This duet collection of 17 keyboard, vocal and instrumental pieces covering the Baroque to the 20th Century periods can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings and percussion can play in like-instrument or mixed instrumentation. It's an all-purpose folio that makes classical music fun! Contains: Allegro (Mozart) * Aria (from Rigoletto) (Verdi) * Au Clair de la Lune (Lully) * Capricho Catalan (Albeniz) * Duet (Mozart) * Duetto (Pleyel) * Echo (Haydn) * Larghetto (Telemann) * Lost is My Quiet (Purcell) * Lullaby (Brahms) * Melody (Schumann) * Minuet (Bach) * Minuet in Canon (Mozart) * Pavana (Scarlatti) * Siciliene (Aubert) * Two Adagios (Corelli) * Two Rigaudons (Rameau).

Garth Knox is one of the most prominent violists of his generation, and as former long-time member of the Arditti Quartet he has developed and maintained a fondness of contemporary music. In the meantime, he gives concerts and teaches courses all over the world.With 'Viola Spaces' he wants to make contemporary playing techniques accessible to advanced players. The pieces, or 'playing spaces', are true concert studies, each of them dealing with specific techniques such as harmonics, pizzicato (with 9 fingers!) or tremolos which are explained in great detail.Another volume with modern playing techniques for two violas and a volume with variations on a piece by the French viola da gamba master Marin Marais for four violas are planned. / 2 Altos

The study of string instruments should include ensemble playing at the earliest possible stage. There is much to be gained from the playing of duets. Each player learns how to listen to the other, and in a short time develops an awareness of balance, musical phrasing, intonation, and tone quality. This type of training is excellent preparation for participation in large groups. These four volumes of duets for two violins will help fill the need for early ensemble experience in the public schools. They should be used in string classes as a supplement to any of the standard string methods. They will also encourage music making outside of the school, with parents or with other students. These duets are ideal for recitals in the public schools and in public school festivals. They may be played by two performers, or by multiple performers on each part, with or without piano accompaniment.

Par BERIO LUCIANO. This set of arrangements of Luciano Berio’s “Duetti”, originally for two violins, represents a fascinating expansion of the limited repertoire for two violas. Berio originally conceived these duets as a collection of occasional pieces, each dedicated to someone who was close to him, rather like Elgar’s “Enigma” Variations, but they eventually developed into a full compositional project with pedagogical overtones. As such, there is a wide variation in technical demands, from pieces playable by beginners up to a duet that foreshadows the skills required for Berio’s “Sequenza” for the viola. Taken as a whole, over some years of study, the “Duetti” can gently lead players into the mysteries of contemporary music; however, the composer also envisaged them in a concert performance of the complete cycle with at least 24 players of differing abilities taking turns to play. In this guise, it might be an intriguing idea to mix them with the original version for two violins (UE17757), although it must be understood that the two versions are not mutually compatible to be played as violin/viola duets./ Répertoire / 2 Altos

Bridge’s early works those written before the first World War were more late Romantic in style warmly expansive than his mature works. The Lament for Two Violas was written for himself and Lionel Tertis to perform at Wigmore Hall in March 1912. There were originally two pieces Caprice and Lament of which the first has been lost. Paul Hindmarsh has edited this sheet music from sketches and drafts.It is a deeply felt work interweaving the near-human Voices of the Violas into a work that is more thoughtful than grief-stricken yet no less effective for that.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respectedconductor violist and teacher his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.

A viola method for children-For more than three decades the Sassmannshaus Tradition has been the household name for excellence in beginner string methods in German-speaking countries. More than half a million students have successfully learned to play string instruments using this publication.The publication of the four Violin books in 2008 in a fully adapted English version has been a big success. On the back of this success story Bärenreiter published the four books for Cello in 2009 and now presents the four books for Viola in a newly adapted version for today's English speaking children.What makes this Viola method so unique?Large print notes and texts as wellas many colourful illustrations are ideal for pre-school as well as school children.Note reading is emphasised from the first lesson encouraging ensemble playing from the very beginning.Songs and scales in different positions are easily mastered within the first year of playing to ensure that children are not confined to first position playing.Advanced viola techniques such as varied bow strokes and shifting are introduced in a basic form.

