Each movement elaborates upon a medieval German song. One movement has the marking quarter note equals 600 to 640 beats per minute.Дer Schwanendreher (вЂњ The Swan TurnerвЂќ) is a Concerto for Viola and Small Orchestra after Old Folksongs. This solo Sonata can be quite passionate, and when called for, frenetic. Tamestit continues his bold, vigorous playing in Op. The Finale takes greater duration than the preceding Fantasie and Theme and Variations. The pieces are arranged chronologically, starting with a taut three-movement viola and piano sonata. The viola was HindemithвЂ™s own, possibly preferred instrument. Antoine Tamestit 1,2,3,4 (vla), Markus Hadulla 1 (pno), Frankfurt Radio Symphony Orchestra 3,4, Paavo JГ¤rvi 3,4 (cond.). вЂњ Bratsche!вЂќ Paul HINDEMITH: Sonata for Viola and Piano, Op. WalkerвЂ™s comfortably atonal two-part Sonata offers vivid interaction between viola and piano. MumfordвЂ™s Wending, whose title puns on its original dedicatee, Wendy Richman, courses determinedly using pitches derived from its first performerвЂ™s name. The discвЂ™s title borrows FinneyвЂ™s indication for the second movement Scherzo. The Finney Sonata, in the grand tradition of Brahms, or more relevantly, Shostakovich, proclaims lyric serialism. WilliamsвЂ™ two solo pieces neatly reflect Bach and YsaГїe. It does seem that Kapustin favors the piano over the viola. KapustinвЂ™s upbeat three-movement Sonata alternates seamlessly between casual jazz and postwar restlessness, perhaps a manic Poulenc. Nelson leads us confidently through varied and unfamiliar, predominantly American viola repertoire. Eliesha Nelson (vla), James Howsmon (pno). George WALKER: Sonata for Viola and Piano (1989).

Ross Lee FINNEY: Sonata for Viola and Piano No. John McLaughlin WILLIAMS: Two pieces for solo viola (2011?). вЂњ Permutations.вЂќ Nikolai KAPUSTIN: Sonata for Viola and Piano, Op. Compared to the violin version вЂ“ which can sound like a thin piece of glass about to snap under its own weight вЂ“ the violaвЂ™s slowly drifting unisons are breathy and lonesome. Xnoybis is possibly the latest, most mature work here (ScelsiвЂ™s pieces are often dated to their initial improvisatory sessions and not when they were written down irrespective of ScelsiвЂ™s later revisions). The music ebbs and swells, washing detritus onshore. ScelsiвЂ™s quivering intonation seems easier to deliver upon lower-ranged instruments and the duo relishes the pungent dissonance. The Three Studies and this arrangement of the originally violin Xnoybis are first recordings.Д¬ellist Ballon joins Royer in Elegia per Ty which Scelsi wrote in homage for his wife who had left him years earlier. Coelocanth and the Three Studies are more conventional, with fewer microtones and perhaps less scordatura, but containing a modest regimen of feverish outbursts.

Manto slides eerily across the violaвЂ™s range, and RoyerвЂ™s vocalization in the third movement documents the first time a male voice has recorded this triptych. Whether these are actually transcribed improvisations or memorials to specific moments, there is little else Eastern-sounding work for Western instruments. These pieces, perhaps coincidentally each comprising three movements, strive towards discovery as if about to burst into something larger, perhaps terrifying. He plays as if improvising, easing into ScelsiвЂ™s languid microtones with grace notes flicked away like involuntary twitches. Vincent Royer (vla, voice), SГ©verine Ballon* (vlc). 9: The Works for Viola.вЂќ Giacinto SCELSI: Manto (1957) Coelocanth (1955) Elegia per Ty (1958)* Three Studies (1956) Xnoybis (1964).

All for strings theory viola