10 original works from hip-hop classical-crossover stars Wil B. and Kev Marcus otherwise known as Black Violin. This collection includes pull-out parts for violin and viola in addition to the complete score. Songs include: A-Flat Brandenburg Dirty Orchestra Fanfare Overture/Opus Rhapsody Runnin\' Shaker Stereotypes and Virtuoso.

Team strings: Is ideal for individual group and class tuition Allows violin and viola or cello and bass to be taught in the same lesson Contains carefully graded music in a wide variety of styles from Baroque and Classical to Folk Film and Jazz Develops instrument-related aural skills improvisation and composition Offers helpful notes for the teacher together with piano accompaniments ensemble scores and parts for wind brass and percussion

Recitare for Violin solo by Søren Nils Eichberg was commissioned by Universität der Künste Berlin for The International Max Rostal Competition for Violin and Viola 2015.

Richard Dubugnon's Violiana for Violin and Viola and Piano. Commissioned by Julian Rachlin and the Musée du Louvre Paris First performance: Festival Julian Rachlin and Friends Dubrovnik Croatia on 1st September 2011

For Violin and Viola Duet-Song List: * Air Varie (Pleyel) * Albumleaf (Hohmann) * Allegro De Concert (Gebauer) * Au Printemps (Viotti) * Bagatelle (Wichtl) * Burleske (Tours) * Caprice-Elegante (Henning) * Chanson Bohemienne (Kalliwoda) * Danse Ecossais (Wichtl) * Divertimento In D (Sitt) * Duo De Concours (Wohlfahrt) * Duo De La Syncope (Alard) * Duo-Caprice (Bruni) * Edelweiss (Eichberg) * Episode (Eichberg) * Etude De Concert (Spohr) * Fete Triumphant (Tours) * Le Papillon (Mazas) * Marche-Processionnel (Dancla) * Menuet & Trio (Pleyel) * Menuet (1st Duo) Pleyel * Morceau De Salon (Ries) * Poeme D'amour (De Beriot) *Rondo (Duo In D) Mazas * Scene De Danse (Kalliwoda) * Silhouette (Jansa) * Tarantella (Campagnoli) * Wellenspiel (L.Schubert)

Jindrich Feld's Sonata for Alto Saxophone and Piano is frequently performed by virtuoso Saxophonists. Composed in 1989-90 the Sonata is elaborate and quirky and successfully exploits many extended techniques on the instrument. Born in Prague Feld (1925-2007) studied Violin and Viola with his parents before studying at the Conservatory and Academy of Music of his native city. His compositions predominantly instrumental soon became popular being performed all over the world. As reflected in his Sonata for Alto Saxophone and Piano Feld's style is deeply rooted in the Czechmusical tradition but he also integrated the main styles of 20th century Western music. The Sonata is made up of four movements 1. Allegro ritmico 2. Adagio/Bells of liberty 3. Allegro vivo/Scherzo and 4. Allegro con fuoco. Each movement of the Sonata presents different challenges from fast staccato semiquaver flourishes to the lyrical slurred passages. This Feld piece is highly virtuosic yet an excellent and enjoyable performance for all advanced saxophonists.

for Violin 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.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. 120 back into players? hands.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