This collection features 12 Great Movie Themes complete with backing tracks that will make you sound great! Audio is available online via streaming or download.Pieces include: Batman Theme, The Godfather (Love Theme), He's a Pirate, Mrs. Darcy, My Heart Will Go on (Love Theme from 'Titanic'), Over the Rainbow, The Pink Panther, Star Wars (Main Theme) and more. / Alto

Instrumentalists will delight in this collection, which features thematic interpretations of 28 selections from Howard Shore's brilliant scores to The Hobbit motion picture trilogy. Shore masterfully expands upon the musical palette of Middle-earth, blending familiar motifs from the Lord of the Rings trilogy with an exciting array of memorable new themes. This beautifully produced folio features an array of colorful photos from the film. / Alto

Instrumental Play-Along® Series. Par SHAIMAN MARC / WITTMAN SCOTT. Solo arrangements for 9 Marc Shaiman songs from the 2018 movie are featured in this collection perfect for budding instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound and then to play-along and sound like a pro!/ Recueil / Alto

After working for three years at the NationalConservatory in New York, Dvorak returnedhome in 1895 feeling extraordinarily happy. The fruit of this ecstatic periodare thecomposer's last two string quartets. The Quartet in G major, Op. 106, waswrittenimmediately after his return from America. The melodic freshness of the light,airythemes, alternating folk idioms in a temperate, unobtrusive musical allusion,betraysthe composer's maturity and mastery. The editor of this work, published as partof the first Complete Critical Edition of Works by Antonin Dvorak, is FrantisekBartos.

Harmonische Fantasie über ein Thema von Tallis. Par KNOX GARTH. Thomas Tallis (1505–1585) was one of the great figures of English Renaissance music and the Third mode melody is probably his best known work, largely thanks to Vaughan Williams’s Fantasia on a theme by Thomas Tallis. In the manner of an illuminated manuscript, I wanted to illuminate this fascinating theme in three ways: from behind with medieval techniques like the ‘hoquetus’ passage of the opening or the dance at letter B, from in front with more contemporary sounds (letter A and similar), and from above with the extensive use of high harmonics. Almost all the notes of the theme fall very neatly on the ‘natural’ harmonics of the viola strings, and my ambition was to combine the ‘normal’ notes of the viola with its soaring harmonics, creating a rich luminous soundscape which reflects the spirituality of the theme. Tallis’s melody returns repeatedly to the note B, and I interpreted this as a gentle invitation to simply be, in the sense of quiet moments of mediation. I decided to include a series of still points in the piece: the first one is in silence, the second reveals a note (B) that oscillates in a harmonic heartbeat, the third is a vibrating chord of B with harmonics, and on the last one the second viola tunes down the C string to B, then explores all the natural harmonics of this new world. The term still point is of course a reference to the words of T.S. Eliot in his Four Quartets: 'At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is.' (Garth Knox) / Date parution : 2024-01-06/ Répertoire / 2 Altos

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement whose basic mood of meditative rest is challenged by occasional centrifugal utbursts while the third movement takes the inherent conflicts to a higher level contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into thesource? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement a more coherent-solid second movement and finally - in the third movement - a return-run ever more vehemently like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different but simultaneous tempi and there are more abstract upwards and downwards half-tone-scales with changing accents creating glimpses of melodies.INTO THE SOURCE String Quartet No. 9 was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

Solos for Viola-Nine songs from the Andrew Lloyd Webber musical masterpiece The Phantom of the Opera arranged for solo Viola: All I Ask of You · Angel of Music · Masquerade · The Music of the Night · The Phantom of the Opera · The Point of No Return · Prima Donna · Think of Me · Wishing You Were Somehow Here Again

for String Quartet-String quartet based on a striking shape-note hymn of the same title in the Southern Harmony collection. Open string harmonies and double-stop technique contribute to a distinct fiddle-like character.

Instrumental Play-Along-Fifteen megahits from The King arranged for solo instrumentalists including a great full-accompaniment play-along CD so you can sound just like a pro.Great for fun practice and performance.

Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet was commissioned by the Institute of Contemporary Arts and written in the autumn of 1967. It is dedicated to Lady Norton and is the second of LennoxBerkeley’s three works written with the oboist the late Janet Craxton in mind the other two being his Sonatina OP 61 and Sinfonia Concertante OP 84.The work begins with a fairly extended introduction leading without a breakinto an Allegro. The whole composition is based on the internal of a third (sometime major sometimes minor) which is heard in the opening phrase of the introduction and again in the main theme of the Allegro though here in atotally different context. The allegro is in more or less traditional sonata form. The middle movement is a kind of Scherzo growing out of a rhythmical figure for the strings and a rapid arpeggio (major and minor chords) forthe oboe. This is a Presto; a more relaxed middle section corresponding to the Trio in a classical work is followed by a much shortened version of the Scherzo. The last movement is brief but very slow all four instrumentstaking up in turn a gently rocking figure that moves to and fro between two notes always a major or minor third apart. The music becomes more animated but returns to the opening figure and dies away each instrument droppingout one after the other leaving the cello alone in the last bar.

The Ultimate Beginner Series has helped many aspiring musicians take their first step toward experiencing the fun of playing music. Now you can experience both volume 1 and 2 together for the first time on DVD! This disc is perfect for beginning students for students who are changing to another instrument or as a refresher for player returning to the instrument after many years. You will learn about Care and Maintenance Posture and Hand Positioning Simple Bowing and Plucking Techniques Basic Finger Patterns For Major Scales. Special features include: Getting To Know The Instrument Feature; Beginning Music Theory Interactive; Printable Reference Materials.

These two chamber music works are one of the main focuses in the oeuvre of Ulvi Cemal Erkin. Lively and spirited, they combine Western European tradition with rhythmic and melodic elements from Turkish folk music. Both are perfectly suitable for music lessons and concert recitals, adding a new interesting colour to the common chamber music repertoire.Erkin (1906-1972) is one of the most important composers of Turkey. He studied piano and composition in France and later returned to his home country where he became professor in Ankara. / Quatuor A Cordes

String Quartet was composed by Mumbai-born Brian Elias in 2012 and was commissioned by the Jerusalem String Quartet. Lasting around 20 minutes this is the full score of the work arranged for Violin I Violin II Viola and Cello. The work has been laid out in the conventional four movements Allegro Adagio Presto Adagio-Allegro-Adagio but it is essentially a work in a single movement to be performed withno breaks. A set of double variations generates the thematic and harmonic material for the entire piece in its first few bars with a brilliant Viola solo afterwards. Throughout the piece changes in dynamics and tempocharacterise the different movements before finally ending with a calming return to the slow music.  You can purchase the individual instrument  Parts here.

Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.Above Clouds for viola and piano, created in 2013/14, is one of Mamlok's most recent compositions and is no longer than about three minutes. In this period, however, many a thing happens, even if, as is often the case with Mamlok, the dramatization of the piece rather not follows traditional principles. This is why the end of the piece comes a surprise, when you least expect it. / Alto Et Piano