Corda Music Publications - Viola Solos & Ensembles

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Baroque String Playing and The Weapons of Rhetoric. For these two important books by Judy Tarling dealing with playing technique and interpretation of renaissance, baroque and early classical music, click on BSP 1 & WOR 1

 for The Messiah - A Rhetorical Guide  by Judy Tarling  see  Messiah   

 For Concertos of the Viennese School, c.1780-1810  by Richard Maunder,  see   Concertos

CMP 601


Prices: see below

For Viola and String Orchestra (also available with piano reduction). Some thirty years since his death, Alwyn is now being acknowledged as a composer with an individual yet still distinctly English style, whose music is rightly being re-discovered and more widely performed. This rhapsodic soliloquy for solo viola and string orchestra was composed in 1939 and performed in wartime Britain by Watson Forbes. It disappeared after World War 2 and came to light again only at the end of the 20th century. This is the first published edition of the work. It was first recorded by Stephen Tees and the City of London Sinfonia directed by Richard Hickox on Chandos CHAN 9065 CD and by several other artists subsequently. Full score and orchestral parts are available to purchase. The piano reduction was made by Alwyn himself at the time of composition. The original manuscripts were used to compile this edition, overseen by John White. It can be performed in a solo recital with viola and piano, or the piano reduction can be used for rehearsal with the soloist. Duration 13 minutes.

CMP 601-orch   Full Orchestral Set of Parts ( = for 11 desks) . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .  £36.00
CMP 601S  Orchestral Score (Spiral Bound, 43 pages ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  £14.00
CMP 601 Solo Viola part and piano reduction (the work can also be performed as a recital piece) . . . . . . . . . £8.50
CMP 601P Extra Orchestral Parts . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .£4.50 each.

All the string parts are divisi, sometimes into as many as 4 parts. Minimum forces as suggested by William Alwyn himself would typically be 6 x Violin I, 6 x Violin II, 4 x Viola, 4 x Cello, 2 x Double Bass. The first performance in 1940 had larger forces than this. It is just possible (with some creative re-allocation of parts) to perform the work with 4-4-3-2-1, but this is not always ideal.


CMP 603

TANGO by Adam Gorb for Viola, Clarinet in A and Piano


A splendidly vigorous piece of writing requiring suitable panache in execution, first performed in the Purcell Room in 1985. A very good encore piece to round off a recital.


CMP 604

RONDO CAPRICCIO by Kenneth Harding for 6 Violas (or even Viola Orchestra)


 A magnificent example of this genial composer's many works written specifically for the viola, with ingenious variations on the Rondo theme and exploiting the full resources of the viola's sound world. Kenneth Harding was for many years a member of the BBC Symphony Orchestra, and wrote a huge range of works for his colleagues in the viola section.

CMP 606

SONATA IMPROMPTU - William Alwyn (Violin and Viola)


This is the first published edition of a duet written in 1939 for Frederick Grinke and Watson Forbes. In three movements: Prelude, Theme & Variations, Finale alla Capriccio. Duration c.12 mins. Recently recorded for Chandos on CD number CHAN 9197. Score and parts


CMP 610

HUMORESQUE by Adam Gorb for Viola and Piano


A witty conversational piece between the two instruments, first performed in 1986.


CMP 611

BALLADE in F Minor by Minna Keal for Viola and Piano (also in arrangement for cello and piano)


This important work, which gives equal prominence to both instruments, was first performed by Philip Burton in 1929 at the Royal Academy of Music, but has languished unjustly in manuscript until this first edition published in 1993. A passionate work which displays several elements of the composer's Jewish cultural heritage. There is also a version for cello and piano, the cello part edited by Alexander Baillie in consultation with the composer. Please contact us if you want the cello version.

