Other Viola books that may be of interest:
- Cook, Reginald Lansing; Thoreau, Henry David The Concord saunterer AMS Press, New York, N.Y. : [1985
Reprint. Originally published: Middlebury, Vt. : Middlebury College Press, 1940 "Including a discussion of the nature mysticism of Thoreau by Reginald Lansing Cook, original letters by Thoreau, and a checklist of Thoreau items in the Abernethy Library of Middlebury College compiled by Viola C. White. ix, 91 p. ; 23 cm Dewey:818/.309
- Goehr, Alexander; Kermode, Frank; Moore, Marianne; La Fontaine, Jean de; Shelton, Lucy.; Hulse, Eileen.; Leonard, Sarah.; Crayford, Marcia.; Nwanoku, Chi-Chi.; Brown, Ian; White, David; Wallace, John; Knussen, Oliver. Sing Ariel ; The mouse metamorphosed into a maid Unicorn-Kanchana Records London 1992; p1992
Alexander Goehr. The 1st work for principal soprano, 2 sopranos, and 5 instrumentalists; the 2nd for unaccompanied voice.; English words; text of the 1st work compiled by Frank Kermode from various sources; text of the 2nd work by Marianne Moore, after La Fontaine.; Lucy Shelton, soprano ; with (1st work): Eileen Hulse, Sarah Leonard, sopranos ; Marcia Crayford, violin/viola ; Chi-Chi Nwanoku, double bass ; Ian Brown, piano ; David White, tenor saxophone/bass clarinet ; John Wallace, trumpet ; Oliver Knussen, conductor.; Recorded in All Saints Church, Petersham, Dec. 9-10, 1991.; Compact disc.; Notes by Robin Holloway, with French and German translations, and vocal texts (15 p. : port.) inserted in container.; Durations: ca. 52:00; 13:29. 4 3/4 in. 1 sound disc (66 min.) digital, stereo. 4 3/4 in. Vocal trios with instrumental ensemble.; Songs, Unaccompanied.; Moore, Marianne
- Harbison, John.; Williams, William Carlos; Fried, Michael.; Upshaw, Dawn.; Sylvan, Sanford.; Kalish, Gilbert.; Boston Symphony Chamber Players. Simple daylight Elektra Nonesuch New York, N.Y. 1993; p1993
John Harbison. Acc. of the 1st work for flute, oboe, English horn, viola, violoncello, harp, and piano.; Words of the 1st work from William Carlos Williams' Paterson, book 5; of the 2nd by Michael Fried.; Dawn Upshaw, soprano (2nd work) ; Sanford Sylvan, baritone (1st work) ; Gilbert Kalish, piano (2nd-3rd works) ; Boston Symphony Chamber Players (1st and 3rd works).; Recorded at Symphony Hall, Boston, Mass., Nov. 1990 (1st work) and May 1988 (3rd work) and at Richardson Auditorium, Princeton, N.J., Sept. 1991 (2nd work).; Compact disc.; Program notes by Richard Dyer and texts of the songs ( p.) in container.; Words from Paterson (26:47) -- Simple daylight (16:00) -- Piano quintet (22:56). 4 3/4 in. 1 sound disc digital 4 3/4 in. Songs (Medium voice) with instrumental ensemble.; Williams, William Carlos; Songs (High voice) with piano.; Fried, Michael; Piano quintets.; Song cycles.
- Serly, Tibor.; Vardi, Emanuel.; Stanford, Carolyn.; Joyce, James; Wylie, Elinor; Kundstmaand Chamber Orchestra of Holland.; Wiener Staatsoper.; Wiener Symphoniker. Four songs from Chamber music by James Joyce Strange story by Elinor Wylie : Viola concerto Keyboard Records N[ew] Y[ork], N.Y. 1967; c1967
Tibor Serly. Title on container: The music of Tibor Serly.; Carolyn Stanford, mezzo-soprano (1st and 2nd works) ; Emanuel Vardi, viola (3rd work) ; Kundstmaand Chamber Orchestra of Holland (1st work) ; Vienna State Opera Orchestra (2nd work) ; Vienna Symphony (3rd work) ; Tibor Serly, conductor.; Includes texts of the songs and program notes by Edward Jablonski on container. 12 in. 1 sound disc 33 1/3 rpm, stereo. 12 in. Concertos (Viola); Songs (Medium voice) with orchestra.; Joyce, James; Wylie, Elinor
from A Time of Gifts
No janitor was about. A young Benedictine, finding me loitering in the gatehouse, took me in tow, and as we crossed the first great courtyard, I knew I was in luck. He spoke beautiful French; he was learned and amusing and the ideal cicerone for all that lay ahead.Partick Leigh Fermor
Afterwards, it was in confused musical terms that the stages of our progress strung themselves together in my memory. This is how they resound there still. Overtures and preludes followed each other as courtyard opened on courtyard. Ascending staircases unfolded as vaingloriously as pavanes. Cloisters developed with the complexity of double, triple, and quadruple fugues. The suites of state apartments concatenated with the variety, the mood and décor of symphonic movements. Among the receding infinity of gold bindings in the library, the polished reflections, the galleries and the terrestrial and celestial globes gleaming in the radiance of their flared embrasures, music, again, seemed to intervene. A magnificent and measured polyphony crept in one’s ears. It was accompanied by woodwinds at first, then, at shortening intervals, by violins and violas and ’cellos and then double basses while a sudden scroll-work of flutes unfurled in mid-air; to be joined at last by a muted fanfare from the ceiling, until everything vibrated with a controlled and pervading splendour. Beyond it, in the church, a dome crowned the void. Light spread in the painted hollows and joined the indirect glow from the ovals and the lunettes and the windows of the rotunda. Galleries and scalloped baldachinos and tiered cornices rose to meet it; and the soft light, falling on the fluted pilasters and circles of gold spokes, and on the obelisks wreathed with their sculpted clouds, suffused the honeycomb side-chapels and then united in a still and universal radiance. Music might just have fallen silent; unless it were about to begin. In the imagination, instruments assembled—unseen cymbals just ajar that would collide with a resonance no more strident than a whisper; drums an inch below their padded sticks with palms ready to muffle them; oboes slanting, their reeds mute for a moment more; brass and woodwind waiting; fingers stretched motionless across wires of a harp and fifty invisible bows poised in the air above fifty invisible sets of strings.