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Viola, Piano
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How To Train Your Dragon for Viola and Piano
How To Train Your Dragon for Viola and Piano
$12.99
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Viola, Piano
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John Powell
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Diego Marani
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Diego Maran
THE UNCLOUDED DAY (Viola & Piano with Score/Vla Part)
THE UNCLOUDED DAY (Viola & Piano with Score/Vla Part)
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Viola, Piano
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Robert Lowry
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Gary Lanier
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The Lanier Company
BRANDENBURG CONCERTO #6 Reduction for one Viola accompanied by Keyboard
BRANDENBURG CONCERTO #6 Reduction for one Viola accompanied by Keyboard
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Viola, Piano
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Johann Sebastian Bach
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Steve Newman
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steve newman
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Above Clouds Viola And Piano
Viola, Piano
Boosey and Hawkes
Composed by Ursula Mamlok. VIOLA WITH PIANO ACCOMPANIMENT. Boosey and Hawkes Cha...
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Composed by Ursula Mamlok. VIOLA WITH PIANO ACCOMPANIMENT. Boosey and Hawkes Chamber Music. Softcover. 14 pages. Boosey and Hawkes #M202534106. Published by Boosey and Hawkes
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Shooting Stars
Viola, Piano
Boosey and Hawkes
Viola and Piano. (Viola). Boosey and Hawkes Chamber Music. 40 pages. Published ...
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Viola and Piano. (Viola). Boosey and Hawkes Chamber Music. 40 pages. Published by Boosey and Hawkes.
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Shadows
Viola, Piano
Papagena Press
Viola and Piano
. Composed by Katherine Hoover (1937-). Premiered at Bard ...
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Viola and Piano
. Composed by Katherine Hoover (1937-). Premiered at Bard College, with Marka Gustavsson, violist , and Lisa Moore, pianist. Score and part(s). With Standard notation. 19 7 pages. Papagena Press #PP182. Published by Papagena Press (PR.PP182).
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Concerto Les Boudins Blancs...
Viola, Piano
Lafitan, Pierre
Viola and Piano SKU: BT.PL3561 Composed by Claude-Henry Joubert. Book and...
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Viola and Piano
SKU: BT.PL3561
Composed by Claude-Henry Joubert. Book and Part(s). Pierre Lafitan Editions #PL3561. Published by Pierre Lafitan Editions (BT.PL3561).
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Above Clouds
Viola, Piano
Bote and Bock
Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador...
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Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.Above Clouds for viola and piano, created in 2013/14, is one of Mamlok's most recent compositions and is no longer than about three minutes. In this period, however, many a thing happens, even if, as is often the case with Mamlok, the dramatization of the piece rather not follows traditional principles. This is why the end of the piece comes a surprise, when you least expect it. / Alto Et Piano
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Promenade (ROUDON / PENNIELLO)
Viola, Piano
[Sheet music]
Hamelle
Par ROUDON / PENNIELLO. / Répertoire / Alto et Piano
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Complainte (ROUDON / PENNIELLO)
Viola, Piano
[Sheet music]
Hamelle
Par ROUDON / PENNIELLO. / Répertoire / Alto et Piano
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Valse Sentimentale (TCHAIKOVSKI PIOTR ILITCH / ROUDON)
Viola, Piano
[Sheet music]
Hamelle
Par TCHAIKOVSKI PIOTR ILITCH / ROUDON. / Répertoire / Alto et Piano
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Magyar Tanc (TCHAIKOVSKI PIOTR ILITCH / ROUDON)
Viola, Piano
[Sheet music]
Hamelle
Par TCHAIKOVSKI PIOTR ILITCH / ROUDON. / Répertoire / Alto et Piano
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6 Sonates En Trio Pour Orgue (BACH JOHANN SEBASTIAN)
Français
Viola, Piano
[Sheet music]
Delrieu
Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeo...