See also Minna Keal's Cello Concerto


CMP 612

SCALES and ARPEGGIOS for Viola Players - Watson Forbes Book 1 of 3


The original edition of this seminal work for the viola had been out of print for several years. John White, in close consultation with the late Dr Watson Forbes, has re-edited these new editions of the works to provide modern-day viola players with one of the bedrock publications of good playing technique. They retain the same basic material as the former OUP publications, but the new typesetting renders them much clearer to read and use. Book 1 covers all major and minor scales and arpeggios over two octaves, also chromatic scales and single octave scales in thirds, sixths and octaves, with many bowing and fingering variants.

See also CMP 613, CMP 614, CMP 619


CMP 613

SCALES and ARPEGGIOS for Viola Players - Watson Forbes Book 2 of 3


The original edition of this seminal work for the viola had been out of print for several years. John White, in close consultation with the late Dr Watson Forbes, has re-edited these new editions of the works to provide modern-day viola players with one of the bedrock publications of good playing technique. They retain the same basic material as the former OUP publications, but the new typesetting renders them much clearer to read and use. Book 2 works through all the three octave scales and arpeggios, and the two octave scales in thirds sixths and octaves, also with many possible variants for fingering and bowing. At the end is a comprehensive practice routine for efficient use of technical practice time to avoid falling into the trap of uncritical repetition.

See also CMP 612, CMP 614, CMP 619


CMP 614

SCALES and ARPEGGIOS for Viola Players - Watson Forbes Book 3 of 3


The original edition of this seminal work for the viola had been out of print for several years. John White, in close consultation with the late Dr Watson Forbes, has re-edited these new editions of the works to provide modern-day viola players with one of the bedrock publications of good playing technique. They retain the same basic material as the former OUP publications, but the new typesetting renders them much clearer to read and use. Book 3 provides the link with Daily Exercises by developing the scales and arpeggios into a host of variant patterns, shifting onto higher positions, bowing and slurring variations etc.

See also CMP 612, CMP 613, CMP 619


CMP 619

DAILY EXERCISES for Viola Players - Watson Forbes


Quintessential study material for all players at all levels. The original edition of this fundamental work for the development and maintenance of viola technique had been out of print for several years. This newly type-set edition was prepared by John White in consultation with the late Dr Watson Forbes.

See also CMP 612 - 614


CMP 620

CHACONNE for the Viola from BWV 1004 - J.S. Bach


A transcription for the viola of the Urtext music (originally for violin but here transposed down a fifth) so that players can see exactly what Bach wrote, without any editorial intervention. This allows performers to evolve their own version and make their own decisions about articulation, fingering and interpretation.


CMP 623

ADAGIO CANTABILE - J Haydn (Viola and piano)


Arranged for viola and piano by Rachel Greenwood. A transcription of a rich, expressive solo from Haydn's Symphony No 13, an exquisite addition to the small solo viola repertoire of this period.


CMP 624

CANZONA - William Wolstenholme (Viola and Piano)


A fine little piece originally written for the organ, and used by Lionel Tertis as a standard repertoire item for the viola. This is a new arrangement for Viola and Piano edited by John White from Wolstenholme's original music to mark the VIth International Viola Competition in 1997.


CMP 625

INTRODUCTION and ANDANTE Op 5 - Benjamin Dale (6 Violas)


Edited by John White, this is probably one of the finest works ever written for ensemble of violas. Written in 1911 for Lionel Tertis and his pupils at the Royal Academy of Music, it has a similar glittering quality to Schönberg's Verklrte Nacht. This first printed edition of the work resolves the occasional inaccuracies which have crept into manuscript copies used by violists over the years.

Score and single set of parts - additional parts 40p each


CMP 626

VIOLAS in the SUN - Stuart Orford (4 Violas and a Double Bass)


A boisterous suite in suitably light hearted style with some mini fireworks for everyone. Score and single set of parts £5.00 - additional parts 40p each


CMP 629

HALLING and SPRINGAR - Edvard Grieg (Violin or Viola Solo)


Two unaccompanied pieces written in the style of Norwegian folk music to imitate the Hardanger fiddle and originally performed in the stage version of Peer Gynt. The edition includes both the violin and transposed viola versions.


