SKU: ST.Y305

ISBN 9790220223884.

Winner of the 1909 Cobbett Chamber Music Competition, John Ireland's Sonata No. 1 in D minor was among his first significant instrumental works. It was published in 1911 and revised in 1917. Martin Outram has arranged the violin part of the work for viola, to be used with the piano score of the sonata in its original form for violin and piano, ref. 1981, in which a full account of the piece may be found.

SKU: MA.EMR-57432

D Minor.

SKU: FH.VA3

ISBN 978-1-55440-565-7.

This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.
Concertinos, Airs Varies, and Divertimentos:
Divertimento in D Major - Haydn, Franz Joseph arr. Gregor Piatigorsky
- Third Movement
Air varie (Air with Variations), op 23, no. 3 - Rieding, Oskar
Concertino NO. 5 in D Major -Breval, Jean-Baptiste arr. Pierre Ruyssen
- First Movement
Sonatas:
Sonata in D Minor, op. 5, no. 8 - Corelli, Arcangelo arr. Jason Noble
- First Movement: Prelude
- Second Movement: Allemanda
Sonata in A Major, TWV 41:E1 - Telemann, Georg Philipp arr. Kathleen Wood
- First Movement
- Fourth Movement
Concert Repertoire:
Three Miniatures (complete) - Miller, Michael
Waltz, op. 12, no. 2 - Grieg, Edvard
Toy Soldiers' March - Kreisler, Fritz
Abracadabra - Duke, David
Musette and Air de ballet - Gluck, Christoph Willibald arr. Kathleen Wood
Boston Fancy - American folk dance arr. Harold Birston
Ave Verum Corpus, K 618 - Mozart, Wolfgang Amadeus arr. Jason Gray
Conte serieux (Solemn Story), op. 62, no. 6 - Mendelssohn, Ludwig
Alla Greco - Baxter, Timothy.

SKU: PR.14440265S

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.