Sarah Feigin *1928: Reflections on a Niggun (1999) (6:05') Helene Liebmann 1795-nach 1835: Andante con Variation (7:06'). 3. Satz der Sonate op. 11 Die zweibändige Ausgabe unter dem Titel ?Miriam's Song' (Das Lied der Mirjam) ist jüdischen Komponistinnen des 19. und 20. Jahrhunderts gewidmet. Sie beinhaltet Viola-Bearbeitungen der Werke von Fanny Hensel geb. Mendelssohn, Vally Weigl, Lena Stein-Schneider und Ruth Schonthal (Band 1). Das von Schonthal aufgenommene Allegro moderato ist eine Originalkomposition für Viola und Klavier. Im 2. Band begegnen wir den Komponistinnen Helene Liebmann und Sarah Feigin. Der Titel der Ausgabe bezieht sich auf die Rolle der Prophetin Mirjam, der älteren Schwester von Mose und Aaron. Beim Auszug des israelischen Volkes aus Ägypten führte sie nach der Durchquerung des Schilfmeeres den Freudentanz und Gesang der Frauen an (2. Buch Mose 15,20-21). Bezeichnenderweise hat der Berliner Maler Wilhelm Hensel im 19. Jahrhundert seine Frau, die Komponistin Fanny Hensel geb. Mendelssohn, als Mirjam porträtiert.Das Repertoire romantischer Konzertliteratur für Viola ist recht begrenzt. Den Herausgebern ist es ein Anliegen, den im Original für Violine, Violoncello oder Klarinette geschriebenen Werken durch die Bearbeitung zu größerer Verbreitung zu verhelfen.'Revue Musicale Suisse / Schweizer MusikzeitungApril 2012 Seite 39, Walter Amadeus Ammann: Kompositionen jüdischer Frauen :Die Prophetin Mirjam, Schwester von Moses und Aaron, führte die Frauen beim Auszug aus Ägypten bei Tanz und Gesang an. Das Motto der zwei Hefte Miriam's Song deckt sich mit dem Schicksal der sechs Komponistinnen, die hier mit Stücken von drei bis sieben Minuten Dauer vertreten sind. Fanny Hensel traute sich nicht, ihre Werke zu publizieren, Vally Weigl und Ruth Schonthal mussten wegen der Nazis emigrieren, Lena Stein wurde durch eine Schweizer Delegation aus Theresienstadt befreit, Helene Liebmann änderte 1820 in Berlin wegen antisemitischer Repressalien ihren Namen auf Liebelt und Sarah Feigin wanderte 1972 von Lettland nach Israel aus.Die für Violine, Violoncello oder Klarinette mit Klavier geschriebenen Stücke in mäßiger Schwierigkeit eignen sich vorzüglich für die Bratsche. Gefühlvoll: Adagio von Hensel und Nocturno von Stein. Kurzweilig: Old Time Burlesque von Weigl und Reflection on a Niggun von Feigin. Oder Sätze aus Sonaten: Das fließende Allegro moderato von Schonthal und die anspruchsvollen Variationen über la ci darem la mano von Liebmann. Die zwei Sonaten sind in der Furore Edition auch vollständig sowohl für Violoncello als auch für Bratsche und Klavier erhältlich.Miriam's Song, Werke von jüdischen Komponistinnen für Viola und Klavier, Band 1 und 2, hg. von Bella und Semjon Kalinowsky, fue10050/10064, ? 18.00/16.00, Furore Edition, Kassel 2011' / Alto Et Piano

Par WAGNER RICHARD / HENZE HANS WERNER. After Poems By Mathilde Wesendonck/ Répertoire / Alto et Orchestre de Chambre ou Piano

Solos for Viola-Nine songs from the Andrew Lloyd Webber musical masterpiece The Phantom of the Opera arranged for solo Viola: All I Ask of You · Angel of Music · Masquerade · The Music of the Night · The Phantom of the Opera · The Point of No Return · Prima Donna · Think of Me · Wishing You Were Somehow Here Again

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.

Edited after: Paul Hindemith, Complete Works, Vol. V/7Instrument : viola and pianoNombre de Pages : 64The genesis of the viola sonata reflects the eventful life of Hindemith in the winter of 1938/39 and owes its completion to Hindemith's ability to compose even while travelling, especially on trains. Hindemith himself said about his viola sonata: '... It is a powerful, well-fed piece with durable lining for cold weather. Second movement with a tricky rhythm to which one has to creep up carefully in order to master it. In the last movement which consists of two variations on an already fully developed rondo movement...' Hindemith shows again the wide range of his compositional and formal brilliance. New edition based on the text of the Hindemith Complete Edition.

In celebration of the 70th Anniversary of The Wizard of Oz, this book features all of the classic songs by E.Y. Harburg and Harold Arlen arranged for viola with a fully orchestrated CD accompaniment. This book also contains dozens of original production stills, including four pages of colour, publicity photos, an essay on the story behind the songs and biographies of the composers. This book is compatible with others in the series. The CD includes a demo track of each song, with a live instrumental performance, and a playalong track. A separate, optional, piano accompaniment book is also available. It also includes a CD that features various instrument demo tracks. Over The Rainbow; Come Out, Come Out... ,It Really Was No Miracle; Ding Dong! The Witch Is Dead; The Lullaby League ,The Lollipop Guild ,We Welcome You To Munchkinland; Follow The Yellow Brick Road ,We're Off To See The Wizard; If I Only Had A Brain; Optimistic Voices; The Merry Old Land Of Oz; The Jitterbug; If I Were King Of The Forest.

