Concerto For Viola (Viola And Piano) (ARNOLD MALCOLM)

Score and parts of this splendid Venetian Baroque piece originally for two solo Violins and strings arranged for two Violas with Keyboard accompaniment and edited by Alan Arnold.

Born in Nottingham England in 1862 Edmund Severn moved to the United States at the age of four along with his family who settled in Hartford Connecticut. Severn began to study the Violin with guidance from his father who taught the instrument professionally. He later studied with Franz Milcke and Bernard Listemann concertmaster of the Boston Symphony Orchestra before moving to Berlin to study bowing technique under Emanuel Wirth the first assistant of Joseph Joachim at the Berlin Hochschule. As a composer Edmund Severn wrote mainly orchestral music as well as many pieces for the Violin including a concerto; he also wrote three stringquartets.To this day the Polish Dance for Violin and Piano has remained Severnâ??s most famous work. The piece is arranged here by Alan Arnold for Viola and Piano.

Par STAMITZ CARL. Toutes les sources connues ont été exploitées pour cette publication et il existe ainsi désormais une édition Urtext de ce concerto, pourvue d’une préface et de remarques explicatives exposant de façon détaillée l’état complexe des sources. Celui qui, lors d’une audition de recrutement, veut non seulement interpréter brillamment son morceau mais aussi faire la preuve de ses connaissances musicologiques en matière d’histoire des sources n’a qu’un seul choix: acheter l’édition!? / Partition brochée / Date parution : 1905-06-15/ Répertoire / Alto et Piano

Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders.Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Solo Piano part: WH31129CProgramme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonorous treasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing forone of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts. The marking 'Avanti Risoluto' (Forward with Resolve) is a bit of an understatement. It is a full throttle no hold barred ride -

Edition for piano two violins viola and violoncello-Edition for piano two violins viola and violoncello (2-piano reduction with 1 each of the string parts) 'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived piano concertos. These three concertos may be performed not only with a large orchestra including wind instruments but also a quattro that is with two violins one viola and violoncello. They will be issued early in April of this year (1783).' As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his piano concertos K.413-5 and as we know from a letter Mozart wrote to his father inK.449 as well. In addition to orchestral forces it is also possible to use a chamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with piano. These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two pianos the solo Part - as well as the strings - are unchanged and thus identical with the version in the NMA. The piano arrangement adheres to the original orchestral score. Chamber music editions available for: Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

The viola is often not credited with being able to take over a soloistic role - but this is completely unjust. In 1738 Johann Philipp Eisel already wrote of the viola as being the 'very bowels of music? and stressed that it was not only needed to 'flesh out? the orchestral sound but also as a 'concert voice, which is fully proven by the concertos and concert overtures by the famous Capell-Meister Telemann?. Telemann's Concerto in G major is considered to be one of the earliest works for solo viola and orchestra and forms part of the core repertoire for pupils and students. In our Urtext piano reduction the specialist Kai Köpp has provided information regarding historical performance practice. / Alto Et Piano