Concerto (viola & Piano)

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.

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

'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 in K.449 as well. In addition to orchestral forces it is also possible to use achamber 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 series “Bärenreiter’s Concert Pieces” has now been expanded to include the three-movement Student Concerto op. 22 by Friedrich Seitz in arrangements for viola (BA 8986) and cello (BA 8987) previously published for violin (BA 8979). The concertos have been transposed making them ideal for beginners and young pupils. Concise forewords by the renowned string pedagogues Christoph and Kurt Sassmannshaus introduce the work and point out the relevant playing techniques required.

For the first time the series 'Bärenreiter?s Concert Pieces' presents arrangements of concertos for viola and violoncello. The editions are an ideal continuation of the Sassmannshaus string methods but can of course also be used independently. Since concerto op. 35 only employs the first position it is suitable for beginners and young students. The piece has been transposed to make it easier to play.The concise foreword by renowned string pedagogues Christoph and Kurt Sassmannshaus introduces the work and points out its relevant technical requirements.

For Violin Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on tothe next piece. This was particularly the case around the time of his Opus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music.The Sinfonietta waswritten (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started workon his Op.2 Phantasy for Oboe and String Trio a few weeks later.Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketchis unusually for Britten complete in practically every detail it is puzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear ifhe had particular performers in mind (he was of course a Viola player although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Brittenrecorded in his diary was 'pretty pleased' with it; but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' readsanother diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936.In theabsence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between

Par WEISSENBERG ALEXIS. This book presents pianists and ambitious amateur musicians with unfamiliar, surprisingly flamboyant and often witty compositions. These piano works are by one of the greatest pianists of the twentieth Century, one of the most recent all-round musical grand masters: Alexis Weissenberg, who was born in Sofia on 26 July 1929 and died in Lugano on 8 January 2012. This first edition includes all Weissenberg’s surviving completed piano works, apart from those written for two pianos and for piano duet, stage works and the Romance for piano and violin. Fingerings and pedal markings by Alexis Weissenberg are printed in italics (fingerings and allocation of notes between hands, too) or in large type (pedal markings); recommendations added by the editor are shown in roman font (fingerings and allocation of notes between hands) or in smaller type (pedal markings). / Niveau : Intermédiaire à Avancé / Recueil / Piano

Along with the Stamitz concerto Hoffmeister‘s Viola Concerto is the most important audition piece for Viola players. Yet it has been handed down in a complicated source tradition surviving ina single contemporary manuscript covered with many layers of markings. Our Piano reduction reconstructs for the first time the earliest textual layer in this source thereby coming as close as possible toHoffmeister‘s actual intentions. The reconstructed original is accompanied by a detailed critical commentary. Fingering and bowing marks have been added by no less a musician than Kim Kashkashian!