2. Streichquartett. Par FELDMANN WALTER. Der Komposition von absences [« fragmenté »] gingen verschiedene Überlegungen voraus: zum einen das Projekt „approches: « H II » linéaires“ über einen Text von Anne-Marie Albiach, woraus das noch unentwickelte Grundmaterial entnommen wurde, zumanderen die Suche nach einem Fragmentkonzept, das – entgegen meiner früheren Auffassung von willkürlicher Aufsplitterung in „kleine“ Einheiten – das Fragment in einen komplexen klanglichen und harmonischen Zusammenhang bringt. In absences [«fragmenté »] spielen die Zahlen 1 bis 6 eine zentrale Rolle [Mallarmé/Albiach], sowohl in der Fragmentierung des musikalischen Textes als auch in sämtlichen anderen Parametern [die Großform – initiale / Teil I / intercalaire / Teil II – scheint demzu widersprechen; das Quartett ist jedoch Teil eines größeren Werks für 3 Instrumentalgruppen mit der Form initiale / Teil I / intercalaire / Teil II / intercalaire / Teil III / épilogue; das Fehlen des Kontextes wird mit dem ersten Teil des Titelsangedeutet]. Der musikalische Text wird als erstes in „Großfragmente“ zerlegt. Diese sind je definiert durch: - 6 Zentralakkorde von unterschiedlicher Dichte - 6 Rahmenintervalle [zur Steuerung des Tonhöhenumfangs] - sich kontinuierlich verkürzendeGesamtdauer - perspektivische Auffächerung der Klangfarben [d. h. Spielarten: am Steg, mit Dämpfer, normal, Pizzicato, Flageolettgriff, auf dem Griffbrett] Durch die allmähliche Schrumpfung der Großfragmente nimmt der Raum dazwischen immer mehr Zeitein. Er wird mit raren, ruhigen Geräuschaktionen von jeweils drei Spielern frei gestaltet. Die Großfragmente werden ihrerseits in „Kleinfragmente“ aufgeteilt, die Träger des gesamten musikalischen Materials werden. Sie sind je definiert durch: - 1Zentralton, dessen Tonhöhe indirekt proportional zur Länge des Fragments berechnet wird. Referenz ist Grundton und Obertöne eines tiefen balinesischen Gongs: F = 87 Hz - 1 Teilakkord [Teil des Zentralakkords des übergeordneten Großfragments], wobeidie Tonhöhen an das Spektrum des tiefen Gongs angeglichen werden - die innerhalb des Teilakkords existierenden Differenztöne ersten Grades - die innerhalb des Teilakkords existierenden Summationstöne ersten Grades - Modulation des Teilakkords durchden Zentralton - Klangfarbenvariationen [Spielweisen] zweiten Grades In den Räumen zwischen den Kleinfragmenten erklingt jeweils der Zentralton des gerade verklungenen Fragments, dessen Spielweise organisch in die Hauptspielweise des nächstenFragments übergeleitet wird, und zwar von dem Instrument, das als nächstes aus dem Quartett heraustritt. Walter Feldmann/ Répertoire / 2 Violons, Alto et Violoncelle

Par WEILL KURT. 10 songs from three of Kurt Weill's most famous stage works are presented in easy arrangements for viola and piano. The CD provides invaluable listening material and an alternative accompaniment in the absence of a pianist./ Recueil / Alto et Piano

Streicheleinheiten, Heft 2, F. Streicher (Solistisch Oder Chorisch) 3 Vl Oder 2 Vl U Va Möglich. Par SCHWERTBERGER GERALD. Die Musik Lateinamerikas zeigt, daß die Begegnung von spanisch-europäischer Musik mit afrikanischen und diversen indianischen Einflüssen zu Resultaten subtiler regionaler Charakteristik geführt hat. In Venezuela vertraute 'Ohrwürmer” gesehen vom europäischen ... / Niveau : 1 - 2/1 - 2/1 - 2/1 - 2 / Répertoire / Musique de Chambre

