Sonata for Solo Viola

Sonata In F is an exciting piece in 3 contrasting movements for Viola with Piano Accompaniment composed by Giovanni Battista Grazioli (1755-1820). The solo viola part is also included on a separate insert.

Six Sonatas for Violin and Viola Hob. VI:1?6-The title ?Solo per il Violino? which Haydn gave these sonatas in his ?Entwurf-Katalog? (the handwritten catalogue he maintained of his own works) already gives us an indication: it is only the Violinwhich is treated as a solo instrument in these six sonatas the Viola has an accompanying role. Haydn might have written these ?soli? for himself; but they also might have been for Luigi Tomasini the ?first violinist? atEsterházy?s court. Today these duos enjoy great popularity particularly for teaching purposes. We are now proud to present the definitive Henle edition following the text in the Complete Edition of Haydn?s Works withthe addition of specially composed cadenzas.

A superb 160 page volume packed with solo Piano arrangements of great German music from the 17th to the 20th Centuries. <br> <br>A specially written foreword places the music in historical and national context and includes biographical details of many of the featured composers. The arrangements are intended for the intermediate to advanced player but the book will give any pianist a unique practical and historical insight into Germany's immense contribution to the international world of music. / Classique / Partition /

Clarinet Sonata op. 107-Just as Johannes Brahms had done with his Opus 120 Reger also provided parts for two alternative solo instruments for his Sonata op. 107: 'I will also arrange the clarinet part for viola so that the work can also be played thus'(letter to his publisher). He by no means wanted to leave the arrangement of the viola part to the publisher as slurs had to be changed here and there as well as octave transpositions had to be made - 'only I can do this work!'The viola’s sonorous mid range comes close to that of the clarinet but lends the work its own timbre. Viola players will also value this Urtext edition on account of the practical fingerings and bowing marks.

The Nash Ensemble commissioned Richard Rodney Bennett to write Sonata After Syrinx for Flute Viola and Harp. The work was inspired by Debussy's Syrinx for Solo Flute and the score directs that Sonata After Syrinx should always be preceded by a performance of the Debussy work. Composer performer and arranger Richard Rodney Bennett was internationally respected for his serious music and many award-winning film scores (Murder on the Orient Express Nicholas and Alexandra) as well as his works for children and his religious pieces. In addition this markedly versatile musician frequently performed as a jazz pianist. On his move to the United States the two sponsors for hisgreen card (work permit) were Leonard Bernstein and Stephen Sondheim.

The 'Arpeggione' was a guitar-like instrument tuned in the same way as the guitar but held between the knees and played with a bow. The instrument possessed a warm quality and it was this attribute which Schubert exploited in the sonata which he wrote for it in 1824. Schubert's manuscript on which this edition is based contains an alternative violin part which dates from the same period. To avoid an excess of leger lines and clef changes Schubert wrote the arpeggioned part almost exclusively in the treble clef which the performer was expected to read an octave lower than written. The work was edited for the viola when it came into its own as a solo instrument around the turn ofthe century.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Now available as Book and CD Kit. CD performed by Michael Isaac Strauss. / Alto

Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano

Providing much-needed engaging literature for the student violist this collection of viola/ piano arrangements is derived from Handel's sonatas orchestral works and incidental pieces. The relatively easy viola parts are allplayable in first position. A convenient pull-out part for the soloist features fingering and bowing indications. This collection begins with easier arrangements and progresses in its level of difficulty.

Sonate für Orgel und Kammerorchester Streicher ohne Viola-The 17 Church or 'Epistle' Sonatas were composed between 1772 and 1780. They are short single-movement pieces intended to be played during a celebration of the Mass. Three of the Sonatas are scored for small Orchestra including Oboes Horns Trumpets and Timpani and the rest are scored for Organ and Strings without Violas. The Sonata in this Volume 5 is the Sonata in C major K.263 (Organ Solo 2 Trumpets Strings).