Par HINDSON MATTHEW. Matthew Hindson's Rush for guitar and string quartet takes its influence from the music of Felix Mendelssohn. The fast and technically challenging passages found in the final movement of the Mendelssohn String Octet influenced Hindson's decision to compose a work for the Goldner String Quartet that is highly virtuosic in nature. Hindson remarks, 'it is much more the spirit of Mendelssohn's string writing that was influential, particularly the last movements of his string quartets and the String Octet, rather than any sort of harmony or melodic invention.' This nine minute piece also features the playful, up-beat and repetitive rhythms found in popular music. The fast and mostly accelerating tempo of Rush reinforces both the title of the piece and the influence of 'techno' music. Rush also features a series of catchy and vibrant melodies, making the work accessible to a wide audience. Although the piece is scored for guitar and string quartet, it is regarded by Hindson as a guitar quintet, where the guitarist and the string quartet are treated not as soloists performing with accompaniment, but as integral and equally important entities in the work as a whole. The guitarist and the instruments comprising the quartet each have the opportunity to assume the playful motifs and feature as virtuosic soloists. / Ensemble Music, Instrumental Music / Répertoire / Guitare et Quatuor à Cordes

for Viola. If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast - Can You Feel the Love Tonight - A Dream Is a Wish Your Heart Makes - Evermore - Go the Distance - He's a Pirate - I See the Light - Kiss the Girl - Let It Go - Mickey Mouse March - Reflection - A Spoonful of Sugar - True Love's Kiss - We're All in This Together - When You Wish upon a Star - A Whole New World - You've Got a Friend in Me - Zip-A-Dee-Doo-Dah - and more./ Recueil / Alto

This eclectic collection for solo Flute will delight film fans of all ages! 101 Movie Hits contains a dazzling selection of favourites from the silver screen, including Diamonds Are A Girl's Best Friend (Gentlemen Prefer Blondes), Eye Of The Tiger (Rocky III), Hallelujah (Shrek), Happy (Despicable Me 2), Mrs. Robinson (The Graduate), The Dreame (Sense And Sensibility), Let It Go (Frozen), Summer Nights (Grease), The Music Of Goodbye (Out Of Africa) and more. / Alto

Par BERIO LUCIANO. This set of arrangements of Luciano Berio’s “Duetti”, originally for two violins, represents a fascinating expansion of the limited repertoire for two violas. Berio originally conceived these duets as a collection of occasional pieces, each dedicated to someone who was close to him, rather like Elgar’s “Enigma” Variations, but they eventually developed into a full compositional project with pedagogical overtones. As such, there is a wide variation in technical demands, from pieces playable by beginners up to a duet that foreshadows the skills required for Berio’s “Sequenza” for the viola. Taken as a whole, over some years of study, the “Duetti” can gently lead players into the mysteries of contemporary music; however, the composer also envisaged them in a concert performance of the complete cycle with at least 24 players of differing abilities taking turns to play. In this guise, it might be an intriguing idea to mix them with the original version for two violins (UE17757), although it must be understood that the two versions are not mutually compatible to be played as violin/viola duets./ Répertoire / 2 Altos

Par GRIEG EDVARD. This stringset Suite from Peer Gynt contains a score and 16 parts. It is appropriate for an intermediate level player and explores a varied programme of 4 movements. Peer Gynt, Op. 23, is the incidental music to Henrik Ibsen's 1867 play of the same name, written by the Norwegian composer Edvard Grieg in 1875. It premiered along with the play on 24 February 1876. Later, in 1888 and 1891, Grieg extracted eight movements to make two four-movement suites: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. / Ensemble Music / Répertoire / Violon, Violoncelle, Alto et Contrebasse

Par VAUGHAN WILLIAMS RALPH. 'Quartet In C Minor' is in four movements with a total duration of about 25 minutes. The opening Allegro is similar in style to Dvorak in its lyricism, though there is a darker, more brooding atmosphere towards the close. It is tempting to detect a hint of folk-song in the theme of the Andantino, played by the viola, but that may be stretching hindsight too far. The movement has a wistful melancholy that carries over into the following Intermezzo, a song-like episode containing some of the most virtuosic writing in the work. The last movement is a theme and six variations with a fugal ending. The theme is ballad-like with a suggestion of 18th-century elegance. Modality creeps into the second Adagio variation and there is rhythmic exhilaration in the succeeding Presto. What can be admired in this attractive quartet is its conciseness. This String Quartet was his first major composition of any kind./ Répertoire / Trio ou Quatuor à Cordes