La musique de chambre est un élément essentiel d'apprendre à jouer d'un instrument, et ces quatuors polyvalents sont écrits de sorte qu'ils peuvent être effectuées par n'importe quelle combinaison de quatre instruments à cordes. Organisé par l'éminent pédagogue chaîne Doris Gazda, ces pièces se fera entendre pleine et satisfaisante avec seulement quatre joueurs tout le chemin jusqu'à un orchestre à cordes.La sélection de la musique dans cette collection couvre une grande variété de styles musicaux qui offrent des heures de plaisir et de la performance des options. Progressivement organisé par niveau de difficulté que l'avance les artistes dans leurs compétences, ces quatuors sont un ajout bienvenu au répertoire de tous les instrumentistes à cordes. / Violon

This huge collection offers instrumentalists the chance to play 101 classical themes, including: Ave Maria (Bach/Gounod and Schubert) - Bist du bei mir (You Are with Me) (Stözel) - Canon in D (Pachelbel) - Clair de Lune (Debussy) - Dance of the Sugar Plum Fairy (Txhaikovsky) - 1812 Overture (Tchaikovsky) - Eine Kleine Nachtmusik (' Serenade?), First Movement Excerpt (Mozart) - The Flight of the Bumble Bee (Rimsky-Korsakov) - Funeral March of a Marionette (Gounod) - Für Elise (Beethoven) - Gymnopedie No. 1 (Satie) - Jesu, Joy of Mans Desiring (Bach) - Lullaby (Brahms) - Minuet in G (Bach) - Ode to Joy (Beethoven) - Piano Sonata in C (Mozart) - Pie Jesu (Fauré) - Rondeau (Mouret) - Swan Lake (Tchaikovsky) - Wedding March (Mendelssohn) - William Tell Overture (Rossini) - and many more./ Recueil / Alto

Par BLACKWELL KATHY / DAVID. Emballé avec les mêmes airs originaux animés, des duos faciles, et des morceaux traditionnels qui ornent la série Time Fiddle, les livres alto sont compatibles avec leurs homologues du violon, mais aussi inclure du matériel supplémentaire pour fournir beaucoup de pratique sur la chaîne C. / Niveau : Facile / Andrew mine, Jasper mine Auld Lang Syne Away in a / Recueil / Alto

A precious gem of romantic viola literature is now available in Henle quality! Thanks to the publisher's good connections to Russian archives, we were able to assess Glazunov's autograph for the first time for this first Urtext edition, and uncover the discrepancies between the autograph and the first print. Written in 1893 for the Danish violist Franz Hildebrand, the Elégie is one of the few original works of the 19th century for viola and thus a welcome enrichment of the repertoire. Since the piece does not make any particularly high technical demands on the soloist, the Elégie is ideally suited for teaching as well - and Tabea Zimmermann's fingerings guarantee the best possible support. / Alto Et Piano

String Quartet No. 2 (MusÚe MÚcanique) was commissioned by the Ciompi Quartet for their series at Duke University with funds from Meet the Composer. The first performances were given on April 25 and 26 2002. The Ciompi also helped in the preparation of this edition and have recorded both String Quartet No. 1 and String Quartet No. 2 for Albany Records (Troy 717). The second string quartet is dedicated with enormous admiration and gratitude to my friends Eric Pritchard Hsiao-Mei Ku Jonathan Bagg and Fred Raimi of the Ciompi Quartet.

A selection of folk ballads from England Ireland Scotland and Wales.A ballad is the blending of words the beauty of melody tone rhythm and expression. They reflect the history of a people their legends religion love and work. British ballads are renouned for their verse melodic construction and for the enormous range of expression.1 The Lass of Richmond Hill is a poem by Leonard McNally a barrister about a lass who became his wife in 1787. The music is by James Hook (1746 1827).2 Sally in our Alley. The words are by Henry Carey who also wrote the original music but this was replaced by the tune we now know an English traditionalmelody in 1790.3 Caller Herrin'. The poem is by Lady Nairne (1766 1845). Nathaniel Gow the famous Scottish violinist wrote the music in 1798 as a harpsichord piece combining the traditional Edinburgh fish wives cry Caller Herrin' with the bells of St Andrew's Church Edinburgh.4 Men of Harlech. The music is traditionally Welsh and the ballad probably originated from North Wales where the native princes had ruled the longest.5 David of the White Rock (Dafydd y Garres Wen). Sir Walter Scott (1771-1832) wrote the words to this ballad The Dying Bard. David Owen the Welsh bard of the ballad composed the tune on his death-bed on awakening from a trance in which be believed himself to have heard the tune in heaven.6 Oft in the Stilly Night. The words describe an old man's memories of the smiles the tears of boyhood years. The eyes that shone now dimmed and gone and how oft in the stilly night he remembers other days. The ballad is by the Irish poet Thomas Moore (1779 1852) who set the words to a traditional air.7- The Meeting of the Waters. Written by Thomas Moore music Irish traditional.The Meeting of the Waters is the confluence of the rivers Avonmore and Avonberg in a beautiful valley near Avoca County Wicklow.8 Oh! Charlie is my Darlin'. The

