Concerto in A Minor for Violin Strings and Basso Continuo RV Anh.65

Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach's arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion./ Répertoire / Violon et Piano

E Minor Op. 64. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn?s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere - the ?child prodigy? Joseph Joachim - and Hubert Leonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard. The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David - now we know that he also gave some to Leonard. The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. That the young violinist made a positive impression on the composer is confirmed in the latter?s correspondence following their joint performance. The editor of this revised edition of the Mendelssohn Violin Concerto, Clive Brown, is an acknowledged expert on Romantic performance practice. This study score complements the full score and orchestral parts (BA 9099), the piano reduction of the 1844 version (BA 9099-92), the piano reduction of the 1845 version (BA 9099-90), as well as the brochure ?Performance Practices in the Violin Concerto op. 64 and Chamber Music for Strings of Felix Mendelssohn Bartholdy? (BA 9060)./ Répertoire / Violon et Orchestre

Piano Reduction Of The Well-Known Late 1845 Version. Par MENDELSSOHN-BARTHOLDY FELIX. (replaces BA 9050-90) Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano

Early Version Of 1844 And Late Version Of 1845. Par MENDELSSOHN-BARTHOLDY FELIX. Replaces BA 9050- The orchestral parts are unchanged and continue to be available as BA 9050-65/-74/-75/-79/-82/-85 Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Orchestre

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive Mendelssohn?s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ?child prodigy? Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn?s approval. That the young violinist made a positive impression on the composer is confirmed in the latter?s correspondence following their joint performance. Mendelssohn is full of praise for Léonard?s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Office Du Matin. Par VIOTTI GIOVANNI BATTISTA. Détails de la formation instrumentale: 1.2.2.2-1.2.0.0-timp-strings - Durée: 27' - Format: New Edition portrait/ Répertoire / Violon et Orchestre

for 2 Violins, Violoncello and Strings. 2 Violins and Keyboard. / 2 Violons Et Piano

Par TELEMANN GEORG PHILIPP. 2 Hautbois and Violon Soli - Strings - Basse Continue - Durée: 10 / oeuvre solo et Orchestre / Répertoire / Partition D'Orchestre

Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. Reconstructed From Bwv 1056/ Répertoire / Violon et Orchestre à Cordes

A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

The Library Of Baroque Music is an enormously expansive collection of the greatest works produced during that prolific period that flourished between the Renaissance and Classical eras. All arranged for solo Piano, this volume features works drawn from all the major Baroque composers, including some of the greatest pieces of music ever composed. The progression and development of music during the Baroque period can be heard in these pieces, providing you not only with a window into musical history, but also many exciting additions to your repertoire. The retrospective 'Baroque' label was applied to a diverse range of European compositions-often combining a spirit of experimentation with elaborate new musical structures. Dominated primarily by the Harpsichord and Organ, this period also saw the rise and development of larger-scale forms such as the concerto and oratorio. This superb volume is comprised of Keyboard and ensemble works from all the major Baroque composers, arranged for Piano. Featuring Arne, Boyce, Buxtehude, Corelli, Couperin, Gibbons, Lully, Pachelbel, Purcell, Rameau and Vivaldi, the composers here include some of the most respected and revered figures in musical history. The Library Of Baroque Music spans compositions of many of these masters, ranging from Frescobaldi in the early 1600s to Pergolesi a century later, and the famous three - J.S. Bach, Handel and Domenico Scarlatti.Baroque music, so called for its ornateness, was characterised by a bold exploration of counterpoint and new harmonic possibilities. This was variously expressed through the work of perhaps fifty or so major European composers. By the time Baroque began to segue into a new Classical period around 1750 it had already irrevocably changed and expanded the possibilities of music. The works that precipitated this change are available to play in this single volume, perfect for pianists looking to expand their repertoire with both challenging and exciting music.In this thoroughly enjoyable Library Of Baroque Music, the triumphant progression of this period is illustrated in the best possible way - through the compositions themselves, forming the definitive Baroque collection for solo pianists. / Piano

The latest book in this popular series features the music of Sir Edward Elgar, in honour of his 150th birthday in 2007.<br>Includes solo-piano arrangements of Elgar's best-loved works, including selections from Sea Pictures, the Cello Concerto, Enigma Variations, Pomp and Circumstance March No. 1, and much more.<br>Arranged for intermediate solo piano. An essential addition to your piano library. / Classique / Partition /