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Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020.
$42.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Three Etudes for Viola Alto seul - Intermédiaire St Rose Music Publishing
Unaccompanied Viola - Grade 4 SKU: HL.14043504 Composed by Nico Muhly. Mu...(+)
Unaccompanied Viola -
Grade 4
SKU:
HL.14043504
Composed
by Nico Muhly. Music
Sales America. Classical,
Contemporary. Softcover.
22 pages. St. Rose Music
#SRO100059. Published by
St. Rose Music
(HL.14043504).
UPC:
840126947311.
9.0x12.0x0.101
inches.
Three
Etudes for Viola was
composed by American
composer and arranger
Nico Muhly. Written for
Nadia Sirota. Three
Etudes for Viola was
designed as performance
pieces as well as
practice, the etudes help
to deal with the messy
fifth-based string
crossings Muhly's
harmonic language
sometimes outlines. These
three etudes can be
performed in any order,
all together, or
singularly. The
pre-recorded material for
Three Etudes for Viola
should be mixed in such a
way that the viola rides
in the middle of the
texture. Etude 2,
however, should favor the
solo viola. To
obtain a download of the
zip file with an MP3
audio recording of this
publication, copy the URL
below and paste it in
your browser address
bar. http://s3.ama
zonaws.com/static.musicsa
lesclassical.com/media/el
ectronics/Three_Etudes_Vi
ola_Playback_Files.zip.
p>
$17.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Violas in Concert Classical Collection Volume 1 (Formerly Titled Ensembles for Viola Volume 3) Ensemble d'Altos [Partition] Alfred Publishing
Classical Collection. Arranged by composed by Elizabeth Stuen-Walker. Masterwork...(+)
Classical Collection.
Arranged by composed by
Elizabeth Stuen-Walker.
Masterworks; String
Ensemble (Suzuki);
Suzuki. Masterwork
Arrangement. Book. 64
pages. Alfred Music
#00-0410S. Published by
Alfred Music
$9.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Cadenzas to Viola Concerti by Hoffmeister Stamitz and Zelter Alto seul Kunzelmann
Violas in Concert Classical Collection Volume 2 Ensemble d'Altos [Partition] Alfred Publishing
Classical Collection. Arranged by composed by Elizabeth Stuen-Walker. Masterwork...(+)
Classical Collection.
Arranged by composed by
Elizabeth Stuen-Walker.
Masterworks; String
Ensemble (Suzuki);
Suzuki. Masterwork
Arrangement. Book. 80
pages. Alfred Music
#00-23080X. Published by
Alfred Music
$11.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Viola Solo Alto seul [Conducteur] Calabrese Brothers Music, LLC
Composed by David Saperstein. For solo viola. Engraved by Peter Jarvis. Score. P...(+)
Composed by David
Saperstein. For solo
viola. Engraved by Peter
Jarvis. Score. Published
by Calabrese Brothers
Music, LLC
$10.00 - Voir plus => Acheter Délais: 2 to 3 weeks
Classic Hits for Violin and Viola Violon, Alto (duo) [Livre] Barenreiter
Edited by Vladimir Bodunov. For violin and viola. Stapled. Ready to Play. Book. ...(+)
Edited by Vladimir
Bodunov. For violin and
viola. Stapled. Ready to
Play. Book. Text: English
and German. 19/15 pages.
Published by Baerenreiter
Verlag
$22.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Viola Zombie 2 Altos (duo) [Partition] Peermusic Classical
(for Two Violas). By Michael Daugherty (1954-). Peermusic Classical. Softcover. ...(+)
(for Two Violas). By
Michael Daugherty
(1954-). Peermusic
Classical. Softcover. 24
pages. Peermusic
#61783-753. Published by
Peermusic
$24.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Progressive Trios for Strings Alto seul [Partition] Carl Fischer
(26 Trios That Can Be Played by Any Combination of String Instruments). By Doris...(+)
(26 Trios That Can Be
Played by Any Combination
of String Instruments).
By Doris Gazda. Arranged
by Doris Gazda. For
Viola. Book. 48 pages.
