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Red
Viola, Piano
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
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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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
35.30 EUR - Sold by LMI-partitions
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Pop Romance (SCHMITZ MANFRED)
Viola, Piano
-
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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10 Rapsodies In Concert, Viola And Piano (SCHMITZ MANFRED)
Viola, Piano
[Sheet music + CD]
-
Intermediate
AMA Verlag
Par SCHMITZ MANFRED. 10 appealing concert pieces for violin, viola, cello or flu...
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Par SCHMITZ MANFRED. 10 appealing concert pieces for violin, viola, cello or flute and piano in the style of ?RAPsody? from ?Pop Music for Violin
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Sonate (LOHSE FRED)
Viola, Piano
[Sheet music]
Metropolis Music Publishers
Par LOHSE FRED. / Répertoire / Alto et Piano
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Conc. Per Vla E Orch. (ZAFRED MARIO)
Viola, Piano
[Sheet music]
Ricordi
Par ZAFRED MARIO. / Répertoire / Alto ou 2 Altos et Piano
32.04 EUR - Sold by LMI-partitions
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Johannes Brahms: Sonatas In F Minor And E-Flat For Viola: Viola: Instrumental
Viola, Piano
Barenreiter
for Viola and Piano-Brahms had already announced his 'retirement' from compositi...
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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
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Milhaud Darius - Concerto Op.108 - Alto & Piano
Viola, Piano
Universal Edition
Composer: Milhaud Darius Title: Concerto op. 108 Scored for: for viola and or...
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Composer: Milhaud Darius Title: Concerto op. 108 Scored for: for viola and orchestra or viola and 15 instruments Edition type: piano reduction Edition: Edition for Viola and Piano ISBN: 978-3-7024-6322-9 ISMN: 979-0-008-01009-5 Order number: UE3718
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Play it Again: Viola: Instrumental Album
Viola, Piano
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Easy
Faber Music Limited
Tired of the same old exam pieces? Need a little light relief? Then here's the a...
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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.
8.50 GBP - Sold by Musicroom UK
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Gordon Jacob: Sonatina for Viola and Piano: Viola: Score and Parts
Viola, Piano
[Sheet music]
Novello & Co Ltd.
While Gordon Jacobs composed a vast amount of music more than four hundred pie...
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While Gordon Jacobs composed a vast amount of music more than four hundred pieces -- he was particularly celebrated for his work for Viola and for woodwinds as well as for his books on music pedagogy. Jacob had an early success with his Viola Concerto of 1926 which was premiered at a Promenade concert and which was the beginning of a series of strong contributions to Viola repertoire. This Sonatina for Viola and Piano demonstrates his sensitive writing for the instrument. It works very well when performed on clarinet as well.While many composers of the 20th century rejected serialism atonality and other avant garde effects in favour of Romanticism Jacob was much morean adherent to the musical models of the classic and baroque eras while still encompassing modern harmonies. His work Music for a Festival for symphonic wind band and brass ensemble was used for the post-war Festival of Britain and he arranged the British national anthem for the coronation of Queen Elizabeth II.
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Richard Rodney Bennett: After Ariadne: Viola: Instrumental Work
Viola, Piano
[Book]
Novello & Co Ltd.
After Ariadne was commissioned by the violist Paul Silverthorne who premièred...
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After Ariadne was commissioned by the violist Paul Silverthorne who premièred it with Richard Rodney Bennett himself in 1987 at the Cheltenham Festival. This is based on the famous Monteverdi madrigal Lasciate Mi Morire.
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Sonata Op. 39 (1997)
Viola, Piano
-
Intermediate
Ricordi
Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Ros...
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Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano
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Pascal Proust: La viola del niño: Viola: Score and Parts
Viola, Piano
De Haske Publications
A small playful piece that revives the famous Twinkle twinkle little star in ...
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A small playful piece that revives the famous Twinkle twinkle little star in a dance version (a short tango).Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote La viola del niño for violists with an ability of approximately one year’s experience. He paid special attention to an easy-to-follow attractive musical style. La viola del niño is an ideal performance or competition work for young musicians.
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Franz Anton Hoffmeister: Concert D-Dur: Viola: Instrumental Work
Viola, Piano
G. Henle
Along with the Stamitz concerto Hoffmeister‘s Viola Concerto is the most ...
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Along with the Stamitz concerto Hoffmeister‘s Viola Concerto is the most important audition piece for Viola players. Yet it has been handed down in a complicated source tradition surviving ina single contemporary manuscript covered with many layers of markings. Our Piano reduction reconstructs for the first time the earliest textual layer in this source thereby coming as close as possible toHoffmeister‘s actual intentions. The reconstructed original is accompanied by a detailed critical commentary. Fingering and bowing marks have been added by no less a musician than Kim Kashkashian!
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Leopold Josef Beer: Concertino In E Minor Op. 47: Viola: Instrumental Work
Viola, Piano
Bosworth
For Viola and Piano-Leopold J. Beer (1865-1956) was a composer arranger and edi...
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For Viola and Piano-Leopold J. Beer (1865-1956) was a composer arranger and editor who is best known for his many pedagogical publications including the highly successful Leipzig range of Piano music. His Concertino in E Minor (Op. 47) is scored for Viola and Piano. It is the earlier of his two compositions in the Easy Concertos and Concertinos series.
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Georg Philipp Telemann: Viola Concerto In G Major: Viola: Score
Viola, Piano
G. Henle
Piano reduction-Georg Philipp Telemann's Viola Concerto In G Major. Piano reduct...