CMP 630

FILLING TIME for Viola and Piano


A light-hearted whizz through the dentist's waiting room by Stuart Orford. Should lie under the fingers for a Grade 5 player. Score and separate viola part.


CMP 633

PAVANE pour un Infante Défunte – M. RAVEL arranged for Viola and Guitar


Chris Kilvington's arrangement of Ravel's haunting melody, for Viola (approx Grade 5) and Guitar (approx Grade 7) in an intimate chamber arrangement. The Viola part edited by Judy Slater. Score and parts.

See also CMP 203 - Flute and Guitar.


CMP 634

DIVISIONS ON A GROUND for Viola and Guitar


"Mr Finger's Minuett" - a set of variations on a ground bass by a distinguished and inventive contempoarary of Henry Purcell. Originally known as Mr Finger's Minuett and published in Playford's "Division Violin" in the late 17th century, this makes an excellent display piece for the viola player (Grade 5) and a fairly straightforward guitar realisation (Grade 4) of the repeated ground bass. Grade 4-5. Score and single set of parts


CMP 635

CHACONNE : J S Bach - for Solo Viola


This transcription for Viola was made by Watson Forbes nearly 50 years ago. A historic document, with valuable insights into performance for viola players.


CMP 636

DIVERTIMENTO - Kenneth Harding (Viola Quartet)


A work in three continuous sections Aubade, Variations on an original Carol , Rondo. Dedicated to Harry Danks, and performed many times by members of the BBC Symphony Orchestra.

Score and single set of parts. - additional parts 60p each


CMP 637

Variations on LES FOLIES d'ESPAGNE - J-H d'Anglebert (3 violas or ensemble)


Twenty two variations on the famous Folia motif with plenty of action for all three parts. Score and single set of parts £3.75 - additional parts 30p each


CMP 638

ALEXANDER'S FEAST arranged for 4 Violas


Arranged by Stuart Orford, this well known Handelian Overture has the musical interest well divided between all four instruments. Score and single set of parts £3.75 - additional parts 30p each

See also CMP 476 and CMP 649


CMP 639

SOPHISTICATION - James Kallembach (Viola Quartet)


An imaginative work in four movements by this promising young American composer. Score and single set of parts £5.00 - additional parts 60p each


CMP 642V

THE SPORADES SUITE – by Stephen M. Horn (3 Violas)


A trip to the Greek Islands, lots of sun and fun for Grade 2/3 players. Four pieces based in the idiom of popular Greek dances. Additional parts 30p each

See also CMP 642 and CMP 642C


CMP 643

SONATA for Viola and Piano - Robert Ehle, Op. 81g


In three movements, this well-wrought sonata (written in the 1980s) is in a most accessible contemporary idiom, with flowing parts for both viola and piano. Score and separate viola part


CMP 644

CONCERTANTE for 5 Violas by Kenneth Harding


First performed in London at the Wigmore Hall in 1972. The work was originally conceived in 1950 for viola quartet, inspired by the composer's first meeting with Lionel Tertis in the previous year. The composer added a fifth instrument for the 96th birthday celebrations of Lionel Tertis in 1972. Biographical details of Kenneth Harding can be found in John White's book An Anthology of British Viola Players (Comus Editions, 1997).

Score and parts. - additional parts 50p each


CMP 645

BRATSCHENTANZ - Ian Gammie (4-5 violas or large ensemble)


A vigorous dance in 6/8 time for viola quartet with option of "rhythm viola" accompaniment (or this part can be played by a guitar from chord symbols), plus cello or bass ad lib. Bascally 4 melodic lines and a chordal accompaniment. Can also be performed with 1 violin and 3 violas.

