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Viola, Piano
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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6 Sonates En Trio Pour Orgue (BACH JOHANN SEBASTIAN)
Français
Viola, Piano
[Sheet music]
Delrieu
Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeo...
(+)
Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeon et Antoine Joly On ne saurait affirmer que le répertoire original de concert de l'alto, en tant qu'instrument soliste, soit richement pourvu en chefs-d'oeuvre. Au mieux, et encore si on inclut les sonates de Brahms, elles-mêmes transcrites de la clarinette, deux programmes de récital et on a fait le tour de la question. Avec le présent recueil, nous n'avons d'autre ambition que de contribuer à élargir cet éventail. Les six sonates - dites en trio - pour orgue de Johann Sebastian Bach, figurent parmi les oeuvres les plus rigoureuses du compositeur. A l'inverse d'autres compositions pour orgue de Bach, ses grandes Fantaisies et Toccatas, dans lesquelles abondent de luxuriantes formules virtuoses de nature indubitablement instrumentale, les sonates relèvent d'une stricte écriture à trois voix, sans que jamais le moindre ajout harmonique, la moindre tentation exhibitionniste, viennent troubler leur parfaite pureté polyphonique. Il nous est apparu que leur facture fondamentalement a-instrumentale était telle que ces sonates se prêtaient sans doute mieux que toutes autres à la transcription. De surcroît, il était clair qu'il existait une évidente adéquation entre leur écriture et celle destinée à un instrument à archet, et que la vocalité intensément expressive de leurs mouvements lents, comme la sobre alacrité de leurs mouvements rapides, conviendraient à merveille aux couleurs sonores très spécifiques de l'alto. Restait à faire en sorte que la transcription pour cet instrument crée l'illusion qu'elles avaient été originellement conçues pour lui. A cet égard, deux types de problèmes étaient à résoudre. Le choix des tonalités. Bach lui-même, lorsqu'il adaptait pour le clavier ses concertos originellement écrits pour le violon, recourait toujours à un changement de tonalité, en transposant systématiquement ces oeuvres d'un ton vers le bas. Passer du clavier de l'orgue à l'alto requérait de procéder à un traitement analogue, pour faire en sorte que l'instrument à cordes soit exposé dans le registre qui lui serait le plus favorable, tout en tenant compte de ses propres limites. Dans notre recherche des tonalités les mieux adaptées à chacune des sonates, nous avons été guidés par le souci de contourner deux écueils celui qui contraindrait l'alto à jouer dans un registre trop aigu, où sa sonorité a tendance à se faire claironnante - et à éviter parallèlement de l'emmener trop souvent vers son registre grave, magnifique pour les notes tenues et chantantes, mais qui sied mal aux notes rapides, telles que les doubles croches, dont les Allegros de Bach font une allègre consommation. Du fait de l'épaisseur des cordes graves de l'alto, leur émission y est quelque peu confuse, et elles y prennent presque inévitablement une sonorité pelucheuse qui rend l'équilibre acoustique de la souveraine polyphonie de Bach peu perceptible. C'est ainsi qu'après bien des essais et tâtonnements, nous sommes arrêtés aux transpositions suivantes: de Mi bémol majeur à Sol majeur pour la 1e sonate, d'Ut mineur à Sol mineur pour la 2e, de Mi mineur à Ré mineur pour la 3e, et ainsi de suite. Dans l'édition, nous indiquons à chaque fois la tonalité d'origine. Pour finaliser nos choix, nous avons d'ailleurs dû jouer avec un paramètre supplémentaire, car il va sans dire qu'une fois décidée la tonalité d'ensemble de telle ou telle sonate, nous nous sommes fixé pour règle de respecter les relations de tonalité adoptées par Bach entre les mouvements rapides et lents de ses oeuvres. La distribution des voix entre les deux instruments. Bach ayant naturellement réparti les deux voix de 'dessus' et la voix de basse de ses sonates entre les deux mains et le pédalier de l'organiste, la solution qui apparaissait à première vue s'imposer pour notre transcription, consistait à attribuer la voix supérieure à l'alto, tandis que les deux mains de l'instrument à clavier se chargeraient de la voix médiane et de la basse. Et de fait, c'est ainsi que nous procédâmes pour l'essentiel. Néanmoins, en de nombreuses occasions, nous avons jugé bon de faire exception à ce principe trop simple. Deux types de raisons nous ont ainsi conduits à recourir ici ou là à une redistribution des parties d'un instrument à l'autre. Le souci là encore de ne jamais placer l'alto dans une tessiture extrême, et surtout d'éviter d'aboutir à une confusion des entrées et des réponses fuguées. Ce faisant, nous croyons être parvenus par la même occasion à créer des échanges d'une grande vitalité entre les deux instruments. En publiant ici le résultat du travail prodigieusement stimulant qui fut le nôtre - accompagné de propositions de coups d'archet soigneusement étudiées (mais évidemment révisables selon les choix interprétatifs de chacun), destinées à en rendre clairs le phrasé, l'expression et la facture - nous avons la conviction de pourvoir à l'enrichissement du répertoire des altistes sous la forme de six chefs-d'oeuvre de tout premier ordre, sans que la transcription les ait d'aucune manière dénaturés. Nous sommes également persuadés que le soi-disant 'parent pauvre' de la famille des cordes ne le cédera en rien au 'roi des instruments' dans l'expression du sublime lyrisme constamment présent dans ces oeuvres de Johann Sebastian Bach. / classique / Répertoire / Alto et Piano
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Play It Again
Viola, Piano
[Sheet music]
-
Easy
Faber Music Limited
Scott, Daniel (Arranger) - Hornby, Megan (Editor). Tired of the same old exam pi...
