Viola and piano - Level 1 SKU: LM.C06672 Composed by Charlotte Lapeyre. C...(+)
Viola and piano - Level 1
SKU: LM.C06672
Composed by Charlotte
Lapeyre. Classical.
Score. Editions Combre
#C06672. Published by
Editions Combre
(LM.C06672).
ISBN
9790230366724.
Mari
a, l'oie - Perrine, la
lapine (mesures binaires
et ternaires) -
Emmanuelle, la sauterelle
(quartes et quintes) -
Dess-Laura, la chatte
angora (chromatismes) -
Benoit, le koala (sauts
de cordes).
Composed by Carl Philipp Emanuel Bach (1714-1788), edited by Veronica Leigh Jaco...(+)
Composed by Carl Philipp
Emanuel Bach (1714-1788),
edited by Veronica Leigh
Jacobs. W. 136 (H. 558).
Set of performance parts
(includes separate
pull-out viola part) for
viola and piano. With
solo part and piano
accompaniment. C Major.
Published by
International Music
Company.
(Edition for Gamba (Viola) with marked and unmarked string parts). By Carl Phili...(+)
(Edition for Gamba
(Viola) with marked and
unmarked string parts).
By Carl Philipp Emanuel
Bach (1714-1788). Edited
by Ernst-Günter
Heinemann, Wolfram Enlin,
and Ernst-G. For Viola,
Viola da gamba, Piano
Accompaniment. Henle
Music Folios. Softcover.
160 pages. G. Henle
#HN990. Published by G.
Henle
Viola and Piano - intermediate SKU: BT.SLB-02032701 Pour alto & piano<...(+)
Viola and Piano -
intermediate
SKU:
BT.SLB-02032701
Pour alto & piano.
Composed by Johann
Christian Bach.
Classical. Book and
Part(s). Composed 2021.
40 pages. Editions
Salabert #SLB 02032701.
Published by Editions
Salabert
(BT.SLB-02032701).
230
X 305 inches.
French-English-Italian.
p>
Henri Casadesus was
passionate about early
instruments, as we know
from a number of
photographs showing him
with viola
d’amore, the
subject of a manual he
wrote entitled Tecnique
de la viole
d’amour. The
Concerto en Ut mineur was
first published in 1947
by Mica Salabert. The
first edition gives the
so-called
“originalâ€
part for solo violocello
together with the score
which, according to the
preface, has been adapted
for viola or cello or
violin by Casadesus.
However, stylistic
analysis of the piece,
together with some
musicological research
carried out after the
appearance of the first
edition reveals that the
“originalâ€
version for violoncello,
on which the adaptation
was supposed to be based,
cannot be attributed to
Johann Christian Bach,
but is rather a work
imitating his style
written two centuries
later. In spite of this,
Concerto en Ut mineur
encountered considerable
success and continues to
be studied and performed
by both violinists and
violoncellists
today.
(Manuscrit autographe, novembre 1824). By Franz Schubert (1797-1828). Edited by ...(+)
(Manuscrit autographe,
novembre 1824). By Franz
Schubert (1797-1828).
Edited by Philippe
Muller. Alto et
piano-forte / Piano et
arpeggione / Violoncelle
et piano. For Viola,
Piano, Cello. Facsimiles.
Collection Dominantes.
Grade 0. 96 pages
Viola and piano (Viola With Piano Accompaniment) - advanced SKU: HL.49046384<...(+)
Viola and piano (Viola
With Piano Accompaniment)
- advanced
SKU:
HL.49046384
Composed
by Naji Hakim. This
edition: Saddle
stitching. Sheet music.
String Solo. Diese in
Liedform geschriebene
Fantasie entwickelt eine
ausdrucksstarke Melodie
in es-Moll. Ihr
charakteristischer
jambischer Rhythmus
kundigt sich in den
ersten Takten der
ostinaten
Klavierbegleitung an.
Softcover. Duration 420
seconds. Schott Music
#VAB98. Published by
Schott Music
(HL.49046384).
