Op. 131d-The rediscovery of the original manuscripts of Max Reger's works for violin viola and cello op. 131a-d represents a minor sensation. These late works for solo strings dating from 1914 and 1915 the last of which was only published posthumously were only known from the first printed editions until now and a scholarly-critical edition based on all the sources has long been desirable. The new edition from the Max-Reger-Institut now fills this gap.

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Alto

This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop.The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends.In The Myrrh-Bearer the Chorus symbolises ‘us’ the ‘sins of the world’ from‘stylized dictatorships’ to ‘the frivolous inane escapist vanities of the world ’ the to cries of ‘help’ after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ‘We have no king by Caesar;’ adownright condemnation of God in the Earthly power.In a surreal way the Magdalen’s ‘sin’ shines through in the viola music because she recognises the Godhead and the endless ‘Kyrie eleison’ chanted by the semi-chorusrepresents her repentance and whatever is left of a ‘repentant’ world.The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen’s recognition of the Risen Christ ‘Rabboni.’The last stroke of the gong in the viola’s final bottom C gives a deliberately ominous end to the piece.This is a special item which is made to order. Please e-mail ourMail Order Department for further information.

Big Note/Large Print-Warm-ups for the Violist is an adaptation of Warm-ups for the Violinist. It is targeted to help build strengthen and develop the muscles and techniques needed for viola playing. It is especially suited and created for the morecasual violist who is sincerely interested in getting maximum benefit from a minimum of effort. I first tested these scales and exercises on myself for six months faithfully using them for about 20 minutes as warm-ups to my dailypractice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as I charted my metronomic progress on a calendar. I remember thinking 'I will never be able to play fasterthan this.' But then a couple of weeks later I would indeed climb a notch higher!Through the years I have used these exercises in countless workshops and with private students. The letters of thanks and positive feedback fromstudents who were thrilled with improved violin and fiddle technique have brought me great satisfaction. Progress with these exercises is like the progress of a body builder. Body builders do not get up in the morning and think 'I am going to develop and build my muscles today ' and instantly look like Mr. Atlas. It takes weeks months and for some years to attain results. It must be done over a period of time. Like all diets and exercise programs determination and dedication are most important to success! I sincerely believe that these exercises when faithfully practiced will help violists improve their skills. The exercises will help develop and strengthen muscles usedfor finger dexterity clarity of notes tone bowing-arm control intonation double stops and a flexible bowing-arm wrist. A companion audio play-along recording is available online.