Play 50 of your favorite pop tunes on your instrument of choice! This collection features arrangements written in accessible keys and ranges with lyrics and chord symbols. Songs include: All My Loving · Blowin' in the Wind · Clocks · Don't Stop Believin' · Every Breath You Take · Fireflies · Hey, Soul Sister · In My Life · Love Story · My Girl · Nights in White Satin · Sweet Caroline · Unchained Melody · Viva La Vida · What a Wonderful World · You've Got a Friend · and more. / Alto

Par D\'ADAMO DANIEL. ?Quatuor n°2? was first performed by the Tana string quartet on April 14, 2013, at Radio France, Paris. ?I conceived a piece whose principal subject was going to consist in the description of a minuscule sonic element. The description of this tiny initial material would be so precise, so detailed that, deployed on a much larger scale than its original one, it would occupy the entire duration of the piece. At that point, I just had to choose a sound model as the starting point of the piece, the sound that would best characterize the string instruments themselves: the noisy sound produced by the bow barely coming in contact with one of the strings, getting ready to acquire speed, weight, acceleration, and producing a full sound of a violin, a viola or a cello?? Daniel D?Adamo / Date parution : 2022-02-03/ Répertoire / Quatuor à Cordes

Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound possibilities of the string quartet” have the potential 'to formulate an, albeit 'only' individual, solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.” Schlee's Fourth String Quartet opens with a pure C major sound, out of which he develops a harmonically free band of voices: 'The pure as a source, not pleasing”! After a melodically dominating episode and a continuation of the 'swinging tone-motion from the beginning”, a thematically solidified section follows. It is met by a second, more extensive melodic episode, followed by a 'nightly scene”. Coming full circle, the opening music of the piece finds its continuation, leading into a lament – first articulated by the ensemble, then finally as 'the viola's long, forlorn search for the melody symbolizing a farewell.”/ Répertoire / Quatuor à Cordes

The French titles and tempo markings in this four-movement, twenty-minute-long trio point to the composer's particular affinity to French culture. The 'Prélude? is followed by an impressive 'Invocation?, an homage to Schlee's highly regarded former teacher Olivier Messiaen in commemoration of the 100th anniversary of his birth. This movement, composed somewhat earlier than the others, was the departing point for the work. Amongst contemporary music one is not likely to find titles like those that were chosen for the final two movements: 'Allégresse? (exultation, joy) and 'Eglogue? (eclogue - a short pastoral poem). The titles give the music a lasting dramaturgical quality. They reflect the lyrical, serene atmosphere of this extraordinary masterpiece. / Violon, Violoncelle Et Alto

Il n'est pas toujours facile de trouver une documentation appropriée pourjoueurs débutants alto. Ces deux volumes offrent facilespièces pour alto et piano. Parce que les joueurs ont l'altoavaient habituellement plusieurs années de cours de violon déjà, nouscomprennent des pièces non seulement dans les 'simples' touches (A, E, D, G)mais aussi dans les touches moins familier pour les débutants, tels que C, F,et si bémol. / Alto Et Piano / 21 pages / niveau : Facile / Partition + Cd

This work was a test piece for the International string Quartet competition in 2005 Premio Paulo Borciani It was inspired by a keyboard piece of the same name A Sad Paven for these Distracted Tymes by Thomas Tomkins(1572-1656). Tomkins had a long association with Worcester Cathedral where he was organist - appointed magister choristarum in 1596 - and lived within the precincts until shortly before his death. At the same time he wasorganist of the Chapel Royal. When the city of Worcester surrendered to Cromwell's parliamentary forces in 1646 Tomkins had to watch the hasty dismantling of his cathedral organ and the abolition of all choral services. Thesewere the 'distracted tymes' of the 'sad paven' which he wrote in enforced retirement at Worcester.