Published by Carl Fischer
$14.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Classical Highlights for Viola Alto, Piano [Partition + Accès audio] Schott
Arranged for Viola and Piano Book and Audio Online. Composed by Various. Edi...(+)
Arranged for Viola and
Piano
Book and Audio Online.
Composed by Various.
Edited by
Kate Mitchell. String.
Baroque, Classical,
Romantic.
Softcover Audio Online.
44
pages. Schott Music
#ED23572.
Published by Schott Music
$21.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Classical Viola Alto, Piano [Conducteur et Parties séparées] - Facile FLEX Editions
Chamber Music & Piano Accompaniment 1 Viola 1 Piano - Grade 3 SKU: FL.FX07281...(+)
Chamber Music & Piano
Accompaniment 1 Viola 1
Piano - Grade 3
SKU:
FL.FX072811
Composed
by Sarah Labrousse-Baert.
Arranged by Sarah
Labrousse-Baert.
Arrangement. Classical,
Educational. Score and
Set of Parts. FLEX
Editions #FX072811.
Published by FLEX
Editions (FL.FX072811).
A collection of
11 classical masterpieces
arranged for Viola and
Piano: 1 - BACH - Gavotte
from Suite No. 3 in D
Major, 2 - TCHAIKOVSKI -
Chanson Triste, 3 - BACH
- Aria from Suite No. 3
in D Major, 4 - SCHUBERT
- Ave Maria, 5 - VIVALDI
- Winter - Extract from
the Four Seasons, 6 -
MENDELSSOHN - Wedding
March, 7 - WAGNER -
Wedding March from
Lohengrin, 8 - MOZART -
Romanza - A Little Night
Music, 9 - MOZART -
Allegro - A Little Night
Music, 10 - GOUNOD - Ave
Maria (with opt. Viola
2), 11 - PACHELBEL -
Canon in D Major (2
Violas & piano) ;
Instruments: 1 Viola 1
Piano; Difficuly Level:
Grade 3.
$19.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Four Faces: Ii. The Wisconsonian (viola And Piano) Alto, Piano Heugel
Viola SKU: HL.48188752 Composed by Darius Milhaud. Heugel. Classical. Sof...(+)
Viola
SKU:
HL.48188752
Composed
by Darius Milhaud.
Heugel. Classical.
Softcover. 8 pages.
Heugel & Cie #HE33327.
Published by Heugel & Cie
(HL.48188752).
UPC:
888680884000.
9.0x12.0x0.111
inches.
“Seco
nd of the series of ?Four
Faces? by Darius Milhaud,
II. The Wisconsonian is a
short piece for Alto and
Piano. Easy to play, it
requires some technique
of the instrument and
some theory knowledge to
read in different keys.
The book includes the
parts for Viola and Piano
and for Viola only. The
music is cheerful and
quite fast, with the
Viola part playing mainly
semisquavers alternating
up and down every two
bars. It is supposed to
represent an American
girl coming from
Wisconsin. She is part of
the four faces with: I.
The Californian girl, II.
The Wisconsonian and IV.
The Parisian girl. Darius
Milhaud (1892-1974) was a
French modernist composer
and a teacher. He was
also part of the Les Six
and was strongly
influenced by Jazz. His
opus list ended at
443.â€.
$16.20 - Voir plus => Acheter Délais: 2 to 3 weeks
Andrew Lloyd Webber Classics - Viola (Viola) Alto seul [Partition + CD] Hal Leonard
Viola Play-Along Book/CD Pack. By Andrew Lloyd Webber. Instrumental Folio. Book ...(+)
Viola Play-Along Book/CD
Pack. By Andrew Lloyd
Webber. Instrumental
Folio. Book and CD
Package. Published by Hal
Leonard Corporation.
$14.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Viola Concerto G major after the Clarinet Concerto Alto, Piano Kunzelmann
Edited by Teresa Schwamm. Viola & Piano. Score and part. Edition Kunzelm...(+)
Edited by Teresa Schwamm.