A third book of 21 pieces for beginner
Instrumentation : viola and piano
Number of Pages : 36
Series : Easy String Music
Fast Forward, part of the Colledge's highly regarded Easy String Series, has long been the repertoire choice of string teachers. The pieces help reinforce basic elements of technique, rhythm and fingering patterns ranging from pieces for beginners - intermediate players.
The edition is part of the Trinity syllabus 2007 (grade 2)
Contenu
- At Harvest Time
- Boogie-Woogie
- Clever Clogs!
- Drifting
- Fast Forward
- Hallowe'en
- Hornpipe
- Hustle, bustle
- Lazy-bones
- Once Upon a Time
- Polly's Polka
- Singapore Sunset
- Snake Charmer
- Something or Other!
- Sweet Dreams
- The Ceilidh
- Weeping Willow
- What's the Time?
- Windmills
- Winter's Night
- Wondering

Philipp Maintz was born in Aachen Germany in 1977. He received his first composition lessons from Michael Reudenbach. He studied composition with Robert HP Platz in Maastricht from 1997-2003 graduating with distinction followed by a further degree in composition and electronic music with Karlheinz Essl at the Bruckner Conservatory in Linz. He has received scholarships and invitations from institutions including the Electronic Studio at the University of Liège the International Summer Courses for New Music in Darmstadt IRCAM Paris and the North Rhine-Westphalia Ministry of Culture an Artist?s Scholarship from Lower Saxony for the Künstlerhof Schreyahn and otherhonours: the Supportive Prize from the Ernst von Siemens Music Foundation in 2005 a scholarship from the Wilfried Steinbrenner Foundation in 2006 and a German Government Scholarship to study at the Cité Internationale des Arts Paris in 2007 Scholarship awarded by the German Minister of Culture for a one-year stay at the German Academy Rome Villa Massimo (2010). His compositions have been performed at festivals including the International Gaudeamus Music Week Amsterdam agora-festival Paris ars nova (SWR) International Summer Courses for New Music in Darmstadt Wittener Tage für Neue Kammermusik musica (Strasbourg) Wien Modern Hear&Now London and the Salzburg Festival.

Music through the Ages-Take a journey through time with More Time Pieces For Viola. These two volumes contain well-crafted arrangements presented in chronological order to take you from the seventeenth century right up to the present day.   Pieces that regularly feature on the ABRSM Viola syllabus. Invaluable source of recital repertoire. Contrasting styles from Schubert to Stravinsky and from Wagner to Weill. Arrangements that practise the note ranges and keys of the grades.   Maggy Lamb played the Viola with English National Opera and the Philharmonia Orchestra before taking up the post ofHead of Strings at St Peter’s School in York. She now divides her time between teaching performing and examining. Rachel Meredith is a Bristol University graduate. After a period performing both in the UK and abroad she now teaches upper strings in York. Rachel is also a syllabus selector and examiner for ABRSM.

Nadia Boulanger's Three Pieces for Viola and Piano transcribed from the original for Cello. Posterity has retained of Nadia Boulanger only her gifts as a virtuoso of the piano and organ her skill as a conductor (of vocal ensemble and orchestra) and most of all her incredible charisma as a teacher. For nearly sixty years 'Mademoiselle' made the most of her famous Wednesdays bringing rigour and passion to the training of several generations of musicians: among so many others Aaron Copland Leonard Bernstein Igor Markevitch Michel Legrand Witold Lutoslawski Astor Piazzolla Quincy Jones and John-Eliot Gardiner have all kept unforgettable memories of thesetimes.Was Nadia Boulanger wrong to let teaching music take precedence over her composing as Gabriel Fauré the great master she venerated believed? The publication of Three Pieces for Viola and Piano raises the question. This transcription of Three Pieces for cello and piano was composed between 1911 and 1913 and published by Heugel. The two initial pieces were originally written for organ: the first in E flat minor brings a moderate tempo to a melancholy cantilena with Romantic accents while the second in A minor exudes warmth and tenderness. The third piece (C sharp minor) most likely originally titled Danse espagnole heralds the Roaring Twenties with its restlessness and festive crackle. Together they emit a charm that is difficult to resist.

arranged for Piano and Viola-Cesar Franck’s Sonata for Piano and Violin is one of the most treasured works in the Violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.After Franck’s death in 1890 the original publisher of the Sonata the Parisian house Julien Hamelle announced an arrangement of the work for Viola but it has not been possible to locate any copy of this publication. The present arrangement for Viola is largely based on Jules Delsart’s arrangement for Piano and Cello the onlyversion of the Sonata which the composer authorized. However the Viola part here also adopts extensive passages in their original register or remains in the middle octave especially in those passages where the Cello lies two octaves beneath the Violin.Being set in the alto register the part thus lies between the other two string versions lending the Sonata a delightful hybrid hue beyond the brilliance of the Violin and the sonorousness of the Cello. The Piano part has been left intact and is thus identical to that of the original version.The edition is rounded off by an informative text on the genesis and reception history of the Sonata (Ger/Fr/Eng).