Concerti Grossi. Par VIVALDI ANTONIO. 12 Concertos de Vivaldi ont été d'abord publiés en 1711 par Roger à Amsterdam. Ces 8 livres de cadre élégant a aidé à établir la réputation de Vivaldi dans toute l'Europe et au cours duquel il a fourni les règles de laquelle des auteurs comme Quantz, Marcello et Mattheson jugés et informé les autres compositeurs. Très imité, les concertos continuent d'influencer les oeuvres de compositeurs plus tard et, en fait, j. s. Bach./ Répertoire / 4 Violons, 2 Altos, Violoncelle, Violon et Claveci

The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678–1741) there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably.More than two dozen of his concertos are dedicated to the violoncello including the probably most famous double concerto: the 'Concerto for Two Violoncellos String Orchestra and Basso continuo in G minor (RV 531)' written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of thesources.

Johann Sebastian Bach Concerto pour clavecin n° 1 en ré mineur BWV 1052 Norbert Müllemann (Editeur) Johannes Umbreit (Réduction pour piano) Michael Schneidt (Doigtés) Les concertos pour clavecin de Bach tant aimés des pianistes sont probablement des transcriptions d''uvres originellement composées pour le violon. Bach a cependant réussi à reporter sur le clavier diverses spécificités de la technique violonistique avec un tel raffinement que même la plupart des pianistes contemporains considèrent ces concertos comme une partie indissociable de leur répertoire. Le premier concerto en ré mineur est peut-être le préféré ' ne serait-ce que par ses premier et dernier mouvements pleins d'élan, ainsi que par sa partie de soliste impressionnante. Avec la réduction pour piano et la partition d'étude (score complet) de ce concerto en ré mineur, les Éditions G. Verlag ouvrent une série consacrée à tous les concertos pour clavecin de Bach.

Concerto no. 22 (Viotti). Par VIOTTI GIOVANNI BATTISTA / CATHERINE. Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the Violin repertoire. The first solo from Viotti ''s Concerto No. 22 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian Violin virtuoso. He composed a significant 29 concertos for the Violin which remain popular in the advanced violinist''s repertoire. The Violin solo line of Concerto No. 22 makes use of extended techniques, including harmonics, bow techniques, articulations, fast semiquavers, and double stops. Catherine ''s series, First Solos extracted fromthe Classic Concertos provides essential access to significant repertoire of the Violin, preparing advanced violinists for the major concertos./ Répertoire / Violon et Piano

For the six concertos that make up the second part of the Op. 4 Locatelli prescribed eight parts: Violino Primo Secondo Alto è Violoncello Soli. Violino Primo Secondo Alto è Basso Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso to which Locatelli contributed also in his Op. 1 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled) we here encounter a group of works that are very varied in form instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify thedevelopments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.

In Full Score. . Par MOZART WOLFGANG AMADEUS. Outstanding in their variety and degree of innovation, Mozart's piano concertos reflect his genius as a composer and demonstrate just why he has remained so popular. The first of the works was precociously written in 1767, when he was merely 11 years old, and yet the pieces all possess his characteristic keyboard mastery, experimentation with texture and a natural sensitivity to form and balance. The Concerto form, most notably for piano, continued to be a lifelong preoccupation for Mozart, though it could be said that these formative pieces foreshadow the larger and greater works to come. This volume contains the full score for each of the Concertos and has been reproduced complete and unabridged from authoritative editions, it offers a revealing look at the development of a budding master. Outstanding in their variety and degree of innovation, Mozart's piano concertos reflect his genius as a composer and demonstrate just why he has remained so popular. The first of the works was precociously written in 1767, when he was merely 11 years old, and yet the pieces all possess his characteristic keyboard mastery, experimentation with texture and a natural sensitivity to form and balance. The Concerto form, most notably for piano, continued to be a lifelong preoccupation for Mozart, though it could be said that these formative pieces foreshadow the larger and greater works to come. This volume contains the full score for each of the Concertos and has been reproducedcomplete and unabridged from authoritative editions, it offers a revealing look at the development of a budding master./ Répertoire / Piano

Concertos by Haydn Hummel Neruda-The Concerto Classics series gives intermediate students the opportunity to explore some of the most important and influential concertos in their instrument's repertoire. This edition for Trumpet includes arrangements of Haydn's Concerto Hob. VIIe/1 Hummel's Concerto a Trombe Principale and Neruda's famous trumpet concerto originally written in E flat. Each piece has been transposed into the key of C and has generally been carefully arranged as a valuable stepping-stone towards the original great works. Also included are supplementary exercises designed to support students with the various technical aspects required in the soloparts.With Pull-out Piano accompaniment.

