Sonata in G minor. Op. 5 No. 9 for Viola and Piano

16 Famous Concert Pieces for Viola and Piano. Par . La collection 'Best of Viola Classics - 16 Famous Concert Pieces' pour alto et piano présentée par Schott contient une sélection d'œuvres qui peuvent accompagner chaque élève pendant de nombreuses années de cours d'alto. Le volume contient des compositions allant de l'époque de Georg Philipp Telemann (1681-1767) à celle de Volker David Kirchner (1942-2020), offrant ainsi un matériel de jeu allant de la période baroque au XXe siècle. La collection, qui comprend un répertoire connu et des pièces rares, est idéale pour les cours et les concours, ainsi que pour les récitals et les concerts. / Niveau : Moyen / Date parution : 2023-09-13/ Recueil / Alto et Piano

Sonata in c minor for Viola and Piano-Mendelssohn Felix Sonata In C Minor (Herttrich) Pf/Vla Urtext Pb Bk

Sonata for Viola and Piano, Op. 5, #3 (J. Hummel/D. Preucil) * Andante e Rondo ungarese, Op. 35 (C.M. v. Weber/D. Preucil) * Sonata in A minor, D 821 (F. Schubert/D. Preucil) / Alto

for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice