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Momo Duo for violin and viola (1991) Music for viola, winds and percussion (1971); Okra Music Corporation; Seesaw Music Corporation 2 Pieces for viola and piano (ca. 1992) The Place of Blue Flowers for narrator and viola Pops Wedding Music for violin and viola (ca. 1994–1995) A Prayer for alto, viola and piano (ca. 1983) Prelude for viola and ...
Paul Hindemith's Der Schwanendreher (literally, "The Swan Turner") is a concerto for viola and orchestra. Der Schwanendreher occupies a place at the core of the viola concerto repertoire, along with the concertos by Walton and Bartók. It was composed in 1935 and premiered by the composer himself at a performance in Amsterdam on 14 November 1935.
Aria for violin or viola and piano, Op. 69 (1991) Barcarolle for viola and piano, Op. 74 (1992); Editions Combre Boston for viola (or violin) and piano, Op. 73 (1992) Spleen for viola and piano or chamber orchestra, Op. 63 (1990); Éditions Gérard Billaudot. Carl Vine (b. 1954) Miniature I "Peace" for solo viola (1973); Australian Music Centre
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) Sonata No. 2 in E-flat major for viola and piano, Op. 120 No. 2 (1894) Two Songs for voice, viola and piano, Op. 91 (1884) Max Bruch (1838–1920) Concerto for Clarinet, Viola, and Orchestra ...
Märchenbilder or Fairy Tale Pictures, for Piano and Viola, Op. 113, was written by Robert Schumann in March 1851. The work is dedicated to the German violinist and conductor Wilhelm Joseph von Wasielewski. It consists of four character pieces and is an original composition featuring the viola from the Romantic period.
Variations on a Hungarian Folk Song for violin and orchestra, Op. 4 (1929) North Hungarian Peasant Songs and Dances for violin and orchestra, Op. 5 (1929) Violin Concerto, Op. 24 (1953) Sinfonia Concertante for violin, cello and orchestra, Op. 29 (1966) Tema con variazioni for violin, cello and orchestra, Op. 29a (1962) Piano Concerto, Op. 31 ...
Kruis was also an amateur violinist who studied the violin with Jan Pelikán, a member of the orchestra of the National Theatre in Prague. [1] They often played violin duets together. Dvořák, a viola player, heard them and got the idea to compose a new chamber work for two violins and viola in order to play with them. [1]
It opens with soft, pentatonic murmurings from the piano, expanding into a rather melancholy and songful aria for the viola. The middle is somewhat restless and anguished, before closing in a similar manner to the beginning. The pentatonic modality is used throughout, though there are also stirring false relations and chromatic sections.
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