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Scott, Daniel (Arranger) - Hornby, Megan (Editor). Tired of the same old exam pieces? Need a little light relief? Then here's the answer to your problems. Play it Again is a lively collection of favourite tunes, both new and old, expertly arranged for easy viola with upbeat, but playable, piano accompaniments. All viola parts are written in first position so they are perfect for the absolute beginner, helping young players to gain confidence and learn basic technique in a fun and lively way. Both you and your teacher can really relax and have fun! The solo viola part is also included on a separate insert. / Niveau : 2 / Traditional, Popular, Children / Recueil / Alto et Piano
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Singer's Library 2
Viola, Piano
[Sheet music]
Hal Leonard
Mezzo-Soprano Book Only. 32 Chansons de la scène de Broadway. Un trésor de cha...
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Mezzo-Soprano Book Only. 32 Chansons de la scène de Broadway. Un trésor de chansons de théâtre musical dans leurs clés originales, sélectionnés par la voix. Pour les chanteurs aspirants et professionnels qui aiment à Broadway, bibliothèque de théâtre du chanteur d'Alfred Musical présente un élégant collectiohe plus aimés du théâtre musical chansons dans leurs clés originales, authentiquement transcrits de leurs scores vocales originales. Parfait pour l'étude et aussi propice pour les auditions de la plus importantes et plus encore.../ Recueil / Alto et Piano
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Viola Recital Album, Vol.1
Viola, Piano
-
Easy
Barenreiter
This first volume of the 'Viola Recital Album? contains nine pieces that learner...
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This first volume of the 'Viola Recital Album? contains nine pieces that learners are especially fond of playing. They are based on English folk songs (such as 'Baa Baa Black Sheep?), familiar German nursery rhymes ('Hänschen Klein?) and less well-known but judiciously selected little compositions, e.g. by Moritz Hauptmann or Benjamin Cutter. The pieces can be interspersed in lessons at the teacher's discretion to enliven the repertoire.Each piece is accompanied by duo version in which the teacher or an advanced learner can play the second part. There is also a piano part that can be played by the teacher or parents.- New recital pieces for the proven viola tutor- Well-known traditionals- Every piece in first position- Second viola part for duo performance- Piano accompanimentAll the pieces in the four 'Viola Recital Albums? represent welcome additions to the already varied repertoire of Egon Sassmannhaus's viola tutor 'Early Start on the Viola.?Kurt Sassmannshaus is the editor of many string editions in the Bärenreiter catalogue. He continues in the tradition of 'Early Start on String Instruments? founded by his father, Egon Sassmannshaus. The new editions mentioned here were developed by Kurt Sassmannshaus in conjunction with his wife Melissa Lusk and his son Christoph Sassmannshaus. / Alto Et Piano (Ou 2 Altos)
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Après Un Rêve Op. 7/1
Viola, Piano
Schott
'La nouveauté de la forme, modulations sélectionnés, d'étranges couleurs son...
