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Grand duo concertant in B ♭ major for clarinet (or violin) and viola, Op. 2 Duo concertant for clarinet and viola, Op. 27 (1865) Nouvelle méthode d'alto (New Viola Method), Op. 54 (published c.1880) Minna Keal (1909–1999) Ballade in F minor for viola (or cello) and piano (1929); Corda Music Publications. Nigel Keay (b. 1955)
Born into a musical family in New York City, Lillian Fuchs's brothers were violinist Joseph Fuchs and cellist Harry Fuchs. [1] She began her musical studies as a pianist, later studying violin with her father and afterwards with Franz Kneisel (former concertmaster of the Boston Symphony Orchestra and first violinist of the Kneisel Quartet) at the Institute of Musical Art, now the Juilliard ...
Inge Kjemtrup (Strings magazine): "extraordinary". [2] Tamestit's biography at New York Philharmonic states, that Widmann's Viola Concerto is "among the most important works Tamestit has premiered" [16] Angela Kratschmer wrote in the Journal of the American Viola Society: "travel narrative for the twenty-first century" and "postmodern viola-as ...
From Violin to Viola was that method. From Violin to Viola helps developing- and proficient-level violinists learn alto clef and adapt to the increased physical demands of the viola. The collection consists of two parts: 1) transitional exercises to help violinists become familiar with the “intricacies” of the viola, and 2) a progressive ...
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.
Concerto No. 2 in D major for 2 violins and orchestra, H. 329; Karl Marx: Concerto for 2 violins and orchestra; Wolfgang Amadeus Mozart: Concertone in C major for 2 violins and orchestra, K. 190; Mark O'Connor: Double Violin Concerto for 2 violins and symphony orchestra; Arvo Pärt: Tabula Rasa for 2 violins, prepared piano and string orchestra
The Concerto for Clarinet, Viola, and Orchestra in E minor, Op. 88, is a composition by Max Bruch which was composed in 1911. It premiered on 5 March 1912 in Wilhelmshaven by the piece's dedicatees, violist Willy Hess and the composer's son and clarinet soloist, Max Felix Bruch. [ 1 ]
It was during his trips, including a supposed trip to America during the 1920s, that Henley gathered information for his book. [3] Australian violin maker Alan Coggins and regular contributor to The Strad wrote an article in 2003 challenging the objectivity of Woodcock's editing, given, among other things, unsourced and possibly inflated ...