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The concerto has a duration of roughly 19 minutes and is composed in a single movement.Thomas described the work in the score program notes, writing, "Flowering across a 20-minute arch, Violin Concerto No. 3, can be thought of as a series of poetic outgrowths and variations, which are organic and, at every level, concerned with transformations and connections.
The Elegant Viola – Yizhak Schotten (viola); Kirk Trevor (conductor); Slovak Radio Symphony Orchestra; Crystal Records CD837 (2005) Vaughan Williams: Flos Campi, Suite • McEwen: Viola Concerto – Lawrence Power (viola); Martyn Brabbins (conductor); BBC National Orchestra and Chorus of Wales; Hyperion Records CDA67839 (2011)
Thomas Mace (1612 or 1613 – c. 1706) was an English lutenist, viol player, singer, composer and musical theorist of the Baroque era. His book Musick's Monument (1676) provides a valuable description of 17th century musical practice.
The concerto, dedicated to Tamestit and realized in 2015, [3] was finally commissioned by Orchestre de Paris, Swedish Radio Symphony Orchestra and Bavarian Radio Symphony Orchestra. [1] In a performance of Hector Berlioz's Harold in Italy in May 2015 Tamestit was wandering through the orchestra while playing the viola solo part.
Clarke with a Viola The following is a sortable list of compositions by Rebecca Clarke , drawn largely from the lists found on the website of the Rebecca Clarke Society. [ 1 ] The works are categorized and sortable by genre, date of composition, and title.
The earliest two works composed for flute, viola, and harp are Théodore Dubois's Terzettino (1905) and Claude Debussy's Sonata for Flute, Viola and Harp (1915). The Terzettino is a relatively short work in one movement lasting approximately five minutes, and its main theme is a lyrical, romantic-style melody. [4]
The sonata for cello and piano, L. 135, was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.
Sequenza VI exploits the harmonic possibilities of a fundamentally melodic instrument. It does this in two ways: first, by implying harmonies with melodic lines circling continuously through a small number of fixed pitches and, second, by presenting long series of three- and four-part chords in which the pitches are kept sounding by means of across-the-strings tremolo.