La référence FP 931 de l'éditeur Fertile Plaine dont l'auteur célèbre est Mereaux, qui a pour titre Adagio ( d'après Beethoven, sonate Clair de lune ), a été écrite et composée pour Alto et plus particulièrement pour Alto Et Piano. Cette partition musicale appartient à la catégorie Classique. / Alto Et Piano / Partition

Beethoven's ever popular Fur Elise has been beautifully arranged for Viola with Piano accompaniment by Alan Arnold. This is an arrangement of the complete piece featuring all of the favourite themes which interact between the Viola and Piano.The solo Viol apart is also included on a separate insert.

Par CHOSTAKOVITCH DIMITRI. Shostakovich's last work, the Sonata For Viola And Piano Op. 147, is a superbly crafted Sonata in three movements with, unusually, a slow Adagio movement for the third. It was dedicated to the violist Fyodor Druzhinin, a professor of the Moscow Tchaikovsky Conservatory and a member of the Beethoven String Quartet, a renowned Moscow ensemble that played at the premieres of most of Shostakovich’s string quartets. Fyodor Druzhinin and Mikhail Muntyan premiered the Viola Sonata in Leningrad on October 1, 1975. The solo Viola part is also included on a separate insert./ Répertoire / Alto et Piano

For Viola and Piano this is the composer's first opused work. Premiered at the Wigmore Hall in July 1959 by Cecil Aronowitz and Margaret Kitchen.Wood: In 1957 I knew I had newly discovered the music of Schoenberg and hispupils and I knew at once that they were to show me the way forward for my music; as indeed they have ever since. The revelation was primarily an emotional experience for me and however imperfectly their influence wasreceived it was obviously reflected in the all-out chromaticism (new for me then) in the many chains of twelve notes or lesser chromatic formations (which do not here amount to serial working and have only rarely done sosince) in the characteristic harmonic and rhythmic formations the wide and sometimes angular intervals of the melodies and in general the introverted romanticism. Anyway I knew then that this was the sort of music that Ihenceforth would want to write and so I called these Variations my Opus One.The declamatory Introduction leads into the Theme heard on the viola. Six Variations follow of which No.3 is the most violent and No.4 the mostsustainedly lyrical. The recitative-like sixth variation leads into the Finale a more extended movement. The Theme returning on the piano leads to a climax at which there is a citation from Beethoven’s C minor Variations forpiano. Then their characteristics sequence of chords is heard on the piano as an accompaniment to the final statement of my own theme on the viola in the closing bars of the work.

In addition to the numerous violin pieces in H. Wieniawski's compositional output there is only one piee for viola and piano ''Reverie'' which is without opus number. The ''Dream'' ost probably comes from that period when Wieniawski stayed in London (1858-1859) and apart from his regular concert activities took part in chamber concerts which were very popular at that time. During one of the Beethoven-Quartett-Society concerts a quartet of four outstanding virtuosos (Ernst Joachim Wieniawski and Piatti the cellist) performed together. Wieniawski who played the viola on that occasion presumably concluded that there were too few original compositions for thisbeautiful instrument and decided to write a short viola piece himself. He endowed it with a lyrical character and the stamp of fervour characteristic of his other compositions. (S. Kamasa)

The accompaniment CD for the folio featuring: Adagio (Schubert) ? Allegretto (C.P.E. Bach) ? Andante (Mozart) ? Boston Fancy (Hornpipe) ? German Dance (Dittersdorf) ? I'm Just A-Goin' over Jordan ?March (Beethoven) ? Menuetto (Handel) ? O Mensch Bewein Dein Sunde Gross ? Romance ? Shenandoah ? Tambourin ? Theme and Variations (Marais) ? Verborgenheit (Wolf) ? Von Ewiger Liebe (Brahms)? Were You There'