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| Praktische Instrumentenkunde Orchestra, Violin Barenreiter
SKU: BA.BVK01950 Composed by Andreas N. Tarkmann and Johannes Kohlmann. P...(+)
SKU: BA.BVK01950 Composed by Andreas N. Tarkmann and Johannes Kohlmann. Paperback. Book. 240 pages. Baerenreiter Verlag #BVK01950_00. Published by Baerenreiter Verlag (BA.BVK01950). ISBN 9783761819500. 19 x 12.5 cm inches. Language: German. Preface: Tarkmann, Andreas N. 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. Besides containing bowing marks and fingering, they also show how Leonard 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 Leonard'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). $22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Musical Buffet Of All-Time Favorites - Violin Orchestra, Violin [Sheet music] - Intermediate Kjos Music Company
By James McLeod. Orchestra Method/Study. Musical Buffet of All Time Favorites. L...(+)
By James McLeod. Orchestra Method/Study. Musical Buffet of All Time Favorites. Level: Grade 3. Music Book. Published by Neil A. Kjos Music Company.
$5.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violin - Concerto Orchestra, Violin SATB, Orchestra Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340). ISBN 9788480207591. English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author
Comentarios del Espanol: A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor. $42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Violin Concerto Orchestra, Violin [Study Score / Miniature] Schott
Orchestra; Violin (Study Score) SKU: HL.49045166 Study Score. Comp...(+)
Orchestra; Violin (Study Score) SKU: HL.49045166 Study Score. Composed by Ryan Wigglesworth. This edition: Saddle stitching. Sheet music. String. Classical. Softcover. Composed 2011. 72 pages. Duration 16'. Schott Music #ED13695. Published by Schott Music (HL.49045166). ISBN 9790220135002. UPC: 888680724214. 8.25x11.75x0.276 inches. Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece. The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centers on a twofold search. First there is the ongoing pursuit to recapture the simple melodic material stated by the solo violin - accompanied by thar harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue. The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabas Kelemen and the Halle. $43.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Introit for Violin and String Orchestra Orchestra, Violin Boosey and Hawkes
(Violin and Piano). By Gerald Finzi (1901-1956). Edited by Howard Ferguson. For ...(+)
(Violin and Piano). By Gerald Finzi (1901-1956). Edited by Howard Ferguson. For Piano, Violin (Violin). Boosey and Hawkes Chamber Music. Book only. 8 pages. Boosey and Hawkes #M060079313. Published by Boosey and Hawkes
$17.99 - See more - Buy online | | |
| Violin Concerto - The Bulls of Bashan Orchestra, Violin [Study Score / Miniature] Schott
Orchestra; Violin (Study Score) SKU: HL.49003321 Study Score. Comp...(+)
Orchestra; Violin (Study Score) SKU: HL.49003321 Study Score. Composed by Gavin Bryars. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 2000. 44 pages. Duration 18'. Schott Music #ED 12681. Published by Schott Music (HL.49003321). ISBN 9790220119804. UPC: 073999369168. 8.0x11.75x0.184 inches. I did not want to write a virtuoso show-piece, but rather to draw on the orchestra's alertness as an ensemble. The solo part is essentially lyrical and there is no cadenza as such. But I was also conscious of the fact that, as with a baroque concerto, the soloist may also direct the work and does so here. (G. Bryars). $36.00 - See more - Buy online | | |
| Primo Encores-violin Orchestra, Violin [Sheet music] - Easy Kjos Music Company
By Robert Frost. Orchestra Method/Study. Primo Encores. Individual Methods and S...(+)
By Robert Frost. Orchestra Method/Study. Primo Encores. Individual Methods and Studies. Level: Grade 2.5. Music Book. Published by Neil A. Kjos Music Company.
$5.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Tzigane: Violin: Score Orchestra, Violin Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...(+)
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
31.50 GBP - Sold by Musicroom UK | |
| Ludwig van Beethoven:
Romances In F And G For
Violin And Orchestra:
Orchestra: Orchestra, Violin [Sheet music] Barenreiter
for Violin and Orchestra-Beethoven?s 'Romances' are performed all over the world...(+)
for Violin and Orchestra-Beethoven?s 'Romances' are performed all over the world yet how many conductors performers and listeners are aware that op. 50 which was incidentally composed before op. 40 comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer.Bärenreiter?s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven?s autograph with editorial markings clearly indicated the second score has beenedited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.Barenreiter No. BA9026
18.00 GBP - Sold by Musicroom UK | |
| Concerto For Violin And
Orchestra E Minor Op. 64
(MENDELSSOHN-BARTHOLDY
FELIX) Orchestra, Violin Barenreiter
E Minor Op. 64. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn?s Violin Concerto o...(+)
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
19.67 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Violin Concerto Orchestra, Violin Schott
My Violin Concerto is scored for a Classical-sized orchestra, with the addition ...(+)
My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece.The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue.The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon Et Orchestre
40.28 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ludwig van Beethoven:
Romances In F And G For
Violin And Orchestra:
Violin: Orchestra, Violin Barenreiter
Beethoven's 'Romances' are performed all over the world yet how many conductors...(+)
Beethoven's 'Romances' are performed all over the world yet how many conductors performers and listeners are aware that op. 50 which was incidentally composed before op. 40 comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer.Bärenreiter?s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven?s autograph with editorial markings clearly indicated the second score has beenedited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.In addition to the Urtext solo part a second solo part with fingering and bowing by Detlef Mahn is also included in the piano reduction.- Piano reduction which includes an Urtext solo part as well as an additional solo part with fingering and bowing- The score to op. 50 available in two versions- Detailed critical commentary (Eng)Barenreiter no. BA9026A
12.00 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Robert Schumann: Concert
D: Violin: Score and
Parts Orchestra, Violin Schott
‘You were often on my mind when I was writing’ wrote Robert Schuma...(+)
‘You were often on my mind when I was writing’ wrote Robert Schumann to Joseph Joachim who had encouraged him to write this concerto. In view of Schumann’s illness however Joachim began to have his doubts about the value of the work. In his will Joachim prohibited the rst performance until the 100th anniversary of Schumann’s death in 1956. After detailed editorial work the premiere was brought forward to 1937.The theme of the middle movement probably formed the basis of Schumann’s Geistervariationen (‘Ghost Variations’) the character of the third movement is that of a grand polonaise. Yehudi Menuhin who performed the world premiere of the unedited version ofSchumann’s solo part saw in this piece ‘the bridge between Beethoven’s and Brahms’ concertos’.
19.99 GBP - Sold by Musicroom UK | |
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