Score and parts. - additional parts 30p each


CMP 648

SONATA in F for 4 VIOLAS - Domenico Scarlatti


A scintillating arrangement of Sonata K.113 with plenty of movement for all four parts and a Phrygian/Spanish mode. Arranged by Ian Gammie, for players approx. Grade 4 upwards. Additional parts 25p each


CMP 649



Arranged by Stuart Orford, the Andante and Allegro from one of the versions of the Water Music make a lush sounding sextet, with thematic material for all the parts. approx. Grade 4 upwards. Additional parts 30p each


CMP 651Q

- THE BATTLE OF PRAGUE - Frantiscek Kotzwara (Piano, violin, viola and cello)


A complete battle piece from 1788, with trumpet calls, cannon, cavalry charges, wounded soldiers, Turkish dance, God Save the King, etc, chamber music which is on the verge of becoming music theatre. From Jane Austen's collection. You will have to read Jane Austen's Music (CMP 436) to find out more about this naughty composer who met his end in a brothel. An editorial viola part by Ian Gammie makes this a piano quartet with just as many fireworks as the trio version.

See also CMP 437, CMP 380 and CMP 436


CMP 652

CONCERTO in G Major - J.M. Böhm (2 Violas and basso continuo)


For 2 Violas and continuo (cello and /or keyboard) by J.M. Böhm (18th cent). An arrangement of a work for Viola d'Amore, Oboe d'Amore and continuo which makes an excellent addition to the baroque repertoire for two violas. Despite its title, it is a chamber work which can be performed as a trio with two violas & a cello or with two violas and a keyboard continuo realisation. For players Grade 6+. Score and single set of parts.

See also CMP 428


CMP 653

SIX OF THE BEST (6 Violas). 2 movements from the Water Music


Two further movements from Handel's Water Music suite (Andante - Allegro) arr. for 6 violas by Stuart Orford. Score and parts. additional parts 30p each

See also CMP 649 and CMP 476


CMP 654

SCHUBERT: 4 Popular Songs 5 violas and a bass


Arranged by Stuart Orford, four of Schubert's best-loved songs Ständchen, An die Musik, Horch horch die Lerch, Heidenröslein to add another thoroughly enjoyable viola ensemble to the list. Score and parts. - additional parts 35p each


CMP 656-V

LULLABY of VIOLA-LAND 4 violas or string ensemble


A swinging pastiche of a jazz standard, basically arranged for 4 violas but there is an alternative version included in the edition to make the piece performable on a string quartet, with the 4th part an octave lower in bass clef. Chord symbols are given for an ad lib guitar or piano accompaniment (from chord symbols) and sections can be repeated with ad lib improvisation if desired. Swing tempo. Score and parts. - additional parts 30p each


CMP 657



This is a rumbustious 'Battle' piece written in the mid 17th century for viols and violins. It celebrates the Royalist victory in the English Civil War outside the town of Newark, and has graphic portrayal of cavalry charges, trumpet calls, musket and canon, wounded soldiers and victory celebrations. Plenty of action in all the parts, and an editorial commentary which can be read aloud during the performance if musical charades are to your taste!

Score and parts. - additional parts 35p each


CMP 658

THEME & VARIATIONS from Mozart's Divertimento No. 17 for Viola & Piano


The arrangement was made in the 1930s for Lionel Tertis by the conductor and viola player Anthony Collins, but never before published. The variations are taken from the 2nd movement of Mozart's famous Divertimento No. 17. When he retired Tertis gave the manuscript to Harry Danks, Edited by John White. (the Minuet 3rd movement from the same work is also popular with viola players). Score and viola part.


CMP 659

IDYLL FOR TWELVE SOLO VIOLAS by Kenneth Harding - score and parts.


The composer gave two slightly different sub-titles to this work. For the first performance at the Royal Academy of Music, 13th March 1980, the programme note reads: June Sunrise - Blue Sky. A view from an English Garden, Southern County, as seen and heard by Kenneth Harding. It is an impression of a beautiful early morning June day. Completed on 29th July 1978. The autograph score has: Tone picture of an English dawn in Summer composed for Twelve Solo Violas. This edition is based on Harding's autograph score in John White's archive. It has detailed performance instructions, as well as some bowing and fingering by the composer. A few additional markings from the first performance have also been incorporated in this edition. The work is structured in three groups of four violas - what Venetian instrumental composers of the Renaissance would have described as "choirs", but there is also interplay at various moments for one or two instruments together with players in a different group. Because of the complex nature of a twelve-part texture, the work will almost certainly require a conductor - unless a prodigious amount of rehearsal time is available. To facilitate performance, Harding has added some cues to the parts, so that players can know where they need to follow a significant phrase from another part, or coordinate an entry with a fellow player.


