Viola Concerto in D Major

The Bohemian composer Jan K titel Va hal/Johann Baptist Vanhal (1739 1813) settled in Vienna around 1763. There he wrote several concertos for various instruments of which two for Viola have survived. Both are evidently not original compositions but arrangements by Va hal of some of his own works a common practice of that time. The Viola Concerto In C Major is based on Va hal's Cello concerto in the same key.Barenreiter's new revised edition makes this Concerto available once again. The solo part contains cadenzas for each movement.Performance material is available for hire.

The Concerto in G major (TWV 51: G 9) is not only Telemann’s only concerto for the viola but one of the earliest viola concertos in history. It belongs to the standard repertoire of every violist and is also suited for less experienced players being relatively easy to master.Full score parts (BA5878) viola & piano reduction (BA5878-90) available for sale

The Concerto in G major (TWV 51: G 9) is not only Telemann’s only concerto for the viola but one of the earliest viola concertos in history. It belongs to the standard repertoire of every violist and is also suited for less experienced players being relatively easy to master.Full score parts (BA5878) viola & piano reduction (BA5878-90) available for sale

The Concerto in G major (TWV 51: G 9) is not only Telemann’s only concerto for the viola but one of the earliest viola concertos in history. It belongs to the standard repertoire of every violist and is also suited for less experienced players being relatively easy to master.Full score parts (BA5878) viola & piano reduction (BA5878-90) available for sale

The Concerto in G major (TWV 51: G 9) is not only Telemann’s only concerto for the viola but one of the earliest viola concertos in history. It belongs to the standard repertoire of every violist and is also suited for less experienced players being relatively easy to master.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

Viola Concerto D major Com­poser: Cambini, Giovanni Giuseppe / Ensemble à cordes / Amadeus

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

Titles: Concerto No. 2, 3rd Movement (F. Seitz) * Concerto No. 5, 1st Movement (F. Seitz) * Tonalization: Lullaby, Wiegenlied, Op. 98, No. 2 (F. Schubert) * Tonalization: Lullaby, Wiegenlied, Op. 49, No. 4 (J. Brahms) * Concerto in D Minor, 1st Movement, transcribed from Concerto in A Minor, Op. 3, No. 6 for Violin (A. Vivaldi) * Concerto in D Minor, 3rd Movement, transcribed from Concerto in A Minor, Op. 3, No. 6 for Violin (A. Vivaldi) * Concerto in G Major (Largo, Allegro, Andante, Presto) (G.P. Telemann) * Concerto in G Major for Two Violas (Lento, Allegro, Largo, Vivace) (G.P. Telemann). This title is available through SmartMusic.

Written in the year 1775, Mozart's lively violin concerti manifest the young composer's astonishing maturity and command of his craft. An incredible fluency of musical speech ? richness of texture and sheer beauty of melodic line pervade this music (Veims, The Concertos). Indeed, the concerti are the composer's earliest compositions that have maintained a secure position in the world's repertoire. Also a staple of the concert hall is the Sinfonia Concertante, K.364, composed in 1779, and scored for violin, viola, and orchestra. Undoubtedly the most significant work Mozart composed that year, the piece is distinguished by its symphonic sweep, advanced harmonies, and the beautiful slow movement, among Mozart's most moving creations. Now all six masterpieces are available in this convenient, inexpensive edition.