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Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeon et Antoine Joly On ne saurait affirmer que le répertoire original de concert de l'alto, en tant qu'instrument soliste, soit richement pourvu en chefs-d'oeuvre. Au mieux, et encore si on inclut les sonates de Brahms, elles-mêmes transcrites de la clarinette, deux programmes de récital et on a fait le tour de la question. Avec le présent recueil, nous n'avons d'autre ambition que de contribuer à élargir cet éventail. Les six sonates - dites en trio - pour orgue de Johann Sebastian Bach, figurent parmi les oeuvres les plus rigoureuses du compositeur. A l'inverse d'autres compositions pour orgue de Bach, ses grandes Fantaisies et Toccatas, dans lesquelles abondent de luxuriantes formules virtuoses de nature indubitablement instrumentale, les sonates relèvent d'une stricte écriture à trois voix, sans que jamais le moindre ajout harmonique, la moindre tentation exhibitionniste, viennent troubler leur parfaite pureté polyphonique. Il nous est apparu que leur facture fondamentalement a-instrumentale était telle que ces sonates se prêtaient sans doute mieux que toutes autres à la transcription. De surcroît, il était clair qu'il existait une évidente adéquation entre leur écriture et celle destinée à un instrument à archet, et que la vocalité intensément expressive de leurs mouvements lents, comme la sobre alacrité de leurs mouvements rapides, conviendraient à merveille aux couleurs sonores très spécifiques de l'alto. Restait à faire en sorte que la transcription pour cet instrument crée l'illusion qu'elles avaient été originellement conçues pour lui. A cet égard, deux types de problèmes étaient à résoudre. Le choix des tonalités. Bach lui-même, lorsqu'il adaptait pour le clavier ses concertos originellement écrits pour le violon, recourait toujours à un changement de tonalité, en transposant systématiquement ces oeuvres d'un ton vers le bas. Passer du clavier de l'orgue à l'alto requérait de procéder à un traitement analogue, pour faire en sorte que l'instrument à cordes soit exposé dans le registre qui lui serait le plus favorable, tout en tenant compte de ses propres limites. Dans notre recherche des tonalités les mieux adaptées à chacune des sonates, nous avons été guidés par le souci de contourner deux écueils celui qui contraindrait l'alto à jouer dans un registre trop aigu, où sa sonorité a tendance à se faire claironnante - et à éviter parallèlement de l'emmener trop souvent vers son registre grave, magnifique pour les notes tenues et chantantes, mais qui sied mal aux notes rapides, telles que les doubles croches, dont les Allegros de Bach font une allègre consommation. Du fait de l'épaisseur des cordes graves de l'alto, leur émission y est quelque peu confuse, et elles y prennent presque inévitablement une sonorité pelucheuse qui rend l'équilibre acoustique de la souveraine polyphonie de Bach peu perceptible. C'est ainsi qu'après bien des essais et tâtonnements, nous sommes arrêtés aux transpositions suivantes: de Mi bémol majeur à Sol majeur pour la 1e sonate, d'Ut mineur à Sol mineur pour la 2e, de Mi mineur à Ré mineur pour la 3e, et ainsi de suite. Dans l'édition, nous indiquons à chaque fois la tonalité d'origine. Pour finaliser nos choix, nous avons d'ailleurs dû jouer avec un paramètre supplémentaire, car il va sans dire qu'une fois décidée la tonalité d'ensemble de telle ou telle sonate, nous nous sommes fixé pour règle de respecter les relations de tonalité adoptées par Bach entre les mouvements rapides et lents de ses oeuvres. La distribution des voix entre les deux instruments. Bach ayant naturellement réparti les deux voix de 'dessus' et la voix de basse de ses sonates entre les deux mains et le pédalier de l'organiste, la solution qui apparaissait à première vue s'imposer pour notre transcription, consistait à attribuer la voix supérieure à l'alto, tandis que les deux mains de l'instrument à clavier se chargeraient de la voix médiane et de la basse. Et de fait, c'est ainsi que nous procédâmes pour l'essentiel. Néanmoins, en de nombreuses occasions, nous avons jugé bon de faire exception à ce principe trop simple. Deux types de raisons nous ont ainsi conduits à recourir ici ou là à une redistribution des parties d'un instrument à l'autre. Le souci là encore de ne jamais placer l'alto dans une tessiture extrême, et surtout d'éviter d'aboutir à une confusion des entrées et des réponses fuguées. Ce faisant, nous croyons être parvenus par la même occasion à créer des échanges d'une grande vitalité entre les deux instruments. En publiant ici le résultat du travail prodigieusement stimulant qui fut le nôtre - accompagné de propositions de coups d'archet soigneusement étudiées (mais évidemment révisables selon les choix interprétatifs de chacun), destinées à en rendre clairs le phrasé, l'expression et la facture - nous avons la conviction de pourvoir à l'enrichissement du répertoire des altistes sous la forme de six chefs-d'oeuvre de tout premier ordre, sans que la transcription les ait d'aucune manière dénaturés. Nous sommes également persuadés que le soi-disant 'parent pauvre' de la famille des cordes ne le cédera en rien au 'roi des instruments' dans l'expression du sublime lyrisme constamment présent dans ces oeuvres de Johann Sebastian Bach. / classique / Répertoire / Alto et Piano
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Sonata Op. 25/4
Viola, Piano
Schott
Résoudre ce problème est identique à celle de l'édition complète (volume V,...
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Résoudre ce problème est identique à celle de l'édition complète (volume V, 6, musique de chambre de chaîne III). / Alto Et Piano
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Shooting Stars (COLLEDGE HUGH / COLLEDGE KATHERINE)
Viola, Piano
[Sheet music + Audio access]
Boosey and Hawkes
Par COLLEDGE HUGH / COLLEDGE KATHERINE. La collection Easy String Music de Boose...
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Par COLLEDGE HUGH / COLLEDGE KATHERINE. La collection Easy String Music de Boosey
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Shooting Stars
Viola, Piano
[Sheet music]
-
Easy
Boosey and Hawkes
Etoiles filantes fait partie de la série facile de la chaîne, une série compl...
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Etoiles filantes fait partie de la série facile de la chaîne, une série complète de pièces faciles par l'équipe de rédaction de la chaîne préférée de la planète, Kathy
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