Passionskantate. Par TELEMANN GEORG PHILIPP. In this five-movement Passion cantata dating from Telemann’s Frankfurt years, the vocalist and the violist are each given attractive, though not excessively difficult tasks. This edition contains the original version for voice, viola and bassocontinuo, as well as the version by Telemann’s successor at Frankfurt, Johann Balthasar König [1691–1758], which includes ad libitum parts for tutti violins and oboe. / Date parution : 1980-12-01/ Répertoire / Solo S (T), Viola da braccio (Viole de Gambe) et B

This is the full/performing score for John Tavener's To A Child Dancing In The Wind for Soprano Flute/Alto Flute Viola and Harp. The entire work lasts around 30 minutes and sets a number of poems byW.B. Yeats considered by Tavener as one of the greatest poets of the 20th century. To A Child Dancing In The Wind?was commissioned by the Little Missenden Festival and firstperformed on 16th October 1983 at Little Missenden Parish Church. John Tavener is well-known for his extensive catalogue of religious music but occasionally he was drawn to less overtlysacred sources. The ?frailty tenderness and spiritual transparency of Yeats? poetry? inspired this song-cycle from 1983 for Soprano Flute Harp and Viola. Tavener held Yeats in high regard and was to return to hispoems in later works such as Mini Song-Cycle for Gina (1984) A Nativity (1985) and Supernatural Songs (2003). To A Child Dancing In The Wind is dedicated to Tavener?s first wife VictoriaMaragopoulou.

Passionskantate. Par TELEMANN GEORG PHILIPP. In this five-movement Passion cantata dating from Telemann’s Frankfurt years, the vocalist and the violist are each given attractive, though not excessively difficult tasks. This edition contains the original version for voice, viola and bassocontinuo, as well as the version by Telemann’s successor at Frankfurt, Johann Balthasar König [1691–1758], which includes ad libitum parts for tutti violins and oboe. / Date parution : 1980-12-01/ Répertoire / Solo S (T), Viola da braccio (Viole de Gambe) et B

Passionskantate. Par TELEMANN GEORG PHILIPP. In this five-movement Passion cantata dating from Telemann’s Frankfurt years, the vocalist and the violist are each given attractive, though not excessively difficult tasks. This edition contains the original version for voice, viola and bassocontinuo, as well as the version by Telemann’s successor at Frankfurt, Johann Balthasar König [1691–1758], which includes ad libitum parts for tutti violins and oboe. / Date parution : 1980-12-01/ Répertoire / Solo S (T), Viola da braccio (Viole de Gambe) et B

Motette Nr.25 aus Geistliche Chormusik 1648. Par SCHUTZ HEINRICH. / Répertoire / ST, 5 Violas de Gamba (Violon, 2 Violes, 2 Violonc

Par SCHEIN JOHANN HERMANN. / Répertoire / 5 à 6 Voix (Flûte à Bec et Viola de Gamba ou Autre

Trio - Rito Per Violino, Viola E Violoncello. Par GERVASONI STEFANO. / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Voix et Orchestre

We welcome Lance Bastian to the Hal Leonard catalog with this outstanding setting of a beloved spiritual. The viola part adds a richness to the already moving text and setting. A clarinet part is included as a substitute for theviola. Available separately: SATB BonusTrax CD. Duration: ca. 4:20.

Kantate zum Sonntag Sexagesimae. Leipziger Fassung. Par BACH JOHANN SEBASTIAN. The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded./ Répertoire / Choeur

Vocal Score-Vocal Score. Instrumental parts also available (item 49019476). Contents: Lauda 12 (Alta trinità beata) for soprano tenor viola cello and double bass • Lauda 13 (Stomme allegro) for soprano tenor viola cello anddouble bass • Lauda 26 (Plangiamo quel crudel basciar) for soprano tenor viola cello or bass clarinet and double bass • Lauda 27 (Laudar vollio per amore) for soprano tenor cello or bass clarinet and double bass• Lauda 28 (Amor dolçe sença pare) for soprano tenor viola cello or bass clarinet and double bass • Lauda 29 (O divina virgo flore) for soprano and double bass • Lauda 30 (Stella nuova) for 3sopranos cello or bass clarinet and double bass • Lauda 36 (Gloria 'n cielo) for soprano tenor viola cello or bass clarinet and double bass.