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'La nouveauté de la forme, modulations sélectionnés, d'étranges couleurs sonores, l'utilisation de complètement rythmes inattendus', c'est ainsi que Camille Saint-Saëns a salué le travail débuts d'un jeune collègue et poursuit: 'Par-dessus tout est un charme qui entoure l'ensemble des travaux et rend la masse d'auditeurs en moyenne accepter audaces les plus surprenants comme quelque chose de tout à fait naturel. La Première Sonate pour violon de Gabriel Fauré (1845 1924) était, en effet, une composition extraordinaire qui, en même temps, a ouvert la voie à l'oeuvre de l'un des compositeurs français les plus importants de la fin du 19ème siècle et début du 20ème siècle: était particulièrement avec des chants et de la musique de piano qu'il pouvait gagner le coeur du public. Dans les années 1870, Fauré a écrit trois chansons qui ont été initialement pas destiné à être une unité, mais ont ensuite été assemblés sous le numéro d'opus 7. La première chanson est 'Après un rêve', une chanson romantique, extatique qui, comme un 'Song Without Words' de Mendelssohn, est parfait pour faire de la musique avec un instrument soliste accompagné. / Alto Et Piano
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Sonatas In F Minor And E-Flat Major For Viola And Piano Op. 120
Viola, Piano
Barenreiter
Brahms had already announced his ?retirement' from composition when in the sprin...
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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 from the 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 edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Alto Et Piano
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Liebesstücke (Alto Et Piano)
Français
Viola, Piano
[Sheet music]
Fertile Plaine Editions
Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la pa...
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Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la partition qui a pour titre Liebesstücke ( alto et piano ) du compositeur Fourchotte Alain a été cataloguée sous la référence FP 1369 par l'éditeur. Cette oeuvre est écrite pour Alto. En 3 clics et quelques jours elle peut être chez vous. / Alto Et Piano / Partition
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Santa's Helper
Viola, Piano
[Sheet music + CD]
Santorella Publications
Remember fighting off the Sandman, desperately struggling to stay awake at the c...
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Remember fighting off the Sandman, desperately struggling to stay awake at the chance that you might catch a glimpse of Saint Nick. Every rustle or bump made you jolt from your quilted pod and race to the living room where the lit tree posed, draped in soft light. Still no Santa! It took all your energy to climb back into bed with your eyelids drawn and your body heavy. Tucked back in as best as you could with the sheets and pillows slightly disheveled, you dozed off while musical thoughts fill your groggy head. A wide, animated grin filled your face as you dreamt of chilly nights of caroling and warm, fire-lit sing-a-longs. Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Viola is also written as solos or duets in accommodating keys for Violin, Cello and Bass. This best selling Santorella Publication includes a piano accompaniment CD with lyrics, so the whole family can sing along. The Piano Accompaniment book for this Stringed Instrument Edition is sold separately. Santorella's Horn Edition is also available for trumpet, clarinet, flute, alto sax and trombone../ Recueil / Alto et Piano
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Petit Caprice (Alto Et Piano)
Français
Viola, Piano
[Sheet music]
Fertile Plaine Editions
Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la pa...
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Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la partition qui a pour titre Petit caprice ( alto et piano ) du compositeur Naulais Jérôme a été cataloguée sous la référence FP 1064 par l'éditeur. Cette oeuvre est écrite pour Alto. En 3 clics et quelques jours elle peut être chez vous. / Alto Et Piano / Partition
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Williams John - Very Best Of + Cd - Viola And Piano
Viola, Piano
[Sheet music + CD]
-
Intermediate
Alfred Publishing
Category: String Series Format: Book & CD Instrument: Viola Instrumentation: Vio...
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Category: String Series Format: Book & CD Instrument: Viola Instrumentation: Viola (with Piano Acc.) Level: Level 2-3 This incredibly versatile new collection was written especially for violin, viola, and cello. Each book features a piano accompaniment and a carefully crafted removable string part complete with bowings, articulations, and keys well suited for the Level 2-3 player. A fully orchestrated accompaniment CD, with demo tracks (featuring live string performances) and play-along tracks, completes each package. The string books are completely compatible with each other and can be played together or as solos. Due to level considerations, the string books are not compatible with the books in the wind series. Titles are: Can You Read My Mind? (Love Theme from Superman) * Cantina Band (Star Wars®) * Double Trouble (Harry Potter and the Prisoner of Azkaban) * Duel of the Fates (Star Wars®: Episode I The Phantom Menace) * Fawkes the Phoenix (Harry Potter and the Chamber of Secrets) * Harry's Wondrous World (Harry Potter and the Sorcerer's Stone) * Hedwig's Theme (Harry Potter and the Sorcerer's Stone) * The Imperial March (Star Wars®: The Empire Strikes Back) * May the Force Be with You (Star Wars®: The Empire Strikes Back) * Olympic Fanfare and Theme (1984 Olympic Games, Los Angeles) * Star Wars (Main Title) (Star Wars®) * Theme from Superman (Superman) * A Window to the Past (Harry Potter and the Prisoner of Azkaban).
