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COMPLETE Book of 30 Violin and Viola Duets for Fun (popular classics volumes 1 and 2) - various levels
COMPLETE Book of 30 Violin and Viola Duets for Fun (popular classics volumes 1 and 2) - various levels
$29.99
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15 Violin and Viola Duets for Fun (popular classics) - various levels
15 Violin and Viola Duets for Fun (popular classics) - various levels
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Easy Classical Viola Solos
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Johann Sebastian Bach: Fantasia Cromatica: Viola: Instrumental Work
Viola
Boosey and Hawkes
Viola. Bach Js
12.50 GBP - Sold by Musicroom UK
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Johann Sebastian Bach: Fifteen Duets: Violin & Viola: Score
Violin, Viola (duet)
IMC (International Music Co.)
J.S. Bach's Fifteen Duets for Violin & Viola.
12.75 GBP - Sold by Musicroom UK
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ABEL CARL FRIEDRICH - 3 SONATEN FUR VIOLA DA GAMBA UND BASSO
Viola da Gamba, Basso continuo
Guntersberg
in c-Moll A2:55A, g-Moll A2:56A, a-Moll A2:57AThe Maltzan Collection is a trove ...
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in c-Moll A2:55A, g-Moll A2:56A, a-Moll A2:57AThe Maltzan Collection is a trove of manuscripts made up of thirty for the most part unknown works for viola da gamba in the holdings of the library of Adam Mickiewicz University in Pozna?, Poland. Twenty-eight of the works are by Carl Friedrich Abel - including a number of autographs - and one each by Johann Christian Bach and Andreas Lidl. The manuscripts were copied between 1759 and 1789 in England, and purchased there by the then Prussian envoy in London, Count Joachim Carl Maltzan, who brought them back with him to Militsch, Silesia (today Milicz, Poland). In 1945 the manuscripts came into the possession of the library in Poznan. The collection was discovered in 2016 by Sonia Wronkowska, who is also the editor of the ten-volume edition of all the previously unknown works from this collection.The viola da gamba sonatas by Abel in the Maltzan Collection are musically mature pieces that throw a new light on Abel's compositional artistry. For the most part, they pose greater challenges for the player than the previously known sonatas from Abel's time in London. The fast movements are more expansive; the range extends from AA to b ; there are movements with variations and polyphonic passages; unusual keys, such as A-flat Major and E Major, are to be found; and many a slow movement contains a cadenza from Abel's hand. / Viole de gambe / Guntersberg
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Concerto En Ut Mineur Alto/Piano Reduction (BACH JOHANN CH)
Viola, Piano
[Sheet music]
Salabert
pour alto (viola) & piano. Par BACH JOHANN CH.. / Répertoire / Alto ou 2 Altos ...
(+)
pour alto (viola) & piano. Par BACH JOHANN CH.. / Répertoire / Alto ou 2 Altos et Piano
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6 Sonates En Trio Pour Orgue (BACH JOHANN SEBASTIAN)
Français
Viola, Piano
[Sheet music]
Delrieu
Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeo...