CMP 660

CONCERT-PIECE - by Gordon Jacob for Viola and Orchestra (Piano reduction, so that the work can be played as a recital piece – see below for full orchestral score and parts)


This fine piece, written for John White in 1977, has never before been published. Originally scored for Viola and full orchestra, this is the piano reduction made by the composer himself, so that it can also be performed as a recital piece. It has a recitativo introduction, leading to a pastoral theme, both of which provide material for development in nine further sections. Duration approximately 17 minutes. See also below, CMP 660-S for the full orchestral score.


CMP 660-S

CONCERT-PIECE - by Gordon Jacob for Viola and Orchestra (Full orchestral score)

£ on hire

See above (CMP 660) for music details. This is the full orchestral score, calling on the standard complement of strings, with 2 flutes (doubling piccolo), 2 oboes, 2 clarinets, 2 bassooons, 4 horns, 2 trumpets, 3 trombones (inc. bass trombone), tuba, timpani and percussion. The score and orchestral parts are available on hire. Solo Viola part and piano reduction as above, CMP 660. Duration approx 17 minutes.

For hire, please contact Order Office, G. Jacob Concert-Piece


CMP 661

ELIZABETHAN DUOS arranged for 2 Violas


Thirteen delightful tunes from the late 16th and early 17th century arranged for players of intermediate ability (upper part approx Grade 5, lower part approx. Grade 3 - 4). In score format. It is quite feasible for 2 players to share a score, but extra scores can be ordered if required.


CMP 662



Written by John Webb in 1994, this is a melodious and skilful piece of writing which meditates on a tonescape of English folk melody and exploits the rich sonority of the unaccompanied viola. A delightfully rewarding concert item, duration approx. three and a half minutes, for players Grade 7 - 8.


CMP 663

Tschaikowsky: VARIATIONS on a Rococo Theme arranged for Viola


This is an arrangement (from the solo cello part) of Tschaikowsky's celebrated Variations on a Rococo Theme Op. 33, giving viola players access to a well-known concert favourite in a brilliant arrangement by the late Trevor Williams. This edition comprises only the viola part - it will work with the several keyboard reductions already available from other publishers of the cello version. Viola part only.


CMP 664

Arnold Bax: CONCERT PIECE for Viola and Piano edited by Simon Marlow and Ivo van der Werff


An early work, written for Lionel Tertis and first performed by him in the Aeolian Hall in 1904, with the composer at the piano. Bax was still a student at the Royal Academy of Music and his music is full of youthful, romantic exuberance. The music shows the influence of Wagner and also has echoes of the Irish Celtic tradition that was a feature of Bax's later music. The piano part also reflects the composer's virtuosity at the keyboard. All the original markings of dynamic, tempo and phrasing are included, a few editorial bowings have been added to the viola part. Concert Piece was not published during the composer's lifetime, this is the first printed edition, sanctioned by the Sir Arnold Bax Estate. A recording of the work is available on the Koch Swann label 3-6762-2. (Contact us for details of the recording: Order Office)


CMP 667



A detailed examination of Dowland's original music (Flow my Tears and If my Complaints) on which Britten based his famous Lachrymae for solo viola. The edition includes 4-part and 5-part settings of the originals, arranged so that they are playable by a viola ensemble.


CMP 668-V

FASCINATION WALTZ by Filippo Marchetti (1831-1902) arranged for Viola & Guitar by Ian Gammie.


A wonderful, timeless melody, redolent of the Palm Court orchestras of the Edwardian era. 5 minutes of pure nostalgia. The combination of viola and guitar provide the quintessential, rich flavour of this music in an intimate format. Also available in a version for Violin or Flute as soloist (please quote CMP 668-F when ordering for Violin or Flute). Score and solo viola part.