Frank Bridge’s Three Songs for Medium Voice Viola and Piano is the second volume in a 30-volume series by The Frank Bridge Trust in association with Thames Publishing celebrating the works of Frank Bridge. This publication features the songs Far far from each other Where is it that our soul doth go? and Music when soft voices die and includes the score for Viola separately making the collaboration of the three musicians easier. The songs can be and often are performed together as a cycle but also work as short individual pieces. The first performance of the three songs in December 1908 marked a rareoccurrence as Frank Bridge played the Piano part himself. Far far from each other is the most ambitious of the three pieces for all three musicians. The words are excerpts from Matthew Arnold’s ‘Empedocles on Etna and Other Poems Parting’.Where is it that our soul doth go? is the shortest of the three songs and the words are a translation of the last stanza of Heinrich Heine’s Clarisse translated by K. F. Kroeker.While the first two songs are original settings Bridge first wrote Music when soft voices die for High Voice Piano and Cello in 1903. The present version was transcribed in 1907. Music when soft voices die the short poem providing the words for this piece is one of the most influential and well-known of Shelley’s works.Watch Three Songs performed by Rebecca Ringle (Mezzo-Soprano) Luke Fleming (Viola) and Roger Steptoe (Piano):

Bass & Percussion parts-Includes Bass And Percussion Parts. 'Includes Full Score. 1. Morning Has Broken (Hmb139A)- Organ Hp Picc 2Fl 2Ob E.Hn 2Bb Clr B. Clr 2Bsn 4Hn 3Bbtpt 3Tb Tuba Strings Perc Timp.Interlude: Organ Perc Hp Picc Fl Ob E.Hn Clr B. Clr Bsn 2Hn 2Tbn Tuba Strings.2. Praise To The Lord The Almighty (Hmb139B)- 3Bbtpt 4Hn 3Tnb Tuba Vln I A-B Vln Ii A-B Viola A-B Cello A-B Bass Hp Perc Timp Picc 2Fl 2Ob E.Hn 2Cl B. Cl 2Bsn.Interlude: Organ Picc Fl Ob E.Hn Cl B. Cl Bsn 2Hn Perc Timp Strings.3. This Is My FatherS World (Hmb139C)- Strings 2Fl Ob 2Hn 3Tpt 3Tbn Tuba Perc Hp.Interlude: Org Picc Fl Ob E. Hn B. Cl Bsn Strings Perc Hp4. In Thee Is Gladness (Hmb139D)- Organ Strings 2Hn Fl Ob 2Bb Cl B. Cl HpInterlude- Organ Fl Ob E. Hn Cl B. Cl 2Hn Strings.Includes Bass And Percussion Parts. Includes Full Score. 1. Morning Has Broken (Hmb139A)- Organ Hp Picc 2Fl 2Ob E.Hn 2Bb Clr B. Clr 2Bsn 4Hn 3Bbtpt 3Tb Tuba Strings Perc Timp.Interlude: Organ Perc Hp Picc Fl Ob E.Hn Clr B. Clr Bsn 2Hn 2Tbn Tuba Strings.2. Praise To The Lord The Almighty (Hmb139B)- 3Bbtpt 4Hn 3Tnb Tuba Vln I A-B Vln Ii A-B Viola A-B Cello A-B Bass Hp Perc Timp Picc 2Fl 2Ob E.Hn 2Cl B. Cl 2Bsn.Interlude: Organ Picc Fl Ob E.Hn Cl B. Cl Bsn 2Hn Perc Timp Strings.3. This Is My FatherS World (Hmb139C)- Strings 2Fl Ob 2Hn 3Tpt 3Tbn Tuba Perc Hp.Interlude: Org Picc Fl Ob E. Hn B. Cl Bsn Strings Perc Hp4. In Thee