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Konzertstücke Für Bratsche Und Klavier
Viola, Piano
Barenreiter
To complement the 'Sassmannshaus Early Start on the Viola? method, Bärenreiter ...
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To complement the 'Sassmannshaus Early Start on the Viola? method, Bärenreiter offer a selection of recital pieces tailored to this educational concept. This edition presents 14 pieces covering a wide stylistic spectrum, giving viola players a rich body of appealing concert pieces to choose from.The works are arranged in increasing order of difficulty, the cornerstones being two works by Georg Eduard Goltermann- his technically simple 'Andante religioso? and his demanding 'Adagio? and 'Tarantella?. Works by Kalliwoda, Fauré, Grieg, Dvorák, amongst others, are included.- 14 recital pieces presented in increasing order of difficulty- Wide range of styles includedThe editorKurt Sassmannshaus is a violinist and viola player, a professor of violin in Cincinnati (OH) and a promoter of violin teaching with projects in Germany, China and the United States. He continues the work of his father Egon Sassmannshaus, who set new standards with the Sassmannshaus string methods. / Alto Et Piano
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Viola School Vol.3 (SUZUKI SHINICHI)
Viola, Piano
[Sheet music]
-
Intermediate
Alfred Publishing
Par SUZUKI SHINICHI. FOR THE STUDENT This material is part of the worldwide Suzu...
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Par SUZUKI SHINICHI. FOR THE STUDENT This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addition, there are viola part books that go along with this material. FOR THE TEACHER In order to be an effective Suzuki teacher, a great deal ongoing education is required. Your national Suzuki association provides this for its membership. Teachers are encouraged to become members of their national Suzuki associations and maintain a teacher training schedule, in order to remain current, via institutes, short-term programs and long-term programs. You are also encouraged to join the International SuzukiAssociation. FOR THE PARENT Credentials are essential for any teacher you choose. We recommend you to ask your teacher for his credentials, especially those relating to traning in the Suzuki Method. The Suzuki Method should be a positive one, where there exists a wonderful, fostering relationship between child, parent and teacher. So choosing the right teacher is of the utmost importance. / Niveau : Intermédiaire / Pédagogie / Méthode / Alto et Accompagnement Piano
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Arcade (SAINT-LEGER PASCAL)
Viola, Piano
[Score and Parts]
-
Intermediate
FLEX Editions
Par SAINT-LEGER PASCAL. Voici le dessin d'un thème, bâti en forme d'arc sur le...
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Par SAINT-LEGER PASCAL. Voici le dessin d'un thème, bâti en forme d'arc sur les piliers de la main gauche du Piano (d'ou le nom de la pièce...), décliné sous trois formes rythmiques (linéaire, swinguée et cadentielle) permettant ainsi d'aborder souplement certaines difficultées techniques devant être acquises au cours des années d'un 1er cycle... - Pascal SAINT-LEGER - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Alto 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 2 mn 50 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Alto et Piano
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Thränenbenezt For Viola Et Piano (MAINTZ PHILIPP)
Viola, Piano
Barenreiter
Par MAINTZ PHILIPP. Philipp Maintz was born in Aachen, Germany, in 1977. He rece...