Ed. Critica A Cura Di Matteo Giuggioli. Par RICCI FRANCESCO PASQUALE. Francesco Pasquale Ricci straddled two worlds: Italy, his homeland, where he received his education and where he had his first professional experiences, and Europe, which would be the stage of his bold artistic affirmation and the consolidation of a vast and complex network of personal relationships. Ricci’s European excursion, occasionally interrupted by visits to Italy, lasted sixteen years. While not as lengthy as that of many of his countrymen and ending, unlike the careers of many Italians, with a definitive return to the land of his birth, his European travels were no less important for his career. Thanks to this experience, Ricci was able to establish an internationalreputation and find, on a personal level, the stimulus and the occasions to bring to maturity his personality as a composer, filled with the aspirations and contradictions typical not only of artists, but of all creative men of his time. In this critical edition, 12 symphonies have been chosen in order to illustrate characteristics and general problems related to the entire corpus of these works. The Archivio della Sinfonia Milanese series is intended to bring together the symphonic repertoire in eighteenth-century Lombardy to encourage experts to study it, musicians to perform it and draw the attention of a wider audience. In particular, the series intends to publish the major works by progressive, European-oriented composers of the period from Milan or who were active there and in the Lombardy area, giving pride of place to compositions which have not yet been published in our time. / Niveau : Intermédiaire / Musique contemporaine / Date parution : 1905-07-09/ Répertoire / 2 Violons, Alto, Hautbois, Cor et Basse Continue

Variationen über die Caprice Nr. 24 im Stil des Modern Jazz. Par SAY FAZIL. The concert piece Paganini Jazz by Fazil Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned '24th Capriccio', transforming it into 'variations on jazz' requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements. Throughout music history a number of composers have written various works inspired by the '24th Capriccio'. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, a different aspect must be noted: the composer is prepared to add various 'developmental passages' and 'transitional improvisations' while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say. / Niveau : 5 / Répertoire / Violon, Piano, Guitare Basse et Percussion

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

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

Cette collection comprend des solos instrumentaux de classiques de Disney plus de 70. / Alto / 80 pages / niveau : Facile / Partition

Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music in the 20th century and composed the Variations on an Unknown Theme in 1976. The ?unknown theme? was a prankish eight-bar theme from Fi?er?s student days. In the elation following the home-team win over Canada on 15 March 1959, he made a bet with his colleague Kalach to compose a concert piece for violin and orchestra with the working title ?Canada-Rondo?. The whimsical contest was abandoned, but Fi?er did not forget the theme and he later created variations on it for his new composition for the Talich Quartet. The Variations on an Unknown Theme have now been published for the first time ever. This edition is based on the autograph of the score which is housed in the Czech Museum of Music in Prague.

Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed by the violin virtuoso Fritz Kreisler (1875-1962) which he had passed off as transcriptions of settings of old masters, the violinist published original works early on as well. Kreisler himself liked to play them as encore pieces, thus sweetening many a concert with this 'musical confectionery'. Famous tunes are, for example, Liebesfreud, Liebesleid and Schön Rosmarin, his old Viennese dance tunes, in which Kreisler evoked the coffee-house atmosphere of his home town with beautiful melodies and mellifluous harmonies. Another wonderful example is his Marche miniature viennoise, with its humorous theme and a rather march-like middle section - and everywhere, Kreisler takes the audience by surprise with a little Viennese snide humour. Kreisler's original compositions are lovely miniatures, lively and catchy, even with a touch of melancholy - yet full of charm and elegance. Arranged for string trio, they are enjoyable to play and worth listening to and a valuable addition to the repertoire - ideal for sociable music-making or as pieces to end a 'serious' concert./ Répertoire / Trio à Cordes

Serenade. Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed by the violin virtuoso Fritz Kreisler (1875-1962) which he had passed off as transcriptions of settings of old masters, the violinist published original works early on as well. Kreisler himself liked to play them as encore pieces, thus sweetening many a concert with this 'musical confectionery'. Famous tunes are, for example, Liebesfreud, Liebesleid and Schön Rosmarin, his old Viennese dance tunes, in which Kreisler evoked the coffee-house atmosphere of his home town with beautiful melodies and mellifluous harmonies. Another wonderful example is his Marche miniature viennoise, with its humorous theme and a rather march-like middle section - and everywhere, Kreisler takes the audience by surprise with a little Viennese snide humour. Kreisler's original compositions are lovely miniatures, lively and catchy, even with a touch of melancholy - yet full of charm and elegance. Arranged for string trio, they are enjoyable to play and worth listening to and a valuable addition to the repertoire - ideal for sociable music-making or as pieces to end a 'serious' concert./ Répertoire / Trio à Cordes

10 flexible Blues Arrangements for String Ensemble. Par HUFSCHMIDT THOMAS. Get the blues by playing in small or large ensembles of woodwinds, brass, strings, or rhythm section!Play together in harmony with classmates, family, and friends. Use any combination of instruments and any skill level. Everyone can play the blues! As a conductor of school bands or ensembles you?re always looking for arrangements that can be played by players of different levels and instrument groups. At many times such arrangements don?t fit to what you require. Alfred?s Flex-Ability series will fit for you! Arranged for multi-level instrumentalists to play popular music together, this Flex-Ability Blues series will enable you:? to perform each blues song either as solo, duet, trio, quartet, and/or quintet to bring together players of different levels to choose your individual ensemble of any size to combine any instrument part from any book with any part from the other books The Flex-Ability Blues series provides you with seven instrumental books including ten blues songs in five-part score form you can use in such a flexible way. The arrangements are carefully crafted to sound authentic, optional octaves are included to allow for range flexibility. To help you practice, a downloadable PDF Piano accompaniment for all the pieces in this book is available online. This way, you definitely will have the blues!/ Recueil / Violon, Alto ou Violoncelle