Is Gladness (Hmb139D)- Organ Strings 2Hn Fl Ob 2Bb Cl B. Cl HpInterlude- Organ Fl Ob E. Hn Cl B. Cl 2Hn Strings.5. Fairest Lord Jesus (Hmb139E)- Organ Hp 3Tbn Tuba 4Hn Fl Ob Cl B. Cl Bsn Strings.Interlude - Hp Picc Fl Ob E.Hn 2Cl B. Cl Bsn 2Hn 2Tpt 2Tbn Tuba Perc Timp Strings.6. How Firm A Foundation (Hmb139F)- Organ Picc 2Fl 2Ob E.Hn 2Bb Cl B. Cl 2Bsn 4Hn 3Bbtpt 3Trb Tuba Perc Timp Strings.Interlude- Organ Hp Picc Fl Ob E.Hn 2Cl B. Cl Bsn 2Hn 3Tpt 3Tbn Tuba Perc Timp Strings.7. When I Survey The Wondrous Cross (Hmb139G)- Organ Hp Picc Fl Ob E.Hn 2Cl B.Cl Bsn 2Hn 3Tpt 3Tbn Tuba Perc Timp StringsInterlude- Picc Fl Ob E.Hn 2Cl B.Cl Bsn 2Hn 3Tpt 3Tbn Perc Timp Strings.8. Christ The Lord Is Risen Today (Hmb139H)- Organ Hp Picc 2Fl Ob E.Hn 2Cl B.Cl Bsn 2Hn 3Tpt 3Tbn Tuba Perc Timp Strings9. When The Saints Go Marching In (Hmb139I)- Strings 3Tpt 3Tbn Tuba Pno Perc Trap.10. Morning Has Broken- Finale (No Number Assigned)- Organ Hp Picc 2Fl 2Ob E.Hn 2Bbcl B.Cl 2Bsn 4Hn 3Bbtpt 3Tbn Tuba StringsPerc Timp.Instrumentation: 3Bbtpt 4Hns 3Tbns Tuba Vlni A-B Vlnii A-B Viola A-B Cello A-B Bass Harp Perc Timp Picc 2Fl 2Ob E.Horn 2Cl 2B.Cl 2Bsn.Instrumentation For Interlude Between Praise To The Lord And This IsMy FatherS World: Organ Picc Fl Ob E.Hn Cl Bsn 2Hn Perc TimpStrings.Hymn Tune Name: Terra P

Par LACHENMANN HELMUT. temA was written in the summer of 1968. In spite of Ligeti's “Aventures” it may be considered one of the first compositions in which the breathing plays a role as an accoustically transmitted energy process (Holliger, Globokar, Kagel, Schnebel and Stockhausen in “Hymnen” have already worked on this phenomenon independently of each other and from different points of view). Moreover, “temA” marks for me the first step into that “musique concrète instrumentale” in which the mechanical conditions of the sound production are incorporated into the composition. This characterizes my later pieces such as Kontrakadenz, Air, Pression etc. more consistently. In temA, unlike what happened in my previous works, the naturalistic extreme cases were consciously accepted but at the same time integrated into a very rigorous musical context which was also to give a new meaning to the traditional playing conceptions. The violation of the tabus felt in the nearly 70s (not only regarding this piece) lay to a less degree in the phenomenon of the sound deformation (snoring, pressed strings, soundless blowing etc.), since such an “alienation” was perfectly tolerated as an humoristic, dadaistic or expressionistic element. Rather the shock was caused by the technical logic of the movements which rendered relative the sheer surrealistic effect and had to be taken seriously instead of in an humoristic way. (Helmut Lachenmann, translation: Roger Clément) / Date parution : 2022-07-23/ Répertoire / Flûte, Mezzo-Soprano, Violoncelle