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).
Composed by Arvo Part (1935-). Full score (study). With Standard notation. Compo...(+)
Composed by Arvo Part
(1935-). Full score
(study). With Standard
notation. Composed 1978.
Duration 10 minutes.
Universal Edition
#UE31257. Published by
Universal Edition
7 Recital Pieces in First Position for Viola and Piano or Two Violas. Edited b...(+)
7 Recital Pieces in First
Position for Viola and
Piano
or Two Violas. Edited by
Lusk, Melissa /
Sassmannshaus, Christoph
/
Sassmannshaus, Kurt.
Stapled.
Barenreiter's
Sassmannshaus.
Performance Score(s),
Part(s). 11/11/11 pages.
Baerenreiter Verlag
#BA08992.
Published by Baerenreiter
Verlag
(Transcription of Violin Sonata No. 2 for Viola and Piano). By John Ireland (187...(+)
(Transcription of Violin
Sonata No. 2 for Viola
and Piano). By John
Ireland (1879-1962).
Edited by John White.
Arranged by Lionel
Tertis. For Viola, Piano
Accompaniment. Boosey &
Hawkes Chamber Music.
Softcover. 74 pages.
Boosey & Hawkes
#M060124501. Published by
Boosey & Hawkes
Piano Accompaniment; Viola (Score and Solo Part) SKU: HL.48024203 Viol...(+)
Piano Accompaniment;
Viola (Score and Solo
Part)
SKU:
HL.48024203
Viola
and Piano. Composed
by Magnus Lindberg.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 26 pages.
Boosey & Hawkes
#M060133077. Published by
Boosey & Hawkes
(HL.48024203).
ISBN
9781784542689.
9.0x12.0x0.127
inches.
The
composer states: Acequia
Madre demonstrates an
approach which was
somewhat new to the style
of my musical expression
at the time of its
composition [2012]:
structuring a work with
the focus on its melodic
aspects. I drew
inspiration from other
creative artists through
one of my 'rituals': I
surrounded myself with
the scores of composers
who, for one reason or
another, were on my mind
at the time, like Iannis
Xenakis, Alban Berg's
'Four Pieces for Clarinet
and Piano,' and
'Contrasts for violin,
clarinet and piano' by
Bela Bartok, plus
Schubert's haunting final
'String Quartet No. 15.'
Conquering technical
difficulties is something
I find particularly
rewarding when playing
acoustic instruments:
fully aware that today's
electronics can triumph
over a composer's most
demanding technical
challenges, I love the
idea of performers
encountering their
instruments with
virtuosity ... doing
something that seems to
defy physical
boundaries..
