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).

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

(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

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. 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.

Urtext. Composed by Josef Schelb. Breitkopf and Haertel #EB-8992. Published by Breitkopf and Haertel