Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

By John Craton. Chamber ensemble. For Viola, piano. Chamber Music. Six fantasias for viola and orchestra based on traditional Mongolian folk songs, arranged for viola and piano. Contemporary. Score and part. 38 pages. Duration 22:00. Published by Wolfhead Music. (WM401) Level: Advanced.

Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Piano. Solos. Christmas. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

Piano Accompaniment for Viola. Curnow Play-Along Book. Play Along. 44 pages. Published by Curnow Music.

Traditional Fiddle Music from Around the World. Composed by Edward Huws Jones. Arranged by Edward Huws Jones. Boosey & Hawkes Chamber Music. Folk. Softcover Audio Online. 100 pages. Boosey & Hawkes #M060139208. Published by Boosey & Hawkes

(Carols And Traditional) Arranged by Bill Galliford, Ethan Neuburg, Tod Edmondson. Instrumental solo book and examples/accompaniment CD for viola. With viola fingering chart. 96 pages. Published by Alfred Publishing.

Viola and Piano

SKU: IS.VAP4359EM

Composed by August Baeyens. Strings - Viola. Metropolis Music Publishers #VAP4359EM. Published by Metropolis Music Publishers (IS.VAP4359EM).

ISBN 9790365043590.

Augu st Louis Baeyens received his musical training at the Royal Flemish Music Conservatory in Antwerp, studying solfège, viola, and harmony. As a composer, Baeyens developed chiefly through the study of composers such as Debussy, Wagner and Strauss; this interest gave him the reputation of a revolutionary within the confines of the very traditionalist conservatory. It makes sense that the first concerto he wrote for a solo instrument was his Concerto for Viola (Concerto voor altviool) in 1956. A recipient of the first prize award for viola while in conservatory, he performed as a violist in orchestras throughout Flanders. The concerto is in three movements: Moderato, Larghetto espressivo, and Allegro.

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

For Viola and Small Orchestra (piano reduction and solo part). By Heinz Holliger. Arranged by Gabriel Burgin. Schott. Book only. Published by Schott.

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.

Viola and Piano. By Paul Hindemith. Schott. Size 9x12 inches. 36 pages. Published by Schott.

Viola and Piano

SKU: BT.EMBZ627

Composed by Gyula David. Book Only. Composed 1952. 52 pages. Editio Musica Budapest #EMBZ627. Published by Editio Musica Budapest (BT.EMBZ627).

Gyula Dávid (1913-1977) was one of the most important members of the generation of Hungarian composers who followed Bartók and Kodály. His ?uvre includes stage, orchestral, oratorial, chamber, and solo instrumental works. Although he rarely quoted folk material directly in his music, folksong, popular music and the spirit of the Hungarian musical tradition permeates his works. In the last two decades of his life he wrote atonal and twelve-tone compositions. With his Wind Quintet (composed 1949) he created a genre which plays an important role in the new Hungarian music. Gyula Dávid studied composition with Albert Siklós and Zoltán Kodály at the Academy of Music in Budapest,graduating in 1938. Between 1938 and 1945 he worked in several orchestras as viola player. From 1945 to 1949 he was conductor at Hungarian National Theatre, than he became leader of the Ensemble of the Hungarian Army. From 1961 to his retirement he was professor at the Teacher Training Faculty of the Academy of Music in Budapest. Between 1951 and 1960 he taught wind chamber music, music theory and wind orchestration at the Academy of Music. He was one of the founders of the Hungarian Artists' Union. He was awarded the Erkel Prize (1952, 1955) and the Kossuth Prize (1957).