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
Composed by Johann Christian Bach (1735-1782), edited by Henri Casadesus. Set of...(+)
Composed by Johann
Christian Bach
(1735-1782), edited by
Henri Casadesus. Set of
performance parts
(includes separate
pull-out viola part) for
viola (also includes
optional violin and cello
transcriptions) and
piano. With solo part and
piano reduction. C Minor.
28 pages. Published by
C.F. Peters.
(including the Minuetto) By Ludwig van Beethoven (1770-1827), edited by Stein Ha...(+)
(including the Minuetto)
By Ludwig van Beethoven
(1770-1827), edited by
Stein Haas. Set of
performance parts for
viola and cello. Eb
Major. Composed 1795-98.
14 pages. Published by
C.F. Peters.
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.
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.
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.
