Gymnopédies of 1888 the first of which was here arranged for a solo instrument with Piano accompaniment: Thus it is now possible even for non-pianists to play this famous miniature by Satie. Thanks to its easy playability it can also be used for educational purposes.

Par MILHAUD DARIUS. 1st Sonata was written by Darius Milhaud and is based on anonymous tunes of the XVIII century and was dedicated to Germain Prevost. Initially composed for Viola and Orchestra, this score features the Viola and Piano scores. It is composed of four distinct parts: 1. Entree 2. Française 3. Air 4. Final Fairly difficult, this Sonata can be used for recitals and contests by upper-intermediate players. Born in 1892, Darius Milhaud became a professor at the Paris Conservatoire after the WWII, and composed a wide musical repertoire. One of thecharacteristic of the music he composed was its polytonality and its numerous influences (mainly French Provence, Jazz, South American and Jewish)./ Répertoire / Alto et Piano

Madrigal est le titre donné à cette oeuvre en référence à cette forme d'expression de la Renaissance pour une pièce écrite a cappella et sans accompagnement instrumental.En effet, j'ai utilisé le piano non pas comme un accompagnateur au sens habituel mais comme un outil permettant l'écho, l'initiation des phrases ou encore leur confirmation. On pourra noter également certaines inflexions issues des musiques d'Europe centrale faisant modestement référence aux oeuvres de Bartók et Kodàly dans leurs soucis d'offrir aux jeunes élèves des moyens d'expression adaptés à leur niveau. / Alto Et Piano

Fritz Kreisler fait un nom non seulement comme grand violoniste virtuose, mais aussi comme un compositeur. Plusieurs de ses pièces de caractère dénommé ' Manuscrits classiques ', comme sa danse viennois vieux tunes ' Liebesleid - Liebesfreud - Schön Rosmarin ', ' Tambo / Alto Et Piano

Par JOLAS BETSY. La place que Betsy Jolas s?accorde elle-même dans le paysage de la musique contemporaine est celle de « l?indépendance » et de la « différence ». Cette position s?est clairement imposée dans les années 1960, lorsque sa vie créatrice est enfin devenue publique. Inflexible dans son choix marginal, elle a cependant côtoyé activement, aux lendemains de la guerre, le courant sériel, sans jamais vraiment y adhérer. Elle s?est de même intéressée aux musiques extra-européennes, américaines et dites « non savantes » ? de Bali au jazz ?, comme également, même si d?assez loin, aux recherches électro-acoustiques, notamment pour son opéra Schliemann (1983-1993)./ Répertoire / Alto et Piano

A real treasure trove in the scarce Romantic viola literature: Vol. 1 (Schott, ED 22254) of the popular Pièces des concours series are now followed by Vol. 2 (ED 22255) and Vol. 3 (ED 22256).The pieces were performed in final examinations at the famous Conservatoire de Paris between 1897 and 1969. The publication is based on the first editions. In order to make it easier to approach the works, 'modern' fingerings and common bowing instructions were added to the pieces so that they can be played at sight.Vol. 2 contains pieces by Stan Golestan, Eugène Cools, Philippe Gaubert, and Gabriel Grovlez.Further pieces:Vol. 1 with pieces by Charles-Edouard Lefebvre, Paul Rougnon, Henri Marteau, and Léon HonnoréVol. 3 with works by Hans Sitt, Heinrich Arends and Léon Firket / Alto Et Piano

Ecrites à la mémoire de Joseph La Marca, professeur au CRD d'Aix-en-Pce, ces 12 pièces courtes, à l'origine pour intonations mélodiques chantées, sont rythmées par les mois d'un calendrier scolaire - chacune d'entre elles, aux harmonies modernes, dépeint une atmosphère très particulière qui, soulignée par le titre, devient ainsi difficile pour une interprétation expressive,L'accompagnement du piano, niveau moyenne difficulté, soutient la mélodie jouée par l'alto, accentuant ainsi les ambiances souhaitées  : nostalgiques, brumeuses ou amusantes (tango)- Les interprètes transmettront ainsi leur ' ressenti ' à l'auditeur, mettant en valeur toutes leurs qualités musicales et techniques, avec la maîtrise requise pour la difficile complicité du duo, - Septembre, l'arbre et la feuille 00 :01 :30- Octobre, le bateau de Jo 00 :01 :15- Novembre, les grognons 00 :01 :45- Décembre, le souhait 00 :01 :45- Janvier, L'édredon 00 :01 :15- Février, L'absence 00 :01 :15- Mars, Complainte d'une larme 00 :02 :15- Avril, Un pâle rayon de soleil 00 :02 :15- Mai, Valse nostalgique 00 :01 :30- Juin, Les matins de brume 00 :02 :00- Juillet, tango dingo ! 00 :02 :45- Août, Crépuscules bleus 00 :01 :30 / Alto Et Piano

Edited after: Paul Hindemith, Complete Works, Vol. V/7 Instrument : viola and piano Nombre de Pages : 64 The genesis of the viola sonata reflects the eventful life of Hindemith in the winter of 1938/39 and owes its completion to Hindemith's ability to compose even while travelling, especially on trains. Hindemith himself said about his viola sonata: '... It is a powerful, well-fed piece with durable lining for cold weather. Second movement with a tricky rhythm to which one has to creep up carefully in order to master it. In the last movement which consists of two variations on an already fully developed rondo movement...' Hindemith shows again the wide range of his compositional and formal brilliance. New edition based on the text of the Hindemith Complete Edition.