30 petites pièces mélodiques et rythmiques pour alto/ 30 Short Melodic and Rhythmic Pieces For Viola-Written for 2nd and 3rd year instrumental students My First Studies To Play Together for Viola presents itself as the little brother of the collection for Violin available under reference number AL30683. Valerie Bime-Apparailly once again deploys her usual teaching talent by transforming this genre often seen as boring and austere into a progressive introduction to the mysteries of technique captivating students with its clear clean design and focus on fun. In My First Studies To Play Together for Viola each unit begins with the melody that the young musician is to learn. The technical challenge to master is indicatedin boxed text. Explanations may follow (on the notation of Da Capo for example) after which comes the complete score and the accompaniment to be played by the teacher. Mozart Spohr and Beethoven but also great teachers like Charles de B?riot Jean-Delphin Alard and Maurice Hauchard help students absorb fundamental musical concepts like slurs syncopation appogiatura and bow indications without losing sight of the most important part: the pleasure of playing music.

Par STACY PHILLIPS. Ce livre contient une sélection de violon tunes arrangé pour deux altos. L'idée est de fournir un échantillon des mélodies qui sera amusant pour compter les joueurs. L'un des inconvénients de la manière classique de l'alto de l'enseignement est l'ennui de certains du répertoire pédagogique au début. Cet ouvrage se veut un antidote à l'ennui. Les airs de violon sont d'excellents moyens de sont habitués à des manipulations typiques des écailles de major et d'introduire le bruit des arpèges. Les morceaux ont été choisis pour leur plaisir mélodique contenu tout en faisant preuve de certains aspects typiques du violon. Elles sont regroupées en cinq catégories : fiddle tunes, mélodies lentes, bluegrass, turluttes et chiffons et swing. Le CD split-piste inclus montre beaucoup de la mélodie avec accompagnement de guitare. / Niveau : Débutant / Fiddle Tunes - Duets / Recueil / 2 Altos

Par TOWNSEND DOUGLAS. 2 Violas - / Contemporain / Répertoire / Ensemble d'Altos

Harmonische Fantasie über ein Thema von Tallis. Par KNOX GARTH. Thomas Tallis (1505–1585) was one of the great figures of English Renaissance music and the Third mode melody is probably his best known work, largely thanks to Vaughan Williams’s Fantasia on a theme by Thomas Tallis. In the manner of an illuminated manuscript, I wanted to illuminate this fascinating theme in three ways: from behind with medieval techniques like the ‘hoquetus’ passage of the opening or the dance at letter B, from in front with more contemporary sounds (letter A and similar), and from above with the extensive use of high harmonics. Almost all the notes of the theme fall very neatly on the ‘natural’ harmonics of the viola strings, and my ambition was to combine the ‘normal’ notes of the viola with its soaring harmonics, creating a rich luminous soundscape which reflects the spirituality of the theme. Tallis’s melody returns repeatedly to the note B, and I interpreted this as a gentle invitation to simply be, in the sense of quiet moments of mediation. I decided to include a series of still points in the piece: the first one is in silence, the second reveals a note (B) that oscillates in a harmonic heartbeat, the third is a vibrating chord of B with harmonics, and on the last one the second viola tunes down the C string to B, then explores all the natural harmonics of this new world. The term still point is of course a reference to the words of T.S. Eliot in his Four Quartets: 'At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is.' (Garth Knox) / Date parution : 2024-01-06/ Répertoire / 2 Altos

Arrangeur: Z. Veres. Par VERES ZOLTAN. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé La Furstenberg de Veres Zoltàn qui a été composé pour Alto / Niveau : 2ème Cycle / Répertoire / 2 Altos