CMP 669

BOCCHERINI: SONATA in A major arranged for Viola and Guitar by Ian Gammie.


Adapted from a sonata originally for the cello, this piece gives the viola player a clutch of virtuoso flourishes and some nourishingly rich moments of sonority, in combination with a guitar continuo part which gives a much better balance with the viola than a modern piano. In three movements, duration approximately 8 minutes. Score and solo viola part.


CMP 670

TWO SONATAS for FOUR VIOLAS by Domenico Scarlatti.


Also playable with one violin and three violas if a viola quartet is not available. Both these sonatas have bountiful thematic interest for all four players. K.147 in D minor has a succession of answering phrases and muscular passages, while K.52 is more dreamy and fantasia-like, with some striking late baroque dissonances. Score and set of parts.


CMP 671

VIOLA SUITE by Brian Chapple. For solo viola


This unaccompanied suite was written for the distinguished violist Martin Outram, who gave the first performance in 2008. It is in four movements: Prelude, Alla Spagnola, Sostenuto and Scherzando. Duration 13 minutes. It is in a very accessible style, full of contrast and making excellent usage of the viola's distinctive sonorities. Highly recommended.


CMP 672

BALLADE for VIOLA & PIANO by William Alwyn.


Written in 1939 for Watson Forbes and Myers Foggin, this is a carefully researched edition by John White and Ian Gammie, based on the surviving autograph manuscripts and the original performers own annotations. Detailed editorial notes are included. This is a fine work, an important addition to the canon of English 20th century music for the viola from the hand of an elegant and respected composer.


CMP 673

A CENTENARY ALBUM for HARRY DANKS for Viola and Piano.


This is a collection of 3 pieces from manuscripts in the library of the late Harry Danks. The edition was produced to mark the centenary of his birth, an event celebrated by a day of music and talks organised by John White (who did the editing) The works are: Hebrew Melody by Joseph Achron, A Legend by Clarence Raybould, Reverie by John Wray . Score and Viola part.


CMP 674



The viola player Kenneth Harding (1903 -1992) wrote a wide range of works for viola ensembles, ranging from trios to his noted Idyll for twelve violas (see CMP 659). This trio is a lengthy and substantial work, the five movements being: Rigaudon & Interlude, Tempo di Sarabande, Gavotte, Swallow Falls (Sound Picture) and Gigue. The work was composed in 1980 as an act of gratitude for three violists, Harry Danks, John White and Eric Sargon, who had organised a concert of Harding's works at the Royal College of Music in London. The present edition has been transcribed and edited by Ian Gammie from the composer's manuscript. Score & set of parts.


EE 91

LIBERTY BELL MARCH - J.P. Sousa (Viola Quartet or large Ensemble)


The famous Monty Python signature tune, with lots of oompah for all the parts. Score & parts. Additional parts 30p each


CMP 150

SONATA in A MAJOR - C.F. Abel for Violin (or Viola) and 2 Guitars


Composed c 1759 for Violin (or Flute) and continuo, the continuo part here is arranged for 2 Guitars (solo part also available for cello or viola). A relatively easy late baroque sonata in three movements, with alternative parts for different solo instruments, the guitars playing as continuo. Can also be adapted to be played with single guitar as accompanist. Score and set of parts in treble, alto and bass clef.


CMP 156

VIOLA and GUITAR - Mozart Arias


Arranged from original duos for two melody instruments published c.1800. Both instruments have thematic material and require fluent (but not virtuosic) players. 6 Arias: Voi che sapete, Der Vogelfanger bin ich ja, A Favorite Air by Mr Haydn, Ein Madchen oder Weibchen, Marsch der Priester, Non piu andrai.


