Selected works from the most prominent G. Schirmer and AMP composers, including works by Clarke, Corigliano, Martinu, Shostakovich, and others. With detailed notes on the music. Suitable for the advanced high school and college level player.
WORKS FOR VIOLA AND PIANO:
Bloch: Lento from Suite for Viola and Piano
Bloch: Meditation and Processional
Bloch: Processional from Suite hebraique
Clarke: Passacaglia on an Old English Tune
Husa: Elegie from Suite for Viola and Piano, Op. 5
Martinu: Poco Andante from Sonata No. 1 for Viola and Piano
Shostakovich: Adagio from Sonata for Viola and Piano, Op. 147
Thomas: Chant
WORKS FOR SOLO VIOLA:
Corigliano: Fancy on a Bach Air
Harbison: The Violist's Notebook, Book One
I. Marcus Thompson
II. Betty Hauck
III. James Dunham
IV. Kim Kashkashian
V. Mary Ruth Ray
VI. Marcus Thompson
Sheng: The Stream Flows
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Nikolai Kapustin, born in 1937, is regarded as pioneer of the Soviet jazz scene. In his music he combines typical jazz idioms with classical forms. Sonata Op. 69 for viola and piano was written in 1992.
Contents:
Allegro
Largo
Vivace
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These three pieces were originally published as Violin Spaces (ED22971) and now, in the version for viola, form a fitting addition to Knox's Viola Spaces (ED20520). The aim is to offer players new sound and playing possibilities.
I. Microtonal blues, II. No pitch, no problem, III. Up above our heads
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Johanna Senfter's Duo, completed in 1956, is the last and at the same time most compact of her five compositions for viola and piano. The impressive work is in a classical A-B-A form. Two mostly calm, flowing sections frame a shorter scherzo-like part. However, its speciality is the extremely advanced harmony. The expressive chromaticism is characteristic of the composer's musical language and pushes the boundaries of tonality without transgressing them.
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In 1932 Johanna Senfter wrote Sechs Stücke for the church holidays for viola and organ. She arranged five of them for viola and piano as well. They are remarkable, atmospheric and colourful character pieces. The carol In dulci jubilo is used as the centrepiece for Weihnachten (Christmas). The first piece has a calmly undulating, sometimes almost weightless character in a widely dotted 9/8 metre. In contrast, Karfreitag (Good Friday) flows in a sombre B flat minor, interrupted by threatening, dramatic sections. Auferstehungsfeier (Resurrection celebration) is certainly the most unusual in formal terms, and also the longest of the five pieces. A rhapsodic character with many smaller tempo and mood changes develops into almost orchestral splendour. Himmelfahrt (Ascension) follows with much more restraint, often in a flow characterised by triplets and syncopations. The cycle concludes with Totensonntag (Sunday of the Dead) in an almost consistently calm and peaceful character, ending reconciliatively in F major.
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German composer, violinist and violist Johannes Palaschko (1877-1932) wrote significantly for his instruments. 24 Melodic Studies for Viola is still frequently used today. Palaschko studied in Berlin and is best remembered for his contributions to violin and viola studies. 24 Melodic Studies addresses rhythm, intervals, dynamics, harmonics, ornamentation, scales, chromaticism and arpeggios, amongst other aspects. For all advanced violists, Palaschko's 24 Melodic Studies provide a helpful aid to progressive technique. MORE»
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Belgian organist, composer and teacher, Joseph Jongen (1873-1953) was admitted to the Liège Conservatoire at the mere age of seven years old. Published in 1925, Allegro Appassionato is an extraordinary addition to the viola repertoire. Jongen won many awards during his sixteen years of musical education, including the Belgain Prix de Rome in 1897. He began composing at age 13 and therefore, has an exhaustive catalogue of works to his name. Allegro Appassionato is a virtuosic work for the Viola, addressing aspects such as harmonics, exploited tonality, chromaticism, double stops, flourishing semiquavers, complex rhythms, articulation and a significant amount if performance directions and dynamics, among other elements. For all advanced violists, Jongen's Allegro Appassionato is essential to a varied repertoire.
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Marcel Vieux composed Ten Studies for Viola for advanced level players. Written among other sets of studies such as Twenty Studies and Ten studies on Intervals, this piece focuses on some renowned orchestral tunes to develop the skills of the players. It features: 1. Coriolan, by Beethoven; 2. Preciosa, by Weber; 3. Le barbier de Séville, by Rossini; 4. Les noces de Figaro, by Mozart; 5. Euryanthe, by Weber; 6. IX Symphonie, by Beethoven; 7. Benvuto Cellini, by Berlioz; 8. La grotte de Fingal, by Mendelssohn; 9. La fiancée vendue, by Smetana; 10. Tannhaüser, by Wagner. Marcel Vieux was also a professor at the Paris Conservatoire and a soloist at the Paris Opera. The Marcel Vieux International Viola Competition was established in 1983.
