All scores that include a part for at least one viola.
Quartet No.1, by Juan Crisóstomo de Arriaga
Violin 1 Transcribed for Flute by Peter H. Bloom
Flute Part, PDF $9.95
Peter H. Bloom wrote the following foreword (© 2014):
"Even among the most celebrated musical prodigies (Mozart, Mendelssohn, Pergolesi, and Varèse, for example) Juan Crisóstomo de Arriaga's genius and technical mastery are exceptional. This D-minor quartet, one of three string quartets written in 1824, is a work of structural brilliance, rhetorical grace, and elegant intensity.
Adapting music originally written for violin to flute is often relatively straightforward. Occasional octave reassignment and re-interpretation of double stops are typical changes. But when a flute assumes the voice of the first violin in the context of a string quartet, further accommodations are usually necessary. Dynamic balance, sonority, clarity of phrasing and consistency of articulation among the ensemble require a reassessment of many interpretive indications that are native to the violin. In this arrangement we have, as a rule, eliminated Portato indications; they are useful for violinists but merely distracting to the flutist. Articulation and phrasing marks have occasionally been changed, or eliminated, in instances where violin-orientated directions might mislead the flutist.
A final thought: The flutist proposing to replace the first violin in a string quartet of this beauty and integrity may meet resistance from string-playing colleagues. After a fair reading, however, they'll share your enthusiasm for Arriaga's Quartet in D-minor for Flute and Strings."
P. H. Bloom, Somerville, MA
29, May 2014 ©
We provide only the transcribed Flute part. The Violin 2, Viola, and Cello parts, as well as the original Violin 1 part, are in the public domain and available as free PDFs downloads from IMSLP.org.
Flute part, 9 pages; Total, 12 pages.Preview
Prelude and Fugue, WTC Book I, No.22, by J. S. Bach
Transcribed for String Quintet by John W. Pratt, PDF $16.00
Though written for keyboard, this Prelude and Fugue from Book I of Bach's Well-Tempered Clavier is wonderfully adaptable to an instrumental quintet. The Prelude, with its serene harmonic pacing, reveals an almost Schubertian sublime beauty, and the magical counterpoint of the five-part fugue emerges crystal-clear. The challenge for the players, as well as the pleasure, lies in ensemble achievements, not technical difficulties in individual parts.
Score, 6 pages; Parts, 2 pages each, for Violin I, Violin 2, Viola 1, Viola 2, and Cello
with an alternate part for Cello in place of Viola 2; Total, 20 pages.Preview
Ablaze She Came in the Dream, by Peter H. Bloom
Contemporary Composition for Flute, Viola, and Guitar (or Electric Guitar)
Flute, Viola, & Guitar Parts and Score, PDF $22.97
Flutist Peter H. Bloom is no stranger to Noteworthy Sheet Music or to our customers, as he has contributed several popular arrangements and transcriptions to our catalog and he also serves as an editorial consultant for NSM.
Now we are very pleased to offer this newly published (2014) and highly intriguing original composition by Mr. Bloom entitled Ablaze She Came in the Dream. The piece comprises eleven brief episodes written for the unusual trio combination of flute, viola, and guitar (or electric guitar). Ablaze is intended to serve as an interpretive vehicle for the performers and thus should be executed freely and expressively. The work is suitable for advanced players.
Click to access a recording of the premier performance of Ablaze which took place on November 21, 2014 in Boston, MA, as part of the Church of the Advent Library Concert Series. The performance features Peter H. Bloom on flute, Frank Grimes on viola, and Anastasiya Dumma on electric guitar.
Score, 23 pages; Flute Part, 11 pages; Guitar Part, 12 pages; Viola Part, 12 pages; Total, 66 pages.Preview
We also offer a professionally-printed hard copy edition of Ablaze She Came in the Dream for $45.88 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided for delivery in 7-10 business days.
Drei Duette, Op.20, by Johannes Brahms
Transcribed for Mixed Voice, Instruments, and Piano by John W. Pratt
Score for Soprano, Alto, and Piano; Transcribed upper voice Parts for Violin/Oboe, Alto Flute, and A-Clarinet; and Transcribed lower voice Parts for Violin/Oboe, Alto Flute, A-Clarinet, and Viola; PDF $12.99
Composed in 1858–1860, the Drei Duette, Op. 20, for soprano and alto are the earliest of Johannes Brahms' duets and quartets for solo voices and piano. The three songs are titled Weg der Liebe (1. Teil), Weg der Liebe (2.Teil), and Die Meere. Except for brief canonic passages in No. 1, the voices have the same words, sung simultaneously, mostly in parallel thirds and sixths. The accompaniments are straightforward, without Brahmsian ensemble challenges but not without harmonic interest. Many have found the songs Mendelssohnian. The words come from the collection Stimmen der Völker of Johann Gottfried Herder (1744–1803). The first two are translations by Herder of two parts of a Northern English folk poem Love will find out the Way. The third is Italian in origin.
