Fauré's well-known romantic, melancholy melody can now be played in arrangements for piano trio and string trio.
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In 1922, Hindemith begins to focus on old music and discovers the viola d'amore instrument. He composes a sonata and a concerto for viola d'amore and arranges numerous works by Biber, Ariosti, Pezold, Rust, Vivaldi as well as Stamitz and makes his own bassovers for the existing bass parts. All musicians who want to discover this side of the genius Paul Hindemith and at the same time want to immerse themselves in the historical performance practice of Baroque music in the 1920s, should read this first edition of Hindemith's thorough interpretation of this masterpiece.
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This tribute to Franz Schubert contains only a brief fragment actually written by the composer. The rest of the work describes Schubert's journey to the next world, his awareness of the still-to-be-explored ideas of his musical language, and the completion of a fugue assigned to him shortly before his death on November 19, 1928. The work is a National Endowment for the Arts Consortium Commission, composed for the Atlanta Chamber Players, the Da Capo Chamber Players and Voices of Change.
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2 Violins and Basso continuo.
UMPC Critical Editions
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As the title implies, these four concertini by Joseph Haydn have to do with small concerti, whereby “small” is to be considered from several points of view: the size of the Haydn concertini, the scoring for piano solo, two violins and bass as well as the technical demands made upon the solo pianist – Haydn's early works were laid out so as to be easy to play. They thus offer ideal literature for young pianists' first appearances on the stage and can also serve to prepare the larger piano concerti of Haydn and Mozart.
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Max Reger's two string trios stand alongside Mozart's Divertimento in E-flat major (K. 563) and Beethoven's op. 9 trios at the pinnacle of the genre. In their style and technical demands Reger has clearly taken these admired classical forebears as his guide. Both trios are classicist in nature and delight the listener with their relaxed and occasionally even joyful character. No wonder that they proved highly successful at their premières in 1904 and 1915! For his edition, the Reger specialist Michael Kube has examined the autograph scores and the first editions of both works. This edition in parts also comes in a miniature score with exactly the same text, published in Henle's Study Score Series (HN 9722).
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Around 1800 Beethoven seems to have completely distanced himself from chamber music for wind. In letters to his publisher we read that he did not have any particular regard for his Septet op. 20 and the Sextet op. 71; furthermore, he did not write any new works for wind ensembles. By contrast, he ennobled his Trio op.87 – originally for two oboes and cor anglais – by making an additional version for two violins and viola. This charming work is published following the Urtext in the Beethoven Complete Edition and is a welcome addition to the repertoire for these instruments for which a great deal has not otherwise been composed.
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Reflections was written for Nordic Affect. The first performance was given on 30 September 2016 in Reykjavik, Iceland. Arranged for violin, viola and cello.
Anna Thorvaldsdottir frequently works with large sonic structures that tend to reveal the presence of a vast variety of sustained sound materials, reflecting her sense of imaginative listening to landscapes and nature. Her music tends to portray a flowing world of sounds with an enigmatic lyrical atmosphere.
Duration: 8 minutes.
LANGUAGE: English
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Instrumentation: Violin, Viola, Violoncello.
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Written as a gift for the Late Music Concert Series, premiered in 2015 by the Albany Trio at St. Saviourgate Unitarian Chapel in York.
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Scored for 2 violins, violoncello and keyboard. Figured Bass realized by Benjamin Britten.
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Violin, violoncello (viola) and violone (double-bass or violoncello II).
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This concerto represents, as most of the com-poser's works, the fully matured Italian music of the 17th to 18th century. Even nowadays, this music still fascinates by its expressive character and the elaborate and artistic counterpuntal work.
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Progressive pieces for three violins. English and German text.
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The famous Golliwogg's Cakewalk is the final piece from Debussy's cycle Children's Corner which consists of 6 miniatures for piano, written for his daughter in the years 1906-1908.
The style corresponds to that of ragtime, a dance which was in vogue around the turn of the century. In the middle section, he parodies several times the beginning of the opera Tristan and Isolde by Richard Wagner with whom Debussy had a rather ambiguous relationship. The present arrangement now allows musicians to play the popular movement in a version for piano trio.
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