(+)
Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeon et Antoine Joly On ne saurait affirmer que le répertoire original de concert de l'alto, en tant qu'instrument soliste, soit richement pourvu en chefs-d'oeuvre. Au mieux, et encore si on inclut les sonates de Brahms, elles-mêmes transcrites de la clarinette, deux programmes de récital et on a fait le tour de la question. Avec le présent recueil, nous n'avons d'autre ambition que de contribuer à élargir cet éventail. Les six sonates - dites en trio - pour orgue de Johann Sebastian Bach, figurent parmi les oeuvres les plus rigoureuses du compositeur. A l'inverse d'autres compositions pour orgue de Bach, ses grandes Fantaisies et Toccatas, dans lesquelles abondent de luxuriantes formules virtuoses de nature indubitablement instrumentale, les sonates relèvent d'une stricte écriture à trois voix, sans que jamais le moindre ajout harmonique, la moindre tentation exhibitionniste, viennent troubler leur parfaite pureté polyphonique. Il nous est apparu que leur facture fondamentalement a-instrumentale était telle que ces sonates se prêtaient sans doute mieux que toutes autres à la transcription. De surcroît, il était clair qu'il existait une évidente adéquation entre leur écriture et celle destinée à un instrument à archet, et que la vocalité intensément expressive de leurs mouvements lents, comme la sobre alacrité de leurs mouvements rapides, conviendraient à merveille aux couleurs sonores très spécifiques de l'alto. Restait à faire en sorte que la transcription pour cet instrument crée l'illusion qu'elles avaient été originellement conçues pour lui. A cet égard, deux types de problèmes étaient à résoudre. Le choix des tonalités. Bach lui-même, lorsqu'il adaptait pour le clavier ses concertos originellement écrits pour le violon, recourait toujours à un changement de tonalité, en transposant systématiquement ces oeuvres d'un ton vers le bas. Passer du clavier de l'orgue à l'alto requérait de procéder à un traitement analogue, pour faire en sorte que l'instrument à cordes soit exposé dans le registre qui lui serait le plus favorable, tout en tenant compte de ses propres limites. Dans notre recherche des tonalités les mieux adaptées à chacune des sonates, nous avons été guidés par le souci de contourner deux écueils celui qui contraindrait l'alto à jouer dans un registre trop aigu, où sa sonorité a tendance à se faire claironnante - et à éviter parallèlement de l'emmener trop souvent vers son registre grave, magnifique pour les notes tenues et chantantes, mais qui sied mal aux notes rapides, telles que les doubles croches, dont les Allegros de Bach font une allègre consommation. Du fait de l'épaisseur des cordes graves de l'alto, leur émission y est quelque peu confuse, et elles y prennent presque inévitablement une sonorité pelucheuse qui rend l'équilibre acoustique de la souveraine polyphonie de Bach peu perceptible. C'est ainsi qu'après bien des essais et tâtonnements, nous sommes arrêtés aux transpositions suivantes: de Mi bémol majeur à Sol majeur pour la 1e sonate, d'Ut mineur à Sol mineur pour la 2e, de Mi mineur à Ré mineur pour la 3e, et ainsi de suite. Dans l'édition, nous indiquons à chaque fois la tonalité d'origine. Pour finaliser nos choix, nous avons d'ailleurs dû jouer avec un paramètre supplémentaire, car il va sans dire qu'une fois décidée la tonalité d'ensemble de telle ou telle sonate, nous nous sommes fixé pour règle de respecter les relations de tonalité adoptées par Bach entre les mouvements rapides et lents de ses oeuvres. La distribution des voix entre les deux instruments. Bach ayant naturellement réparti les deux voix de 'dessus' et la voix de basse de ses sonates entre les deux mains et le pédalier de l'organiste, la solution qui apparaissait à première vue s'imposer pour notre transcription, consistait à attribuer la voix supérieure à l'alto, tandis que les deux mains de l'instrument à clavier se chargeraient de la voix médiane et de la basse. Et de fait, c'est ainsi que nous procédâmes pour l'essentiel. Néanmoins, en de nombreuses occasions, nous avons jugé bon de faire exception à ce principe trop simple. Deux types de raisons nous ont ainsi conduits à recourir ici ou là à une redistribution des parties d'un instrument à l'autre. Le souci là encore de ne jamais placer l'alto dans une tessiture extrême, et surtout d'éviter d'aboutir à une confusion des entrées et des réponses fuguées. Ce faisant, nous croyons être parvenus par la même occasion à créer des échanges d'une grande vitalité entre les deux instruments. En publiant ici le résultat du travail prodigieusement stimulant qui fut le nôtre - accompagné de propositions de coups d'archet soigneusement étudiées (mais évidemment révisables selon les choix interprétatifs de chacun), destinées à en rendre clairs le phrasé, l'expression et la facture - nous avons la conviction de pourvoir à l'enrichissement du répertoire des altistes sous la forme de six chefs-d'oeuvre de tout premier ordre, sans que la transcription les ait d'aucune manière dénaturés. Nous sommes également persuadés que le soi-disant 'parent pauvre' de la famille des cordes ne le cédera en rien au 'roi des instruments' dans l'expression du sublime lyrisme constamment présent dans ces oeuvres de Johann Sebastian Bach. / classique / Répertoire / Alto et Piano
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Hans Abrahamsen: Schnee - Ten Canons For Nine Instruments: Ensemble: Score
VLN/VLA/VLC/PFA/PERC/PFA/FLT/CORA/BASS CLT/CLT::Violin/Viola/Cello/Piano Accompaniment/Percussion/Piano Accompaniment/Flute/Cor Anglais/Bass Clarinet/Clarinet
[Sheet music]
Wilhelm Hansen
Schnee - Ten Canons For Nine Instruments was composed by Hans Abrahamsen in 2006...
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Schnee - Ten Canons For Nine Instruments was composed by Hans Abrahamsen in 2006-08. Commissioned by Westdeutscher Rundfunk for 'Wittener Tage für Neue Kammermusik 2008' with support from Ernst von Siemens Musikstiftung and The Danish Arts Council. Dedicated to Harry Vogt and Ensemble Recherche. Programme Note: In the beginning of the 90s I arranged some of J.S. Bach’s canons for ensemble – in total seven single standing works from his entire life span. I became totally absorbed into this music and arranged them with the intention of the music being repeated many many times as a kind of minimal music. Obviously I didn’t know which durations Bach had in mind but by listening to his canons in this way a profound new moving world of circular time was opened to me.Depending on the perspective on these canons the music and its time can stand still or move either backwards or forwards.In my own work an ongoing idea has persisted of at some point writing a work consisting of a number of canonical movements that would explore this universe of time. And when I was offered the commission for Ensemble Recherche and Wittener Tage it felt as the right time to do this.In Schnee a few simple and fundamental musical questions are explored. What is a Vorsatz? And what is a Nachsatz? Can a phrase be answering? Or questioning?The guideline or rule for the canons is very simple: We start out with an answering Vorsatz followed by a questioning Nachsatz. Throughout the time of the piece these two are intertwined more and more as more and more dicht geführt canons until at the end they are interchanged. Now the question and then the answer. The two canons are identical like a painting in two versions but with different colors. And where the first one does not include the space the second one does as well as containing more
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Max Reger: 3 Suiten Opus 131D: Viola: Instrumental Album
Viola
[Sheet music]
G. Henle
La vénération de Max Reger pour Bach ne se limitait pas à l?orgue ou l?orches...
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La vénération de Max Reger pour Bach ne se limitait pas à l?orgue ou l?orchestre. Comme Bach Reger voulait écrire des sonates et des suites pour instrument à cordes seul qui ne soient pas seulement des études mais constituent un condensé de l?art de la composition. Les trois suites pour alto solo op. 131d en font partie. Reger les publia au cours des dernières années de sa vie en même temps que six préludes et fugues pour violon solo trois duos dans le style ancien pour deux violons et trois suites pour violoncelle solo et rassembla toutes ces ?uvres au sein de l?opus 131 paru en 1914/1915. La présente édition Urtext des suites pour alto solo op. 131d se fonde sur la premièreédition de 1916 établie sur la base du manuscrit autographe entretemps disparu. La préface et le commentaire critique permettent à l?éditeur de détailler les variantes de cette édition par rapport à la première.
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Classical Highlights: Viola: Instrumental Album
Viola, Piano
Schott
arranged for Viola and Piano-Classical Highlights presents the best known and mo...
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arranged for Viola and Piano-Classical Highlights presents the best known and most popular pieces from the classical repertoire in arrangements for solo instrument with Piano accompaniment. This wide-ranging selection of music provides an introduction to classical masterpieces by Handel and Bach to Schubert Mendelssohn Schumann and Wagner and then to Faure Elgar Debussy and Satie. Anyone looking for additional material for advanced instrumental tuition for audition pieces or encores to play at concerts will find this a treasure trove of highlights from the classical repertoire.
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The Virtuoso Violist - Viola
Viola, Piano
[Score and Parts]
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Advanced
Schirmer
Description The Virtuoso Violist (Great Performer's Edition) Six works for vi...
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Description The Virtuoso Violist (Great Performer's Edition) Six works for viola and piano edited by William Primrose. Includes 'Caprice' (Myronoff), 'Caprice' (Wieniawski), 'Italian Serenade' (Wolf) and Nocturne' (Chopin). Songlist Caprice [Myronoff, Boris] Caprice [Wienawski, Henryk] Italian Serenade [Wolf, Hugo] Nocturne [Chopin, Frederic] Sarasateana [Zimbalist, Efrem] Slumber Song [Bach, Johann Sebastian]
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Quartet in C minor, arr. from Concerto for violin andamp; oboe (BACH JOHANN SEBASTIAN)
String Quartet: 2 violins, viola, cello
[Sheet music]
SJ Music
Par BACH JOHANN SEBASTIAN. Bach would almost certainly have approved of this str...