The vocal parts lie well for many instruments, opening the possibility of mixed voice and instrument, as well as fully-instrumental, performances. If one voice is replaced by an instrument, no words will be lost and the result will be a song with wonderful instrumental obbligato and piano accompaniment. If two instruments are used, the result is a beautiful "song without words." We include in our edition transcriptions of both voices for oboe/violin, alto flute in G, and clarinet in A, and of the lower voice for viola as well. Our transcriptions provide slurs to suggest a vocal style to instrumental players and to facilitate coordination of the instrumental parts with those of the voices. We also provide a re-notated piano/vocal score, in which repeat signs are used in the second and third songs to save page turns, rather than writing out the multiple stanzas as in the original. For those needing only the piano/vocal score, the Breitkopf & Härtel edition is in the public domain and freely available on imslp.org.
Piano/Vocal Score, 10 pages; Instrumental Parts, 3 pages each; Total, 42 pages.Preview
Trio, Op.45, by Louise Farrenc
Transcribed for Viola by C.A.Vater and J.W.Pratt (originally for cello)
Viola Part, PDF $9.99
The Farrenc Trio for Flute, Cello, and Piano, Op.45 is a big romantic piece, at times stirring, sweet, stormy, sad, dramatic, or lively, but always compelling throughout its entire four movements. As a flutist, I have enjoyed playing this piece many times, so I was intrigued and delighted to receive a request from flutist Peter H. Bloom that NSM prepare a transcription of the cello part for viola, so that his group Ensemble Aubade could perform a flute/viola/piano version. As Peter Bloom commented, the Trio is “not just a good piece to have been written by a woman in the 19th century; it’s a very good piece for anyone to have written anytime.” The Trio actually feels perfect for the viola, as most of the original cello part lies within viola range, and sections that do not can be modified for the viola tessitura without straying significantly from the composer’s musical intent. Our edition provides only the transcribed viola part; PDFs of the original score and flute part are freely available at imslp.org. —cav
Viola Part, 12 pages; Total, 16 pages.Preview
The Wreck of the Hesperus, by J. L. Hatton & H. W. Longfellow
Arranged for theatre or salon orchestra by Peter H. Bloom
Tenor, Flute, Clarinet, Violin, Viola, & Double Bass Parts, and Mini-Score ― PDF $19.98
The "dramatic scena" was an especially popular entertainment at its zenith in the mid-nineteenth century throughout the English speaking world. John Liptrot Hatton's setting of Longfellow's Wreck of the Hesperus is the very model of the dramatic scena at its finest, and a magnificent showcase for an heroic tenor. Longfellow's ballad recounts a chilling tale loosely based on conflated reports of two New England shipwrecks that occurred during a single devastating blizzard in 1839. This arrangement of Wreck of the Hesperus for theatre or salon orchestra was made for the now retired D.C. Hall's New Concert and Quadrille Band of Boston, and their extraordinary tenor Kevin McDermott. It can be heard on the Hall's Band's CD recording "Grand Concert," winner of the Noah Greenberg Award of the American Musicological Society. (excerpted from Peter H. Bloom's © foreword)
The D.C. Hall's Grand Concert! CD is available from NSM - click to access the page.
Tenor part, 4 pages; Flute part, 2 pages; Bb Clarinet part, 2 pages; Violin part, 2 pages; Viola part, 2 pages; Double bass part, 2 pages; Mini-Score, 8 pages; Total, 26 pages.Preview
We also offer a professionally-printed hard copy edition of The Wreck of the Hesperus for $29.97 plus a $5.95 shipping and handling fee to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.
Russian Tableaux, by Lydia Kakabadse
Contemporary Composition for Violin, Viola, Cello and Double Bass
Score and Parts, PDF $10.99
Please see the "Our Composers" section of the website to learn more about highly-acclaimed British composer Lydia Kakabadse, whom we were delighted to welcome as a new contributor to NSM's catalog in September 2017, with publication of her piece Russian Tableaux. Russian Tableaux is featured on The Phantom Listeners CD (Naxos 8.572524); visit the composer's website to listen to audio samples.
