£8.95
Norman expanded the woefully small viola repertoire by composing two Sonatinas for Viola and Piano to play in recitals with his brother – they are both tuneful works that are easy to listen to, while at the same time providing some technical problems for the player, which may commend them to proficient students and also for use in recitals. The first movement of Sonatina No. 2 is less demanding technically than that of the first sonatina, being more about phrasing and tone production. The player needs to be very aware of what is coming later, so as to grade the dynamics adequately. The second movement gives the opportunity to concentrate on making a beautiful sound and grading the dynamics with care. The viola starts the third movement on its own with the fugue subject, and so needs to be played with confidence as the way the music skips from string to string can be daunting. It is quite a difficult movement to bring off, but very satisfying nonetheless. For secondary schools, colleges, conservatories and professionals.
Piece Description
Norman expanded the woefully small viola repertoire by composing two Sonatinas for Viola and Piano to play in recitals with his brother – they are both tuneful works that are easy to listen to, while at the same time providing some technical problems for the player, which may commend them to proficient students and also for use in recitals. The first movement of Sonatina No. 2 is less demanding technically than that of the first sonatina, being more about phrasing and tone production. The player needs to be very aware of what is coming later, so as to grade the dynamics adequately. The second movement gives the opportunity to concentrate on making a beautiful sound and grading the dynamics with care. The viola starts the third movement on its own with the fugue subject, and so needs to be played with confidence as the way the music skips from string to string can be daunting. It is quite a difficult movement to bring off, but very satisfying nonetheless. For secondary schools, colleges, conservatories and professionals.
Review: “Norman Kent is a professional violist as well as a composer, and in these attractive short sonatinas it really shows. The composer manages to write with individuality and the music displays charm and sensitivity, particularly in the slow movements. All of the movements are extremely well crafted and the structure is well handled without being too long. The pieces are tonal and contain beautiful and well-arched melodies using sequences and rhythmic motifs. Eminently suitable for the advanced enthusiastic teenage violist. The parts are simply and well printed and represent very good value for money.” – Julian Shaw in Music Teacher July 2008
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Biography
Biography
Kent, Norman
Norman Kent studied at the Royal College of Music, London, studying viola with John Dyer and harmony and composition with Herbert Howells. Norman joined the Liverpool Philharmonic Orchestra at age 20 and was rapidly promoted to the front of the section. He joined the B.B.C. Symphony Orchestra in 1960 and held the second desk position for 26 years. Norman continued playing and touring with other orchestras performing in some 25 different countries. Solo performances with orchestra include the Telemann Concerto and the two Max Bruch Romances, and recitals have included the Paganini Viola Sonata, Wieniawski's Reverie and of course his own Sonatinas. Later in life Norman stopped playing the viola but until his death amused himself playing and writing for the organ.
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This is the first piece in Terry Johns Blue series for solo string instruments and piano. Written in a highly accessible blues idiom, and first performed by Michael Beaston at the Twelfth Annual International Viola Congress in Glasgow. The piece might be said to evoke the stillness when all is quiet and the clock strikes 12! This piece was a Guildhall School of Music and Drama Grade 7 exam piece between 2001 and 2004 and was also a Trinity College of Music grade 5 exam piece between 2003 and 2006.
Norman expanded the woefully small viola repertoire by composing two Sonatinas for Viola and Piano to play in recitals with his brother - they are both tuneful works that are easy to listen to, while at the same time providing some technical problems for the player, which may commend them to proficient students and also for use in recitals. The first movement of Sonatina No. 1 makes use of the full range of the instrument, giving scope for both tone production and dexterity. The second movement provides a break between the more difficult first and third movements. The third movement is the most difficult technically and is more rhythmic in character than the other movements and calls for some bravura, although it ends quietly and gently. For secondary schools, colleges, conservatories and professionals.
Norman expanded the woefully small viola repertoire by composing two Sonatinas for Viola and Piano to play in recitals with his brother - they are both tuneful works that are easy to listen to, while at the same time providing some technical problems for the player, which may commend them to proficient students and also for use in recitals. The first movement of Sonatina No. 2 is less demanding technically than that of the first sonatina, being more about phrasing and tone production. The player needs to be very aware of what is coming later, so as to grade the dynamics adequately. The second movement gives the opportunity to concentrate on making a beautiful sound and grading the dynamics with care. The viola starts the third movement on its own with the fugue subject, and so needs to be played with confidence as the way the music skips from string to string can be daunting. It is quite a difficult movement to bring off, but very satisfying nonetheless. For secondary schools, colleges, conservatories and professionals.
Viola & Piano
Norman expanded the woefully small viola repertoire by composing two Sonatinas for Viola and Piano to play in recitals with his brother - they are both tuneful works that are easy to listen to, while at the same time providing some technical problems for the player, which may commend them to proficient students and also for use in recitals. The first movement of Sonatina No. 1 makes use of the full range of the instrument, giving scope for both tone production and dexterity. The second movement provides a break between the more difficult first and third movements. The third movement is the most difficult technically and is more rhythmic in character than the other movements and calls for some bravura, although it ends quietly and gently. For secondary schools, colleges, conservatories and professionals.
This is the first piece in Terry Johns Blue series for solo string instruments and piano. Written in a highly accessible blues idiom, and first performed by Michael Beaston at the Twelfth Annual International Viola Congress in Glasgow. The piece might be said to evoke the stillness when all is quiet and the clock strikes 12! This piece was a Guildhall School of Music and Drama Grade 7 exam piece between 2001 and 2004 and was also a Trinity College of Music grade 5 exam piece between 2003 and 2006.