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Sa Sc Se Si So St Su Sc Alessandro Scarlatti (1660–1725) Aria "Vaga rosa tenerella" for voice, viola d'amore or viola and harpsichord or piano (1680); transcription by Louis van Waefelghem (1899) Andrea Lorenzo Scartazzini (b. 1971) Cammina cammina for mezzo-soprano, viola and theorbo (1996); words by Giuseppe Ungaretti ; Bärenreiter Verlag Giacinto Scelsi (1905–1988) Cœlocanth, 3 ...
Ba Be Bi Bj Bl Bo Br Bu By B Ba Vahram Babayan (born 1948) Sonata for viola and piano, Op. 88 (1985) Sonata for viola solo, Op. 127 (2000) Milton Babbitt (1916–2011) Composition for viola and piano (1950); Associated Music Publishers Inc. Mehr “Du” for soprano, viola and piano (1991); C. F. Peters Play It Again, Sam for viola solo (1989); C. F. Peters Soli e Duettini for violin and viola ...
Sequenza VI for solo viola (1967) Hector Berlioz (1803–1869) Harold en Italie, symphony for orchestra with viola obbligato, Op. 16, H. 68 (1834) Ernest Bloch (1880–1959) Suite Hébraïque for viola and piano or orchestra (1951) Johannes Brahms (1833–1897) Sonata No. 1 in F minor for viola and piano, Op. 120 No. 1 (1894)
The Suite for Viola and Orchestra (also called Suite for Viola and Small Orchestra [1] [2]) by Ralph Vaughan Williams is a work in eight movements for solo viola and orchestra composed in 1933 and 1934.
A viola concerto is a concerto contrasting a viola with another body of musical instruments such as an orchestra or chamber music ensemble. Throughout music history, especially during the Baroque, Classical, and Romantic eras, viola was viewed mostly as an ensemble instrument. Though there were a few notable concertos written for the instrument ...
D Jean Daetwyler (1907–1994) Concerto for viola and orchestra (1979) Jörgen Dafgård (b. 1964) For the Sleeping: Dream Sonata for viola and tape (1997–1998) Frames and Flow, 6 Duets for violin, viola and cello (1988–2000); Nos. 1 and 3 for viola and cello; Nos. 2 and 5 for violin and viola; STIM; Swedish Music Information Centre Roland Dahinden (b. 1962) broken lines for viola and ...
The development section mainly features on the first theme, gradually dividing it into fragments accompanying a long cantabile theme for the viola and later the woodwind. In the recapitulation, the first theme is given to the full orchestra, and the second to woodwinds and horns, with a viola counter-theme. [30]
While helping Primrose to write his memoirs, Dalton suggested that the HBLL could preserve Primrose's papers. After meeting with library officials in 1974, the Primrose Viola Archive was established in 1979 when Primrose agreed to donate his viola sheet music and memorabilia to the library to start a national-scale viola archive. [2] [4]