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Piano reduction-Georg Philipp Telemann's Viola Concerto In G Major. Piano reduction.The Viola is often not credited with being able to take over a soloistic role but this is completely unjust. In 1738 JohannPhilipp Eisel already wrote of the Viola as being the ?very bowels of music? and stressed that it was not only needed to ?flesh out? the Orchestral sound but also as a 'concert voice which is fully proven by the concertos andconcert overtures by the famous Capell-Meister Telemann'.Telemann?s Concerto In G Major is considered to be one of the earliest works for solo Viola and Orchestra and forms part of thecore repertoire for pupils and students. In this Urtext Piano reduction the specialist Kai Köpp has provided information regarding historical performance practice.
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Antonín Dvo?ák: Romantic Pieces for Viola and Piano op. 75: Viola: Score and
Viola, Piano
Barenreiter
Arrangement for Viola and Piano-?Sooner or later the ?Romantic Pieces? will pave...
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Arrangement for Viola and Piano-?Sooner or later the ?Romantic Pieces? will pave their way through all the salons?: thus the periodical Dalibor predicted when the ?Romantic Pieces? op. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorák?s most popular works for violin and piano. Now they are being made available for violists also.Bella and Semjon Kalinowsky have arranged the four pieces on the basis of the ?Complete Edition of the Works of Anton n Dvorák?. The piano part of the original version remains while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.With theirentrancing melodies and poetry these pieces pose few technical challenges and are thus easy to play.
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BEER LEOPOLD J. - CONCERTINO IN E MINOR OP.47 - ALTO and PIANO
Viola, Piano
Bosworth
Leopold J. Beer (1865-1956) was a composer, arranger and editor, who is best kno...
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Leopold J. Beer (1865-1956) was a composer, arranger and editor, who is best known for his many pedagogical publications, including the highly successful Leipzig range of Piano music. His Concertino inE Minor (Op. 47) is scored for Viola and Piano. It is the earlier of his two compositions in the Easy Concertos and Concertinos series. / Partitions classique / Cordes / Alto / BOSWORTH
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Pascal Proust: Avril: Viola: Score and Parts
Viola, Piano
De Haske Publications
April: the beginning of spring joyful melodies for young violists.Composer Pasc...
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April: the beginning of spring joyful melodies for young violists.Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote Avril for violists with an ability of approximately 3 4 years’ experience. He paid special attention to an easy-to-follow attractive musical style. Avril is an ideal performance or competition work for young musicians.
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Aaron Copland: Copland for Viola: Viola: Instrumental Album
Viola, Piano
Boosey and Hawkes
Copland 2000 separate part - viola (piano accompaniment available separately = ...
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Copland 2000 separate part - viola (piano accompaniment available separately = BHI102644)-Aaron Copland's music is characteristically and recognisably American. Copland's untiring efforts to ensure that his works would speak to the average citizen as well as to his fellow artists made him one of the most honoured cultural figures in United States history. Among countless awards and honours Copland received the Pulitzer Prize and the Presidential Medal of Freedom. This exciting series of arrangements offers soloists the opportunity to experience some of Copland's pioneering musical achievements in the establishment of a uniquely American idiom.
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Edward Huws Jones: Ten O'Clock Rock: Viola: Instrumental Album
Viola, Piano
Boosey and Hawkes
18 Vortragsstücke für Anfänger-18 concert pieces for beginner Viola players. ...
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18 Vortragsstücke für Anfänger-18 concert pieces for beginner Viola players. Ideal Concert pieces which appeal to the imagination - and sense of humour - of young players and their audiences. Ideal Concert pieces which appeal to the imagination - and sense of humour - of young players and their audiences. Player-friendly melody lines powered along by racy Piano accompaniments (availably seperately)in pop and jazz idioms. The different instrument books are compatible as the string parts are in unison or octaves making them ideal forindividual or group lessons and for string ensembles. ?
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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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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...
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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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Valentine Robert - Sonata In A Minor - Alto and Piano
Viola, Piano
Schott
Sonata in A Minor (No. 9) Composer: Valentine, Robert Editor: D...
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Sonata in A Minor (No. 9) Composer: Valentine, Robert Editor: Dinn, Freda
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Fiddler Playalong Collection for Viola
Viola, Piano
[Sheet music + Audio access]
Boosey and Hawkes
Par . The full range of traditional fiddle repertoire is now at your fingertips!...
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Par . The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. / Date parution : 2022-02-26/ Recueil / Alto
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Alle Jahre Wieder
Viola, Piano
Schott
Noël est le temps de la musique, le temps de jouer ensemble dans des ensembles ...
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Noël est le temps de la musique, le temps de jouer ensemble dans des ensembles différents. Le présent volume contient la plus belle et la plus connue allemands et internationaux chants de Noël avec un facilement jouable, mais un accompagnement au piano qui sonne bien. Un coffre au trésor pour les leçons, les concerts et la musique de décisions à la maison pendant la période de Noël. / Alto Et Piano
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Sonata Gmin Op. 2/8 2Vla Pft Red
Viola, Piano
IMC (International Music Co.)
/ Alto Et Piano
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Concerto C Maj Vla Pft Red
Viola, Piano
IMC (International Music Co.)
/ Alto Et Piano
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Concerto Bbmaj Vla Pft.Red
Viola, Piano
IMC (International Music Co.)
/ Alto Et Piano
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Concerto G Maj Vla Pft Red (TELEMANN GEORG PHILIPP)
Viola, Piano
[Sheet music]
IMC (International Music Co.)
Par TELEMANN GEORG PHILIPP. / Répertoire / Alto et Piano
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