ISBN
9781540086471. UPC:
842819108283.
9.0x12.0x0.079
inches.
This
fantasy in song form,
develops an expressive
melody in Eb minor. Its
characteristic iambic
rhythm is announced in
the initial bars of the
ostinato piano
accompaniment. The
central section contrasts
by its diversified themes
and its tonal mobility. A
tight recapitulation in
the treble register is
dramatically interrupted
before the coda.
Collected and
harmonically dense, the
last bars resound like a
last breath, tone
painting the 'in manus
tuas domine commendo
spiritum meum' (Ps.
31,6).
Viola and Piano SKU: BT.MUSVWP000125 Composed by Edmund Severn. Arranged ...(+)
Viola and Piano
SKU:
BT.MUSVWP000125
Composed by Edmund
Severn. Arranged by Alan
H. Arnold. Classical.
Book Only. Viola World
#MUSVWP000125. Published
by Viola World
(BT.MUSVWP000125).
Born in
Nottingham, England, in
1862, Edmund
Severn moved to the
United States at the age
of four along with his
family who settled in
Hartford, Connecticut.
Severn began to
study the Violin with
guidance fromhis father,
who taught the instrument
professionally. He later
studied with Franz Milcke
and Bernard Listemann,
concertmaster of the
Boston Symphony
Orchestra, before moving
to Berlin to study bowing
technique under Emanuel
Wirth,the first assistant
of Joseph Joachim at the
Berlin Hochschule.
As a composer
Edmund Severn
wrote mainly orchestral
music, as well as many
pieces for the Violin
including a concerto; he
also wrote
threestringquartets.
<
p>To this day, the
Polish
Dance for Violin
and Piano has remained
Severnâ??s most
famous work. The piece is
arranged here by Alan
Arnold for Viola and
Piano.
Viola and Piano SKU: BT.YE0009 For Violone. Composed by Giovannino...(+)
Viola and Piano
SKU:
BT.YE0009
For
Violone. Composed by
Giovannino. Classical.
Book Only. Yorke Edition
#YE0009. Published by
Yorke Edition
(BT.YE0009).
Very little is
known about the two
sonatas which appear here
in their original keys.
They were placed in the
library of the Music
School in Oxford at the
end of the seventeenth
century in a form
convenient for playing
(i.e.unbound). The
library was catalogued by
Hake between 1850 and
1855 and the sonatas were
eventually bound in 1855
with other instrumental
and vocal manuscripts of
the same period, some of
which are dated
1698.
The
sonatasare both inscribed
on the title page Sonata
Violone Solo. Col Basso
per l'Organo, o Cembalo.
A third sonata bears the
words Sonata Violino e
Violoncino â?¦ di
Giovannino del Violone.
Giovannino (=Little, or
Young John)musthave been
a performer, and although
the third sonata has been
copied by a different
hand, it is conceivable
that Giovannino is a
connecting link between
the three. He cannot,
however, be assumed to be
theirauthor.
The
Violone was a
six-stringed instrument
with frets, and there is
evidence to suggest that
the Contrabasso of the
same period was similar
but probably a little
larger; the Violoncino
(=Little Violone,
orVioloncello) must have
been smaller. The word
'Violone' was also used
as a collective term
embracing all members of
the Viol family, which
means that the sonatas
might well have been
written for a tenor or a
bass Viol, and
notnecessarily a Violone
as such. Indeed, when
they are played on a
Violone, or Double Bass
the continuo bass line
must be played at a lower
pitch than the solo
instrument, to prevent
inversion of the intended
harmony. (The use ofa
Violone/Double Bass
continuo or 16' organ
tone would overcome this
problem.)
The
editor has added no
ornaments or
embellishments to the
solo part as it appears
in the original
manuscript. It is open to
debate whether aViolone
player, owing to the very
nature of his instrument,
would have used any but
the simplest melodic
decorations.
Nevertheless, the
performer should acquaint
himself thoroughly with
those seventeenth century
traditions thatare known
today (see Dart.