Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa. For
viola and piano. This
edition: urtext edition.
Paperback. Level 3. Score
with parts. Opus 120.
Published by Baerenreiter
Verlag
Arranged for piano and viola. Composed by Cesar Auguste Franck (1822-1890...(+)
Arranged for piano and
viola. Composed by
Cesar Auguste Franck
(1822-1890). Edited by
Douglas Woodfull-Harris.
Arranged by Douglas
Woodfull-Harris. Stapled.
Performance score.
Published by Baerenreiter
Verlag (BA.BA10918).
(Op. 100). Composed by Antonin Dvorak (1841-1904). Edited by Kim Kashkashian. Fo...(+)
(Op. 100). Composed by
Antonin Dvorak
(1841-1904). Edited by
Kim Kashkashian. For
viola, piano. Score and
Part. Standard Notation.
32 8 pages. Published
by Carl Fischer
Piano Accompaniment; Viola - easy to intermediate SKU: HL.49018407 Vio...(+)
Piano Accompaniment;
Viola - easy to
intermediate
SKU:
HL.49018407
Viola
and Piano. Composed
by Edward Elgar. Arranged
by Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical, March. Op.
39/1. 16 pages. Schott
Music #ED09887. Published
by Schott Music
(HL.49018407).
ISBN
9790001175678. UPC:
841886016385.
9.0x12.0x0.067
inches.
A 'Last
Night of the Proms'
without this march -
unthinkable! 'Pomp and
Circumstance Military
March No. 1' with its
middle section, the
hymn-like 'Land of Hope
and Glory' by Edward
Elgar (1857-1934),
belongs to the finale of
the London music event
like the Radetzky March
usually played as last
piece to the New Year's
Concert of the Vienna
Philharmonic Orchestra.
The fame and popularity
of the other four
military marches composed
by Elgar between 1901 and
1907 fade in comparison
to this secret national
anthem of Great Britain
(although strongly
rivalled by 'Rule,
Britannia!'). It is,
indeed, an equally
rousing and catchy piece
of music, and the catchy
tune in the middle has
just become a classical
'hit'. Thanks to the
present edition, all
those who do not have a
large symphony orchestra
at home can now play this
rousing march by
themselves.
Piano Accompaniment; Viola SKU: HL.48024948 Viola and Piano. Compo...(+)
Piano Accompaniment;
Viola
SKU:
HL.48024948
Viola
and Piano. Composed
by Igor Stravinsky.
Edited by Kim
Kashkashian. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 50
pages. Boosey & Hawkes
#M060136757. Published by
Boosey & Hawkes
(HL.48024948).
ISBN
9781784545659. UPC:
840126947205.
9.0x12.0x0.195
inches.
Drawing on
the composer's
transcriptions for violin
(with Samuel Dushkin) and
for cello (with Gregor
Piatigorsky), Kim
Kashkashian has produced
a long-overdue viola
version of this
neoclassical masterpiece.
The choice of movements
from Stravinsky's
Pulcinella Suite differs
between those for violin
and cello; Kashkashian
has in turn made a
slightly different
selection comprising
Introduzione, Serenata,
Aria, Tarantella, Toccata
and Minuetto e Finale. A
show-stopping addition to
the repertory of modern
viola music.
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.