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Par MAINTZ PHILIPP. Philipp Maintz was born in Aachen, Germany, in 1977. He received his first composition lessons from Michael Reudenbach. He studied composition with Robert HP Platz in Maastricht from 1997-2003, graduating with distinction, followed by a further degree in composition and electronic music with Karlheinz Essl at the Bruckner Conservatory in Linz. He has received scholarships and invitations from institutions including the Electronic Studio at the University of Liège, the International Summer Courses for New Music in Darmstadt, IRCAM Paris and the North Rhine-Westphalia Ministry of Culture, an Artist’s Scholarship from Lower Saxony for the Künstlerhof Schreyahn and otherhonours: the Supportive Prize from the Ernst von Siemens Music Foundation in 2005, a scholarship from the Wilfried Steinbrenner Foundation in 2006 and a German Government Scholarship to study at the Cité Internationale des Arts, Paris in 2007, Scholarship awarded by the German Minister of Culture for a one-year stay at the German Academy Rome, Villa Massimo (2010). His compositions have been performed at festivals including the International Gaudeamus Music Week Amsterdam, agora-festival, Paris, ars nova (SWR), International Summer Courses for New Music in Darmstadt, Wittener Tage für Neue Kammermusik, musica (Strasbourg), Wien Modern, Hear&Now London and the Salzburg Festival./ Répertoire / Alto et Piano
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Sonate Pour Clarinette Op. 107 Version Pour Alto (REGER MAX)
Viola, Piano
[Sheet music]
G. Henle
Edition Urtext, Brochée. Par REGER MAX. Tout comme Brahms dans son opus 120, Re...
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Edition Urtext, Brochée. Par REGER MAX. Tout comme Brahms dans son opus 120, Reger prévit pour sa Sonate op. 107 deux instruments solistes différents: 'Je vais arranger la partie de clarinette pour l'alto également, afin que l'on puisse également exécuter la pièce sous cette forme' (lettre à son éditeur). Il ne voulait en aucun cas laisser l'aménagement de la partie d'alto à la maison d'édition, car il fallait changer ici ou là quelques liaisons et octavier certains passages - 'je suis le seul à pouvoir faire ce travail!' La tessiture médiane très sonore de l'alto est proche des sonorités de la clarinette, mais confère toutefois à l'oeuvre un coloris tout particulier. Les doigtés destinés à faciliter l'exécution de cette musique et les coups d'archet mis dans cette édition Urtext seront appréciés des altistes. / Date parution : 2011-09-23/ Répertoire / Alto et Piano
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Little Pop Music Vap (SCHMITZ MANFRED)
Viola, Piano
[Sheet music]
AMA Verlag
27 Stücke für Violine, Viola, Cello oder Flöte und Klavier. Par SCHMITZ MANFR...
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27 Stücke für Violine, Viola, Cello oder Flöte und Klavier. Par SCHMITZ MANFRED. Have fun learning through the combination of classical playing technique and pop sound! Separated into different levels of difficulty, in both these titles you’ll find an extensive repertoire of pieces for solo instruments with piano accompaniment. Working together with experienced instrumental pedagogues, Manfred Schmitz has specifically arranged these pieces for violin, viola, cello and flute respectively. Ideal for students and teachers: all components (the piano accompaniment book, the instrumental part books and a play-along CD that contains the piano accompaniments) can all be purchased separately. / Pop & rock / Recueil / Alto et Piano
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Intermezzo Op. 117 No 1
Français
Viola, Piano
Billaudot
Avec les opus 116 et 117 de Brahms nous sommes dans les quatre derniers opus pou...
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Avec les opus 116 et 117 de Brahms nous sommes dans les quatre derniers opus pour piano seul composés à Ischl en 1892, de même que pour les opus 118 et 119 en 1893. Brahms a abandonné l'écriture symphonique dont la dernière oeuvre fut le double concerto pour violon et violoncelle et plus tardivement celle qui concerne la musique de chambre.Cherchant une oeuvre inédite pour alto et piano représentative de la fin de la période romantique, mon choix s'est porté sur l'opus 117 #1 car il convenait parfaitement à un arrangement pour piano et alto, la partie mélodique étant de ce registre.A ce propos, n'oublions pas l'admirable oeuvre vocale du compositeur ainsi que les opus symphoniques antérieurs, mais également ceux de musique de chambre et pianistiques où la mélodie est confiée de manière épisodique à une ' voix intermédiaire ' que Brahms affectionnait particulièrement.L'opus 117 #1 est un paysage d'automne en demi-teinte, en clair-obscur cher au Brahms des dernières années dont il cite deux vers en exergue, extraits d'une berceuse écossaise. Dans ses derniers opus pour piano, Brahms retourne complètement à ses origines, avec une inspiration nordique affirmée. Sur la fin de sa vie le compositeur s'abandonne progressivement à un état d'esprit mélancolique qui reflète le sentiment de ses contemporains allemands en cette fin de XIXème siècle.Ce sentiment confus, ce ' Weltschmerz ' traduisant cette ' vague douleur du monde ' incita Brahms à surnommer certaines de ces pièces ' berceuses de ma douleur ' dont l'opus 117 #1 pourrait être un exemple. Ces ultimes opus s'inscrivent dans les quatre grands cycles de rêveries et de méditations pianistiques du célèbre compositeur. / Alto Et Piano
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Sonata In G Minor. Op. 5 #9 Arranged By Max Morgan For Viola And Piano (SENAILLE JEAN-BAPTISTE)
Viola, Piano
[Sheet music]
Stainer and Bell
Op. 5 No. 9 Arranged By Max Morgan For Viola and Piano. Par SENAILLE JEAN-BAPTIS...