CMP 158

Beethoven: VARIATIONS on 'nel cor piu non mi sento for Viola and Guitar


Originally a piano work from Beethoven's early period (1795), this flowingly tuneful set of 6 variations based on Paisiello's famous aria is arranged exquisitely for Viola and Guitar. Both instruments being in a warm tenor tessitura, it makes a ravishing combination. Duration approximately 7 minutes.


CMP 167-V

NINE LYRIC PIECES by Edvard Grieg arranged for Viola and Guitar


The pieces in this collection are: Humoreske, Elfin Dance, Norwegian Melody No.1, Solvejg's song, Album Leaf, Last Spring, Waltz in A minor, Norwegian Dance, Watchman's Song. The playing level is approx Grade 6 – 7. Score (for the guitar) and a separate part for Viola


CMP 416-A

TRIOS from SHAKESPEARE'S DAY ( for Violin, Viola and Cello)


Arranged by Ian Gammie. Seven popular tunes which are either performed in or referred to in the Bard's plays. Mostly first position.

See also CMP 416a in the Early Music Catalogue.


CMP 417



Arranged by Duncan Druce. Yes No 7! A masterly transcription for 2 violas, 2 gambas, cello, bass and keyboard continuo of the G minor Sonata BWV 1029 to make the perfect counterfoil to the Concerto No 6. It has been recorded on period instruments by the Taverner Players on their CD recording of the complete Brandenburg Concertos (EMI CDC 749806-2). Gamba parts can be played by two extra violas or with viola and cello. (Extra part available in tenor clef if required - please order separately, specifying clearly what you require.) Score and parts. Extra parts 75p each


CMP 421



Handel's chamber opera Acis & Galatea is scored for violins, bass and wind instruments.  Judy Tarling has created a viola part to enhance the orchestral texture.

CMP 427G

SONATA in F# MINOR : G.P. Telemann (viola and basso continuo)


Edited by Dr Ian Payne. This is the first modern edition of TWV 41 fis 2, an original work for violin. Continuo (harpsichord, organ or piano) can be played from the figured bass or from the editor's realisation which is based on the principles of continuo realisation defined by Telemann himself in Generalbass-übungen (Hamburg 1733-35).

CMP 438

12 COUNTRY DANCES and 6 COTILLIONS (Trios - 2 violins and a cello)


for 2 violins and a cello. Charles Dibdin wrote these 18 dances for the Shakespeare Jubilee celebrations of 1769. They all have titles referring to the plays or to Shakespearean characters; in addition, each dance has the original dancing instructions. The 2-part original is violin and bass, but an editorial 2nd violin part is provided for larger ensemble use or as right hand part of an ad lib keyboard accompaniment. Score and parts included.

CMP 484

QUARTET in D by Carl Stamitz, for Solo Viola, Violin, Viola and Cello, edited by David J. Rhodes

Score and parts £9.25

A fine chamber work in 3 movements, written in the 1780s, possibly for Friedrich Wilhelm II of Prussia, a keen amateur gamba player, or alternatively for Franz Hammer the great German gamba virtuoso of the day. Dr David Rhodes provides a detailed introduction and editorial section to make this the first scholarly edition of a work which demonstrates a notable repertoire for the viol which lasted well into the final years of the 18th century. The solo gamba part will also fit on the viola, so that the quartet is perfomable with 2 violas, violin and cello.


CMP 492

MUSICK ffor seaverall ffreindlie Basses. Matthew Locke.   For Viola & Cello

Score and parts £10.50

Duets for viola and cello arranged from Locke's collection of 'Musick ffor seaverall ffreinds' (c.1651). There are four suites of dances and fantasies - G min/maj, B flat, D min/maj, E minor. The upper part is in alto clef and fits on a viola or a gamba. A continuo accompaniment can be realised from the score. The upper part is shown in treble clef in the score if violin players wish to use that part.



SUE'S BLUES - Stuart McGowan (Viola and Guitar)


A jazz influenced composition for intermediate level players.


SBM S018

SERENATA Opus 6 - Toselli (Violin or flute and guitar)


A mellifluous concert piece with alternative arrangements for flute or violin included. Arranged by Stuart McGowan.

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