Viola & Piano. Score
and
part. Edition Kunzelmann
#OCT10345A. Published by
Edition Kunzelmann
$28.95 - Voir plus => Acheter Délais: 1 to 2 weeks
The Student Violist: Mozart Alto seul [Partition + Accès audio] Mel Bay
Composed by Craig Duncan. For viola. Perfect binding. Classics. Beginning-Interm...(+)
Composed by Craig Duncan.
For viola. Perfect
binding. Classics.
Beginning-Intermediate.
Book. Published by Mel
Bay Publications, Inc
$14.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Songs from the Heart Guitare Guitare classique Salabert
10 Pieces for Solo Guitar. Composed by Maria Linnemann. Guitar. Classical, Co...(+)
10 Pieces for Solo
Guitar.
Composed by Maria
Linnemann.
Guitar. Classical,
Contemporary. Softcover.
Ricordi #SY7008.
Published by
Ricordi
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Flight Of The Bumble Bee Alto, Piano Viola World
Viola and Piano SKU: BT.VWP000036 Composed by Nikolay Andreyevich Rimsky-...(+)
Viola and Piano
SKU:
BT.VWP000036
Composed
by Nikolay Andreyevich
Rimsky-Korsakov.
Classical. Book Only. 6
pages. Viola World
#VWP000036. Published by
Viola World
(BT.VWP000036).
UPC:
894313001010.
$9.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Summertrio - 1968 Alto Viola Part Alto seul Wilhelm Hansen
Viola SKU: HL.14042556 Composed by Ole Buck. Music Sales America. Classic...(+)
Viola
SKU:
HL.14042556
Composed
by Ole Buck. Music Sales
America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH29007C. Published by
Edition Wilhelm Hansen
(HL.14042556).
ISBN
9788759881309.
This
is the alt.viola part for
Summertrio. Score:
WH29007B Parts:
WH29007A.
$6.99 - Voir plus => Acheter Délais: 2 to 3 weeks
Orchestral Repertoire: Complete Parts for Viola from the Classic Masterpieces, Volume IV Alto seul - Avancé Kalmus
Masterworks; String - Viola Collection. Kalmus Edition. Masterwork. Book. Kalmus...(+)
Masterworks; String -
Viola Collection. Kalmus
Edition. Masterwork.
Book. Kalmus Classic
Edition #00-K02196.
Published by Kalmus
Classic Edition
$9.95 - Voir plus => Acheter Délais: 4 to 6 business days
Compatible Duets for Strings 2 Altos (duo) Carl Fischer
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Edited by
Doris Gazda. Arranged by
Larry Clark. For viola.
Compatible Duets for
Strings. Part book
(softcover). 48 pages.
Published by Carl Fischer
$12.99 - Voir plus => Acheter Délais: 1 to 2 weeks
I Used to Play Viola Alto seul [Partition + CD] Carl Fischer
(An Innovative Method for Adults Returning to Play). Arranged by Larry Clark. Fo...(+)
(An Innovative Method for
Adults Returning to
Play). Arranged by Larry
Clark. For viola. I Used
to Play. Method book and
CD. 48 pages. Published
by Carl Fischer
$21.99 - Voir plus => Acheter Délais: 1 to 2 weeks
The Named Angels Quatuor à cordes: 2 violons, alto, violoncelle Peermusic Classical
(String Quartet). Composed by Mohammed Fairouz. For String Quartet (Score and Pa...(+)
(String Quartet).
Composed by Mohammed
Fairouz. For String
Quartet (Score and
Parts). Peermusic
Classical. Peermusic
#70089-759. Published by
Peermusic
$39.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Christmas Classics (Viola) Alto seul [Partition + Accès audio] Hal Leonard
Viola. Composed by Various. Instrumental Play-Along. Softcover Audio Online. 1...(+)
Viola. Composed by
Various.
Instrumental Play-Along.
Softcover Audio Online.
16
pages. Published by Hal
Leonard
$12.99 - Voir plus => Acheter Délais: 24 hours - In Stock
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