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Op. 5 No. 9 Arranged By Max Morgan For Viola and Piano. Par SENAILLE JEAN-BAPTISTE. Senaillé (1687-1730) was the first French violinist to adopt the ideals of the Italian school of playing. To the French style, with its melodic grace, virtuosic writing and frequent use of dance rhythms, he brought the Italian conventions of the baroque sonata, imitative counterpoint and a melodically conceived continuo. Set for Grade 6 of the Associated Board and Guildhall School examinations./ Répertoire / Alto et Piano
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Elégie Op. 30 For Viola And Piano
Viola, Piano
G. Henle
The peripatetic life and career of the Belgian composer Henry Vieuxtemps anticip...
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The peripatetic life and career of the Belgian composer Henry Vieuxtemps anticipated the European concept almost prophetically in the 19th century. The best example is his Elégie of 1848: written in St. Petersburg, it celebrated its greatest triumphs in Paris, was printed in Offenbach am Main, and enthusiastically reviewed in London. Critics were quick to note the expressive contrasts as well as the bravura style of the coda, which was 'elegant and at the same time brilliant?. Following the publication of the Sonata op. 36 (HN 577), the Elégie op. 30 now takes its place among Vieuxtemps' viola works for the first time in an Urtext edition. Tabea Zimmermann was once again entrusted with the bowings- the preface was written by the Vieuxtemps specialist Marie Cornaz. / Alto Et Piano
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Hindemith Paul - Sonata - Viola And Piano
Viola, Piano
Schott
Edited after: Paul Hindemith, Complete Works, Vol. V/7 Instrument : viola and p...
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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.
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Sonate N01 (MILHAUD DARIUS)
Viola, Piano
[Sheet music]
Heugel
Par MILHAUD DARIUS. 1st Sonata was written by Darius Milhaud and is based on ano...
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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
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Norton Christopher - Microjazz For Viola - Alto Et Piano
Viola, Piano
Boosey and Hawkes
Easy pieces in popular styles such as jazz, blues, rock 'n' roll and reggae. Thi...
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Easy pieces in popular styles such as jazz, blues, rock 'n' roll and reggae. This collection contains all the pieces formerly contained in Microjazz for Violin, plus brand new pieces too. The edition is part of the Trinity syllabus 2007 (grade 4). Content : A Calming Influence A Dramatic Episode A Minor Tribute A Sad Tale A Touch of Spain Face in the Crowd Mean Streets Out West Rough Justice Scene from the Summit Song of the Isles Stamping Ground Steering Wheel Blues
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Pop Romance (SCHMITZ MANFRED)
Viola, Piano
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Intermediate
AMA Verlag
Par SCHMITZ MANFRED. Have fun learning through the combination of classical play...
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Par SCHMITZ MANFRED. Have fun learning through the combination of classical playing technique and pop sound! Separated into different levels of difficulty, in both these titles you’ll find an extensive repertoire of pieces for solo instruments with piano accompaniment. Working together with experienced instrumental pedagogues, Manfred Schmitz has specifically arranged these pieces for violin, viola, cello and flute respectively. Ideal for students and teachers: all components (the piano accompaniment book, the instrumental part books and a play-along CD that contains the piano accompaniments) can all be purchased separately. / Niveau : Intermédiaire / Contemporary - Solos / Recueil / Alto et Piano
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3 Pièces Pour Alto Et Piano (BOULANGER NADIA)
Viola, Piano
Leduc, Alphonse
Par BOULANGER NADIA. Nadia Boulanger's Three Pieces for Viola and Piano Poster...
