for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice

These short melodic pieces for viola with piano accompaniment were inspired by Lewis Carroll's story. The viola part is in first position with a few notes in 3rd position and uses varied bowings and keys.Grade: 4 - 5

Have you ever heard of a Crocodillo Lazy Chimliroo or Fluttering Butterworm - not to mention a Pythonippotamus? These are just some of the creatures that feature in Jackaroo an imaginative collection of pieces with a jazzy twist for the absolute beginner viola player. Using only open strings and first finger each piece introduces a new rhythmic or technical point with useful suggestion boxes for the teacher. The addition of words and lively accompaniments by Pam Wedgwood mean that each piece can be sung through first. There’s even the chance to draw your own imaginary animals too inspired by Drew Hillier’s wacky illustrations - how about aSnivelling Skunkpanze? This book will inspire young violists and inject a healthy dose of fun into Viola lessons.

If you thought dinosaurs were creatures of the past you'd better think again! Velociraptors Iguanadons and pterodactyls are brought back to life in Jurassic Blue a colourful collection of pieces with a jazzy twist. Following on from Jackaroo this book begins with a revision of the first finger and then moves on to second third and fourth fingers. Each piece introduces a new rhythmic or technical point with useful suggestion boxes for the teacher. There’s also the chance to create you own dinosaurs too inspired by Drew Hillier’s wacky illustrations plus pictures to colour in. With PamWedgwood’s lively accompaniments and the addition of words you can even sing along to Triceratops Rocks!

According to Elgar the concert overture came to him in a single moment of inspiration while visiting Italy with his family in the winter of 1904. It was given its premiere by the Hallé Orchestra in March of that year with the central Viola serenade winning particular acclaim. Elgar then adapted the work as a song then for Viola and Piano and then for other instruments.At the time this piece was written Elgar had achieved universal renown with his Enigma Variations and The Dream of Gerontius and was established not only as a composer at the peak of British music of that time but also as a major Romantic composer. The Italianate rendering of the work is a nod to thepiece?s beginnings on the Adriatic coast. The work is full of the unrequited yearning of Elgar?s lyric work and a very effective sonatina for performance.

Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano

Les mélodies de George Gershwin (1898-1937), de comédies musicales 'Porgy and Bess', à partir de pièces orchestrales comme 'Rhapsody in Blue' ou 'Un Américain à Paris', nous les connaissons tous! Mais la carrière du jeune musicien a commencé comme pianiste dans une maison d'édition de musique où il était d'encourager les clients à acheter de la musique en la jouant. Bientôt il a commencé à composer de la musique lui-même et a attiré l'attention de la Broadway, qui a ouvert la voie à sa carrière internationale. Inspiré par Frédéric Chopin 24 Préludes, il a commencé à écrire ses propres préludes 'pour le piano dans les milieu des années 1920: Sur les cinq préludes composées par lui, il a utilisé deux pour' Short Story 'la composition violon et présenté les trois autres à un concert le 4 Décembre 1926. Ces 'Préludes 'allier moments classiques et des éléments de jazz dans un ensemble efficace et peut être joué individuellement ou en sonate peu de jazz (vif - lent - rapide). Merci à l'arrangement actuel, les charmantes miniatures sont maintenant disponibles dans une version pour instrument soliste et piano. / Alto Et Piano