Autograph: Royal College of Music London-Facsimile of the autograph score in the Royal College of Music London - With a commentary by Robert Levin. 74 pp. facsimile 40 pp. of commentary (Eng/Ger). Half-leather binding. In his fascinating preface to Bärenreiter’s facsimile Professor Colin Lawson Director of the Royal College of Music describes the journey made by Mozart’s autograph following its sale in 1800 by Constanze Mozart’s widow to its eventual resting place in London SW7 where it is the jewel in the RCM’s extensive collection of historic manuscripts. The Piano Concerto in C minor K.491 is oneof Mozart’s greatest Piano Concertos not least because of the dramatic character of its minor key (it is one of only two Piano concertos composed in minor keys). It also has the largest Orchestra he ever used in a Piano concerto and the only Piano concerto to use both Oboes and Clarinets. Written in 1786 during a period of almost feverish activity it was completed only 22 days after the A major concerto K.488 and during composition of The Marriage of Figaro. The autograph is exceptional in that Mozart records sketches that he later enlarged and extensively revised for the score thus allowing us an insight into his creative process. Mozart’s work appears here for the first time in a colour facsimile making it possible to easily recognise the contrasting colours of ink. The renowned Mozart scholar and pianist Robert Levin has written an illuminating commentary. He explains Mozart’s method of composition and guides the reader page by page through the autograph. This high-quality facsimile truly is a fascinating insight into Mozart’s art of composition.

If Bach Was A Cellist-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello.The concerto in D minor (BWV 1043) for two violins string orchestra and continuo by Johann Sebastian Bach (1685-1750) is one of his most loved works. Indeed the slow movement may be one of the most popular and loved pieces in the instrumental literature. Traditionally it is believed to have been written in Köthen where he held the position of 'fürstlischer Kapellmeister' from 1717-1723 a town that saw the birth of the Brandenburg concertos and the solo works for violin and cello. The Dorian church mode (the absent Bflat in the key of Dminor) would also speak for the younger Bach. Recent research however has shown that the orchestral parts carefully written out by Bach himself and found among the papers of his son Carl Philip Emanuel date from around 1730. The sophistication of the composition also speaks for a later date than Köthen. The original score has been lost.Always in need of concert material for his 'Collegium Musicus' in Leipzig Bach made a version of the present concerto for two harpsichords (BWV 1062). The original key was transposed to C minor so that the top note would not exceed a D but remain within the range of a standard harpsichord. Another C minor concerto (BWV 1060) for two harpsi-chords often heard in an arrangement from the 1920's for violin and oboe by Max Schneider and Max Seiffert speaks for two concertos in D minor for two violins by Bach.When arranging an orchestral score for the pianoforte one has to remember that a double-bass sounds an octave lower than notated. This is a welcomed fact when dealing with two instruments that play the original solo parts an octave down. At the same time for a transcription of this kind the ambition must be to avoid the cello soloists playing in octaves with the violin tutti parts - which is what would happen were they to share the same material. This ambition made a piano reduction

Concerto pour violon et orchestre op.VII n°6 - réduction clavier Editeur : Castelain, Louis Type d'édition : conducteur Présentation Jean-Marie Leclair est le plus éminent représentant de l'école française de violon du XVIIIe siècle. Après plusieurs voyages dans le Piémont où il se forma à l'école italienne de violon, Leclair fit une carrière de soliste et de compositeur, à la ville, notamment au Concert Spirituel où ses concertos ont régulièrement été joués, mais aussi à la Cour en tant que violoniste de la Chambre et de la Chapelle royale. Ses concertos, d'une grande qualité formelle, ont une écriture particulièrement dense et contrapuntique, peu commune en France à cette époque et sans doute rapportée par Leclair de ses nombreux voyages à l'étranger. Généralités Contenu sans introduction Musiques : Concerto pour violon et orchestre op.VII n°6 Parties séparées : 1 ex. Réduction clavier 1 ex. Violino di concertino Liste des 'uvres : Concerto pour violon et orchestre (La Majeur - A Major)

Performance Edition for Violin and Piano-At the age of 19 Mozart wrote a series of violin concertos that marked his coming of age as a composer of orchestral music. Now a part of the standard repertoire these works convey the composer's uniquely sensual brand of melody. This volume comprises all five works:Violin Concerto No. 1 in B-flat majorViolin Concerto No. 2 in D majorViolin Concerto No. 3 in G majorViolin Concerto No. 4 in D majorViolin Concerto No. 5 in A majorThis practice and performance edition is the first to combine all of these pieces in a single low-cost Piano reduction version with a separate and removable 64-page solo violin score. Reproduced from earlyauthoritative editions this volume is an essential addition to the collections of intermediate and advanced musicians.Reprint of early authoritative editions.

For flute and piano. Includes Concerto in G Major, K. 313- Concerto in D Major, K. 314- Andante in C Major, K. 315- 'Allegro? from Piano Sonata in C Major, K. 545- 'Rondo alla Turca: Allegretto? from Piano Sonata in A Major, K. 331. / Flûte Et Piano

This work for cello and orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the second of ten concerti to be written for principal players of the Scottish Chamber Orchestra. Thefirst performance was given in February 1989 by William Conway and the Scottish Chamber Orchestra conducted by the composer.If Davies's Cello Concerto has already evoked comparisons with Elgar's that is perhaps an indicationnot only of its wealth of solo melody (there is hardly a page where the cello is not singing or if not that then dancing) and of its predominantly slow tempos but also of its musical stature. This second Strathclyde concertois a virtuoso piece for the entire ensemble which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue especially in the opening Moderato andthe slow movement; and though the finale is more extrovert the work ends back in quietness and rumination.This book contains the solo cello part and a piano reduction of the orchestral score.