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Par BACH JOHANN SEBASTIAN. Bach would almost certainly have approved of this string quartet arrangement of his famous concerto for violin and oboe (BWV 1060) by John Cooley as he was well known for making arrangements of his own works, according to instrumental resources at his disposal. Bach himself made an arrangement of this piece for two solo harpsichords and string orchestra. It is quite ?notey? but straightforward and accessible technically to reasonably good players as there are no tricky rhythms or high notes. As well as this Bach concerto arrangement, SJ Music has also published John Cooley?s arrangements of Mozart?s piano duets K497 and K521 for piano trio and piano quartet respectively, Bach?s organ Passacaglia and Fugue for string quartet, and one of Purcell?s trio sonatas for string trio. / Date parution : 2022-03-16/ Répertoire / Quatuor à Cordes
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Mein Odem Ist Schwach
Viola
Schott
'Au-delà de Bach - Une aventure musicale' se concentre sur les oeuvres dites ap...
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'Au-delà de Bach - Une aventure musicale' se concentre sur les oeuvres dites apocryphes de Jean-Sébastien Bach. Le terme se réfère à des oeuvres ayant fait partie de la bibliothèque du compositeur. Qu'il les ait lui-meme interprétées ou exécutées est avéré- elles ont trouvé place dans le catalogue BWV alors que Bach n'en était probablement ou meme certainement pas l'auteur. La série débute avec la cantate 'Mein Odem ist schwach' (BWV 222) sans aucun doute une oeuvre de Johann Ernst Bach, le fils d'un cousin de J.-S. Bach. / Alto
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Johann Sebastian Bach: Cantata No.143 Lobe den Herrn meine Seele: Mixed Choir:
Viola
Barenreiter
Cantata for soloists choir and orchestra-Lobe den Herrn meine Seele (Praise th...
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Cantata for soloists choir and orchestra-Lobe den Herrn meine Seele (Praise thou the Lord o my spirit) BWV 143Little is known about the genesis of “Lobe den Herrn meine Seele” (Praise thou the Lord o my spirit BWV 143.A transcription from the 19th century was for a long time considered the only source; the musical text of the “New Bach Edition” was based on this material. Recently however a copy of the score from 1762 has become available. It offers a more reliable musical text rendering a complete revision of the cantata necessary.On the basis of this new source the work is presented here as part of the“New Bach Edition – Revised” in what is presumably its original form in C major with three trumpets. This orchestration is more typical of Bach’s writing than the version for three horns in the surviving B-flat major version. Revised Urtext edition of the Weimar Cantata Urtext of the New Bach Edition Performance material (BA10143) vocal score (BA10143-90) & study score format 22.5 x 16.5cm (TP1143) available for sale
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Bach Johann Sebastian - 15 Duette Nach Bwv 772-786 - Violin, Viola
Violin, Viola (duet)
Breitkopf & Härtel
Composer : Bach, Johann Sebastian Instrumentation : Vl,Va Editor : David, Ferdin...
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Composer : Bach, Johann Sebastian Instrumentation : Vl,Va Editor : David, Ferdinand
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Partita In G Minor (For Viola Solo) (BACH JOHANN SEBASTIAN)
Viola
[Sheet music + CD]
Heinrichshofen Verlag
Par BACH JOHANN SEBASTIAN. Alto -/ Répertoire / Alto
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Suzuki Viola School Viola Part Vol.2 + Cd Rev. Edition - Alto
Viola
[Sheet music + CD]
Alfred Publishing
Méthode en anglais pour violon alto avec exercices et études. Chorus from Jud...
