10 Intermediate-Level Arrangements. Par DIVERS AUTEURS (ARR.BROOKER DAVID). Since graduating from the Guildhall School of Music and Drama, David Brooker has been a performer on the viola and a music educator with a special interest in using ensemble music in instrumental teaching. His first two books, 'Stringplay” and 'Stringplay Around the World” reflected this, providing resources for elementary string orchestra and now 'String Trios from Around the World” takes the idea to the smaller ensemble of violin, viola and cello. This book of folk music from four continents, with an emphasis on love songs, keeps to the spirit of the original pieces while making the music idiomatic and fun to play. The parts are equal in difficulty (easy to intermediate) - in fact, David says that, as a violist himself, he has made sure that the violinist doesn't get all the tunes! The arrangements include a few unusual techniques but David promises they are not as hard as they look or sound./ Recueil / Trio à Cordes

Take Your Bow is a collection of 20 concert pieces for beginner string players written by Celia Cobb and Naomi Yandell. Years of string teaching have given them the inspiration to produce pieces which will both delight and engage. Their imaginative writing strengthens rhythmic and stylistic concepts whilst employing a variety of adventurous playing techniques that students will find to be a fun and achievable challenge. Each piece is compatible with any of the other instruments in the series in any combination making it an excellent resource for individual or group teaching. Take Your Bow is available in 4individual editions — for violin viola cello and double bass each with piano accompaniment — and as a separate full score.

Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement whose basic mood of meditative rest is challenged by occasional centrifugal utbursts while the third movement takes the inherent conflicts to a higher level contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into thesource? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement a more coherent-solid second movement and finally - in the third movement - a return-run ever more vehemently like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different but simultaneous tempi and there are more abstract upwards and downwards half-tone-scales with changing accents creating glimpses of melodies.INTO THE SOURCE String Quartet No. 9 was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

Serenade. Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed by the violin virtuoso Fritz Kreisler (1875-1962) which he had passed off as transcriptions of settings of old masters, the violinist published original works early on as well. Kreisler himself liked to play them as encore pieces, thus sweetening many a concert with this 'musical confectionery'. Famous tunes are, for example, Liebesfreud, Liebesleid and Schön Rosmarin, his old Viennese dance tunes, in which Kreisler evoked the coffee-house atmosphere of his home town with beautiful melodies and mellifluous harmonies. Another wonderful example is his Marche miniature viennoise, with its humorous theme and a rather march-like middle section - and everywhere, Kreisler takes the audience by surprise with a little Viennese snide humour. Kreisler's original compositions are lovely miniatures, lively and catchy, even with a touch of melancholy - yet full of charm and elegance. Arranged for string trio, they are enjoyable to play and worth listening to and a valuable addition to the repertoire - ideal for sociable music-making or as pieces to end a 'serious' concert./ Répertoire / Trio à Cordes

Big Note/Large Print-Warm-ups for the Violist is an adaptation of Warm-ups for the Violinist. It is targeted to help build strengthen and develop the muscles and techniques needed for viola playing. It is especially suited and created for the morecasual violist who is sincerely interested in getting maximum benefit from a minimum of effort. I first tested these scales and exercises on myself for six months faithfully using them for about 20 minutes as warm-ups to my dailypractice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as I charted my metronomic progress on a calendar. I remember thinking 'I will never be able to play fasterthan this.' But then a couple of weeks later I would indeed climb a notch higher!Through the years I have used these exercises in countless workshops and with private students. The letters of thanks and positive feedback fromstudents who were thrilled with improved violin and fiddle technique have brought me great satisfaction. Progress with these exercises is like the progress of a body builder. Body builders do not get up in the morning and think 'I am going to develop and build my muscles today ' and instantly look like Mr. Atlas. It takes weeks months and for some years to attain results. It must be done over a period of time. Like all diets and exercise programs determination and dedication are most important to success! I sincerely believe that these exercises when faithfully practiced will help violists improve their skills. The exercises will help develop and strengthen muscles usedfor finger dexterity clarity of notes tone bowing-arm control intonation double stops and a flexible bowing-arm wrist. A companion audio play-along recording is available online.

The Ultimate Beginner Series has helped many aspiring musicians take their first step toward experiencing the fun of playing music. Now you can experience both volume 1 and 2 together for the first time on DVD! This disc is perfect for beginning students for students who are changing to another instrument or as a refresher for player returning to the instrument after many years. You will learn about Care and Maintenance Posture and Hand Positioning Simple Bowing and Plucking Techniques Basic Finger Patterns For Major Scales. Special features include: Getting To Know The Instrument Feature; Beginning Music Theory Interactive; Printable Reference Materials.

From the Golden Globe nominated movie The Reader comes three arrangemetns for Viola and Piano.The Piano takes the lead with the Viola instead providing drones shimmers and swells.

Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The Forgiveness Machine was commissioned by the Phoenix Piano Trio as part of their Beyond Beethoven Project. My work is very closely modeled on the second movement of Beethoven’s Archduke Trio and comprises a set of loosely structured variations many of which are motivically very similar to Beethoven's. This work is dedicated to the memory of my grandmother Christina Hoad. I received this commission in the last months of her life and would often sit in the room listening to the Archduke on my headphones while she rested. Beethoven’s music to me atthat time had an almost transcendental quality to it temporarily permitting an escape from the reality and inevitability of my Nan’s illness. It was this quality of serenity beauty and dignity that I tried to emulate in my work. The title is taken from an art work by Karen Green: the Forgiveness Machine was made after the death of her husband David Foster Wallace and encourages members of the public to write down on a piece of paper what they want to forgive/be forgiven for before feeding it to the machine which sucks up the piece of paper and shreds it (the artwork is some seven foot long). Whilst in my case there is nothing to forgive it was the feeling of catharsis that many people reported after interaction with this artwork that struck a chord with me and had tremendous relevance to this work.' - Cheryl Frances-Hoad

Score = Piano Part. Par THEODORAKIS MIKIS. Theodorakis composed the 'Trio for violin, violoncello and piano' in Athens during 1946-47. He had just completed his studies in composition at the Athens Conservatory and was preparing himself for his Diploma. However, he was overtaken by the Civil War. Thus, one part of the Trio was written in circumstances of persecution (underground) and another in exile (in the island of Ikaria). It is a work in which - as in the remaining works of that period - the influence of his classical music studies become apparent. Especially in the area of form, as opposed to the selection of the melodic material and the harmonic language, which bring out an authentic and original musical personality that often surprises us for its boldness./ Répertoire / Violon, Violoncelle et Piano

The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B

In his Kongsgaard Variations (2006) Swedish composer Anders Hillborg takes the Arietta-theme from Beethoven’s last piano-sonata No. 32 in C minor Op. 111 as the basis for an evocative 16-minute string quartet. Beethoven’s sublime music drifts strangely through the centuries and is warped vaporised and refashioned as if in the words of Hillborg the Arietta ‘is dreaming yet another variation on itself’.

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Stephen Warbeck's Oscar-winning music from the hit film 'Shakespeare in Love' has been skillfully arranged by Tony Osbourne into a four-movement suite for intermediate string ensemble. The suite perfectly encapsulates all the passion romance and wit of this delightful love story which traces the footsteps of the young Shakespeare. With an exciting opening sighing love-themes and two rhythmic dances which capture the atmosphere of the vibrant Elizabethan court this contrasted suite will stir players' and audiences' imagination and take flight.