Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

The two-movement work was inspired by the title of a book by Jacques Roubaud and dedicated to Violinist Gidon Kremer whose playing and musicianship also inspired the work.Kaija Saariaho is a contemporary Finnish composer livingand working in Paris and Graal Thé tre is one of her principal works frequently performed in spite of its ferocious virtuosic requirements. Unlike many of her other works Graal Thé tre has no electronic extensions but exploresthe relationship fully between soloist and Orchestra. She gained international renown for her first opera l?Amour du Loin and continues a prolific compositional life with a wide range of international performances.

Joachim, Joseph Fantasy on Hungarian Themes (1850), Fantasy on Irish [Scottish] Themes (1852) for Violin and Orchestra Edition no. BA 7898-90 ISMN 9790006566020 Joseph Joachim?s ?Fantasies on Hungarian and Irish [Scottish] Themes? was his first virtuoso music for the violin with orchestral accompaniment. Joachim was intent on creating popular works, not least at the urging of his family, but they also bore witness to his urbanity: the young Jewish-Hungarian musician spent many summers in England and its familiar, Irish melodies held great appeal for English audiences. Performances of the ?Fantasy on Hungarian Themes? in German cities met his need for self-display as the ?Hungarian lad?, to use Mendelssohn?s jocular epithet. Joachim was well aware that the style hongrois was all the rage in European capitals.

KV 207, 211, 216, 218, 219, 261, 269 (261a), 373. Par MOZART WOLFGANG AMADEUS. Based on the Urtext of the 'New Mozart Edition”, this new study score unites the five violin concertos and the 3 single movements for violin from the pen of Mozart in one thoroughly reliable study score. A new historical introduction by Gudula Schütz provides valuable additional information. Full scores, piano reductions and performance material to all works included in the study score are readily available./ Répertoire / Violon et Orchestre

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim Jelly D?Aranyi in concert in London. Following the performance Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano producing a sound similar to the rich overtones of the Cimbalon) the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel laterorchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version complete with full score and performance material as well as in the composer?s earlier version for violin and piano. All known sources including letters have been drawn on for the new edition; one of the available sources consulted for the first time was a copy of ?Tzigane? from the estate of Jelly D?Aranyi which is today part of a private collection. The version for piano and violin contains besides the Urtext part a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.First scholarly-critical Urtext edition of the work Presented are both versions: for violin and orchestra and for violin and pianoIncludes Jelly D?Aranyi?s fingering