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Méthode en anglais pour violon alto avec exercices et études. Chorus from Judas Maccabaeus (G.F. Handel) * Musette, Gavotte II or the Musette from English Suite II in G Minor for Klavier, BWV 808 (J.S. Bach) * Hunters' Chorus from 3rd Act of the opera Der Freischutz (C.M. von Weber) * Long, Long Ago (with variation) (T.H. Bayly) * Waltz, Op. 39, No. 15 (J. Brahms) * Bourrée, Sonata in F Major for Oboe, HHA IV/18, No. 8 (G.F. Handel) * The Two Grenadiers, Die Beiden Grenadier, Op. 49, No. 1 for Voice and Piano (R. Schumann) * Theme from Witches' Dance (N. Paganini) * Gavotte from Mignon (A. Thomas) * Gavotte (J.B. Lully) * Minuet in G, Wo0 10, No. 2 (L. van Beethoven) * Minuet from Sei Quintetti per Archi No. 11, Op. 11, No. 5 in E Major (L. Boccherini) * Practice Suggestions (Doris Preucil) Auteur/Compositeur : SUZUKI Support : Livre Style : Classique
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Ten Duets for Viola and Cello: Viola & Cello: Instrumental Album
Viola, Cello (duet)
Music Sales
These ten duets include works by Corelli Telemann Bach Handel Mozart and Sch...
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These ten duets include works by Corelli Telemann Bach Handel Mozart and Schumann.
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Solos for the Viola Player: Viola & Piano: CD
Viola, Piano
[CD]
Schirmer
The accompaniment CD for the folio featuring: Adagio (Schubert) ? Allegretto (C....
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The accompaniment CD for the folio featuring: Adagio (Schubert) ? Allegretto (C.P.E. Bach) ? Andante (Mozart) ? Boston Fancy (Hornpipe) ? German Dance (Dittersdorf) ? I'm Just A-Goin' over Jordan ?March (Beethoven) ? Menuetto (Handel) ? O Mensch Bewein Dein Sunde Gross ? Romance ? Shenandoah ? Tambourin ? Theme and Variations (Marais) ? Verborgenheit (Wolf) ? Von Ewiger Liebe (Brahms)? Were You There?
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Johann Sebastian Bach: Bach - 10 Fugues: String Quartet: Score
String Quartet: 2 violins, viola, cello
Spartan Press
For String Quartet Volume 1-The idea for these arrangements came to me whilst li...
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For String Quartet Volume 1-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling yousomething about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - willbe very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a
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4 Danses Pour Consort De Violes De Gambe
Français
Viola da Gamba
Delatour France
Arrangement de Régis Prudhomme Quatre danses extraites du 'Petit livre d'Ann...
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Arrangement de Régis Prudhomme Quatre danses extraites du 'Petit livre d'Anna Magdalena Bach ', adaptées pour consort de violes de gambe,Polonaise, Menuets et Musette,Ce recueil est constitué de pièces musicales faciles composées ou transcrites par Johann Sebastian Bach et offert à sa femme Anna Magdalena en 1725, Les oeuvres pédagogiques de J S Bach sont essentiellement pour orgue ou clavecin, La transcription étant une pratique courante à l'époque, il a semblé intéressant d'adapter pour cordes certaines des danses, les plus faciles et les plus appréciées des jeunes instrumentistes, / Viole De Gambe
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Johann Sebastian Bach: 10 Fugues For String Quartet - Book 2: String Quartet:
String Quartet: 2 violins, viola, cello
Spartan Press
10 Fugues For String Quartet Vol. 2-The idea for these arrangements came to me w...
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10 Fugues For String Quartet Vol. 2-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a master
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Great Piano Adagios: Piano: Instrumental Album
Piano Quintet: piano, violin, viola, cello, double bass
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Intermediate/advanced
Dover Publications
60 Works From Bach To Debussy-Unique and comprehensive this fantastic collectio...
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60 Works From Bach To Debussy-Unique and comprehensive this fantastic collection features a tremendous variety of slow movements for keyboard players. Highlights of these evocative selections come from masterpieces including sonatas of Haydn and Mozart Chopin preludes and classics such as the opening movement of Beethoven's 'Moonlight' Sonata Bach's Sinfonia in F Minor and Debussy's Clair De Lune.
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Johann Sebastian Bach: Concerto In E Flat: Viola: Instrumental Work
Viola, Piano
Barenreiter
The Concerto In E Flat For Viola Strings And Basso Continuo is the reconstructi...
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The Concerto In E Flat For Viola Strings And Basso Continuo is the reconstruction of a lost concerto that has been formed the works: BWV 169 BWV 49 and BWV 1053. This fascinating work has been constructed by Wilfried Fischer and the Piano Reduction has been arranged by Michael Topel.The solo Viola part is also included on a separate insert.
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