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Par BOULANGER NADIA. Nadia Boulanger's Three Pieces for Viola and Piano Posterity has retained of Nadia Boulanger only her gifts as a virtuoso of the piano and organ, her skill as a conductor (of vocal ensemble and orchestra) and most of all, her incredible charisma as a teacher. For nearly sixty years, 'Mademoiselle' made the most of her famous Wednesdays, bringing rigour and passion to the training of several generations of musicians: among so many others, Aaron Copland, Leonard Bernstein, Igor Markevitch, Michel Legrand, Witold Lutoslawski, Astor Piazzolla, Quincy Jones and John-Eliot Gardiner have all kept unforgettable memories of these times. Was Nadia Boulanger wrong to let teaching music take precedence over her composing, as Gabriel Fauré, the great master she venerated, believed? The publication of Three Pieces for Viola and Piano, raises the question. This transcription of Three Pieces for cello and piano was composed between 1911 and 1913 and published by Heugel. The two initial pieces were originally written for organ: the first, in E flat minor, brings a moderate tempo to a melancholy cantilena with Romantic accents, while the second, in A minor, exudes warmth and tenderness. The third piece (C sharp minor), most likely originally titled Danse espagnole, heralds the Roaring Twenties with its restlessness and festive crackle. Together they emit a charm that is difficult to resist./ Répertoire / Alto et Piano
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Garland Judy - Wizard Of Oz + Cd - Viola And Piano
Viola, Piano
[Sheet music + CD]
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Easy
Alfred Publishing
In celebration of the 70th Anniversary of The Wizard of Oz, this book features a...
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In celebration of the 70th Anniversary of The Wizard of Oz, this book features all of the classic songs by E.Y. Harburg and Harold Arlen arranged for viola with a fully orchestrated CD accompaniment. This book also contains dozens of original production stills, including four pages of colour, publicity photos, an essay on the story behind the songs and biographies of the composers. This book is compatible with others in the series. The CD includes a demo track of each song, with a live instrumental performance, and a playalong track. A separate, optional, piano accompaniment book is also available. It also includes a CD that features various instrument demo tracks. Over The Rainbow; Come Out, Come Out... ,It Really Was No Miracle; Ding Dong! The Witch Is Dead; The Lullaby League ,The Lollipop Guild ,We Welcome You To Munchkinland; Follow The Yellow Brick Road ,We're Off To See The Wizard; If I Only Had A Brain; Optimistic Voices; The Merry Old Land Of Oz; The Jitterbug; If I Were King Of The Forest.
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Premiers Pas (SAINT-LEGER PASCAL)
Viola, Piano
[Score and Parts]
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Easy
FLEX Editions
Viola and Piano. Par SAINT-LEGER PASCAL. Les jeunes musiciens se régaleront ave...
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Viola and Piano. Par SAINT-LEGER PASCAL. Les jeunes musiciens se régaleront avec cette pièce qui trouvera toute sa place dans un programme d'audition ou de concert. - Pascal SAINT-LEGER - Une pièce adaptée pour un examen de Cycle I 2e année - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Alto 1 Piano - Niveau de Difficulté : 2/6 - Facile - Durée : 2 mn 15 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - / Niveau : Facile / Classique, Pédagogique / Répertoire / Alto et Piano
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Escapade (SAINT-LEGER PASCAL / GARDE JEAN NOEL)
Viola, Piano
[Score and Parts]
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Intermediate
FLEX Editions
Viola and Piano. Par SAINT-LEGER PASCAL / GARDE JEAN NOEL. Un voyage musical à ...
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Viola and Piano. Par SAINT-LEGER PASCAL / GARDE JEAN NOEL. Un voyage musical à proposer aux jeunes instrumentistes de fin de 1er cycle. - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Alto 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 3 mn 15 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - Jean Noël GARDE - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Alto et Piano
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Suite Nostalgique Pour Alto Et Piano
Français
Viola, Piano
Delatour France
Ecrites à la mémoire de Joseph La Marca, professeur au CRD d'Aix-en-Pce, ces 1...
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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
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Concerto For Viola And Orchestra (WALTON WILLIAM)
Viola, Piano
[Sheet music]
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Advanced
Oxford University Press
Reduction for viola and piano. Par WALTON WILLIAM. This edition of the piano red...
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Reduction for viola and piano. Par WALTON WILLIAM. This edition of the piano reduction is compatible with the Walton Edition full score and restores the solo line as edited and prepared by Frederick Riddle. It contains tempo markings and dynamic and expression marks from both of Walton's orchestrations (1929 and 1962), the 1962 version distinguished by lighter type. / Niveau : Avancé / Répertoire / Alto et Piano
59.00 EUR - Sold by LMI-partitions
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