Here are the composer's program notes for this beautiful work, which was written in memory of her father:
Russian Tableaux, which was completed in September 2009 for string quartet (violin, viola, cello, double bass), displays such distinctive Russian traits as rich melody and texture, an abundance of colour, low register strings and strong bass.
1st movement – Mother Volga
The river Volga, which has held much importance in Russian life, is known as the mother of Russian civilization and came to be called "Mother Volga". Accompanied by the double bass, the piece opens with the cello, followed in turn by the viola and then the violin, each representing a tributary that flows into the river. The river gathers momentum as the cello announces the main theme, which is taken up by the upper strings against pizzicato double bass. The viola attempts to steer a steady course against the meandering strings and, following a variation of the main theme, brings the piece to an end with arpeggio like runs.
2nd movement – 1917
Depicting the aftermath of the Russian Revolution of 1917 and the ensuing misery and sense of desolation, this movement opens with the cello playing the main theme grave con dolore, accompanied by the double bass. This theme is then taken up by the violin and later by the viola in their lower register. Despite an increase in tempo, where the violin plays a variation of the theme, the feeling of despair cannot be shaken off. This is characterized by the melancholy tone reflected in the continual use of the minor key, the repetition of the same notes and a return to the opening theme.
3rd movement – Dance of the Matryoshka Dolls
Also known as a Russian doll, the matryoshka is a hollow wooden doll containing a number of smaller dolls. The dance starts fast and lively and the first theme announced by the violin, characterizes the dainty dancing of the smaller dolls. In contrast, the 2nd theme when played by the double bass at a far slower tempo characterizes the heavy plodding movements of the larger dolls. The tempo reverts back to the original allegro where the first theme is now played by the viola followed by frequent interplay between the strings, bringing the dance to a fast and furious close.
—Lydia Kakabadse, September 2017
Here's what Sarah-Jane Bradley, one of the UK's top violists, has written about Russian Tableaux, a piece she has performed a number of times both in concert and for recording: "Russian Tableaux is a magical depiction of scenes of life in Russia, infused with nostalgic folksong-like melodies and the Eastern flavour of harmonic minor tonality. Lydia Kakabadse makes excellent and highly effective use of the unusual quartet combination, featuring the rich, dark sonority of the double bass as well as virtuoso writing for all four instruments in the final Dance of the Matryoshka Dolls. Well worth exploring - a joy for performers and listeners alike."
And from award-winning violinist Sara Trickey, who also has performed Russian Tableaux many times: "Russian Tableaux draws you into a unique sound world from the first moment you hear its unusual deep and dark sonorities. The music has a compelling and hypnotic quality at times which then is contrasted with highly energized passages, evocative of Russian dance. Lydia Kakabadse's use of the double bass in this quartet affects the overall sound considerably and infuses her work with a tone of melancholy and nostalgia. The work is also rewarding to play and has a unique stamp on it which makes it feel highly original and eminently worth exploring."
Score, 24 pages; Parts for Violin, Viola, Cello and Double Bass, 6 pages each; Total, 58 pages.Preview
Erlkönig, by Franz Schubert
Arranged for Cello (or Viola or Alto Flute) and Piano by John W. Pratt
Piano Score and Parts for Cello/Voice, Viola, and Alto Flute; PDF $11.99
Franz Schubert (1797-1828), inspired by reading Goethe's poem, wrote his song "Erlkönig" in a few hours in 1815. The song was an immediate hit, and continues to be popular to the present day. John Pratt has created a trio arrangement for flute, cello, and piano (click for more information), and also the duo version offered here with Schubert's solo voice part transposed for cello (or viola or alto flute), and with a less arduous alternative to Schubert's piano accompaniment.
Excerpted from Mr. Pratt's © preface:
"In the duo arrangement, Schubert's solo part is adopted without change. Thus the piano must provide the entire accompaniment, but rocking triplets and other pianistically felicitous passagework replace Schubert's unremitting repetition. The range of sonorities is also wider than Schubert's, though more restrained than that of the trio arrangement, where the flute enlarges the musical terrain. This accompaniment is offered as a less punishing alternative to Schubert's, to be played with a singer or any solo instrument. Solo parts are provided for voice or cello, viola, and alto flute."
Piano score, 6 pages; Cello, Viola, and Alto Flute parts, 2 pages each; Total, 22 pages.
We also offer a printed hard copy edition of Erlking for $20.38 plus a $5.95 shipping and handling fee to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.