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for viola solo
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Commissioned by the London Philharmonic Orchestra, Luzerner Sinfonieorchester, Bergen Philharmonic Orchestra and Adelaide Symphony Orchestra, and first performed in 2013 by Lawrence Power with the LPO, conducted by Vladimir Jurowski. Cast in three contrasting movements the work is expressive, energetic and highly virtuosic, culminating in a breathless Allegro pitting the soloist against the orchestra. A major addition to the canon of concertante works by this composer, and to the viola repertoire in general. Suitable for advanced standard performers.
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This arrangement of the three-part compilation published in 1905 is based on Fritz Kreisler's original version as well as on later piano transcriptions by Sergei Rachmaninoff, with the harmonies, chromaticism and counterpoint of the piano transcriptions remainingunchanged. Original version and transcription are combined to form a virtuoso and effective solo piece. The three-four time typical of Vienna requires a certain, yet hardly notatable freedom of tempo without metronomic constraints.
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The Sonata F minor for viola and piano op. 41, completed in May 1922, still breathes the spirit of the grand master Reger and yet already goes its own way in terms of rhythm, harmony, modulation and form. This four-movement work, which lasts more than half an hour, has a positive character, brimming with vigour and joie de vivre – interrupted by a solemn slow movement – right up to the triumphant conclusion.
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for viola and piano
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for Viola and Piano MORE»
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for Viola and Piano MORE»
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Commissioned by the London Philharmonic Orchestra, Luzerner Sinfonieorchester, Bergen Philharmonic Orchestra and Adelaide Symphony Orchestra, and first performed in 2013 by Lawrence Power with the LPO, conducted by Vladimir Jurowski. Cast in three contrasting movements the work is expressive, energetic and highly virtuosic, culminating in a breathless Allegro pitting the soloist against the orchestra. A major addition to the canon of concertante works by this composer, and to the viola repertoire in general. Suitable for advanced standard performers.
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for viola and piano
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The second Sonata F major for viola and piano op. 101 was composed in 1943 and is a fascinating testimony to its time. It stands in the tradition of the great classical sonata literature and yet is characterised by Senfters unique voice. Johanna Senfter – herself a violin and viola player – knows how to exploit the full expressive potential of this instrument – from the deep, melancholy tone colour to virtuoso brilliance. The piano enters into a dialogue with her on a more than equal footing. The interaction between the two instruments is complex and subtle, with the dynamic contrasts and harmonic density of the work intensifying the dramatic effect of the sonata.
The sonata is Senfter's most comprehensive work for this instrumentation with a total length of 38 minutes and is divided into five movements. The sequence of movements alternates between fast and slow.
I Frisch und lebendig (Fresh and lively)
The most substantial movement of the sonata is interspersed with great harmonic density, but also has lyrical elements and many dialogue sections. The brief but memorable opening motif is illuminated from all angles through motivic work.II Sehr ruhig (Very calm)
Coming from a more introverted mood, the slow movement develops into emotional outbursts through constantly pressing and lively elements, only to finally dissolve at the end in a manner typical of Senfter, here in an upwardly striving but at the same time quietly ending pure C major.
III Lebhaft (Vivid)
A cheeky Reger-esque scherzo in alternating time signatures and a quiet intermediate section with many unexpected twists and turns.
IV Gemächlich (Leisurely)
The multi-layered slow movement begins with a calm, peaceful F major section with mostly falling motifs in 2/4 time, followed by an initially calmly flowing B flat minor section in 3/4 time, which becomes more agitated through rhythmic intensification. This is followed by a more virtuosic section in polyrhythmic time signature, which becomes more urgent and threatening, rising to a seemingly f inal conclusion in F major, only to return to the calmer mood of the beginning. A short fugal section follows before finally returning to 2/4 time, which ends quietly in a bright D major.
V Lustig, nicht zu schnell (Jolly, not too fast)
Humour is rarely to be found in Senfter's music. For the most part, her music is characterised by great, often chromatic density and rather dark colours. The final movement in dance-like 3/8 time is probably only partly an exception here – despite the movement indication. However, the surprising structural and dialogue elements can bring a smile. However, the end of the sonata in very quiet 2/4 time leads us into a very conciliatory, peaceful and hopeful mood in pure F major.
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