Written in the year 1775, Mozart's lively violin concerti manifest the young composer's astonishing maturity and command of his craft. An incredible fluency of musical speech ? richness of texture and sheer beauty of melodic line pervade this music (Veims, The Concertos). Indeed, the concerti are the composer's earliest compositions that have maintained a secure position in the world's repertoire. Also a staple of the concert hall is the Sinfonia Concertante, K.364, composed in 1779, and scored for violin, viola, and orchestra. Undoubtedly the most significant work Mozart composed that year, the piece is distinguished by its symphonic sweep, advanced harmonies, and the beautiful slow movement, among Mozart's most moving creations. Now all six masterpieces are available in this convenient, inexpensive edition.

Full score-Francisco Coll’s Four Iberian Miniatures glitter with sharp Andalusian light.Premiered by Pekka Kuusisto and the Britten Sinfonia under Coll’s mentor Thomas Adès this dazzling 12-minute work sees the flamboyant soloist dancing through lucid textures which filter flamenco through Coll’s own fractured and surreal musical voice.

Editée par la maison d'édition Jobert, la partition musicale ayant pour titre Concerto pour violon et orchestre vous fera découvrir au travers de ses 86 (A3) pages, des morceaux de Ibarrondo Félix. Cette partition qui se joue pour Violon et plus particulièrement pour Violon Et Orchestre est à classer parmi la catégorie musicale Classique. / Violon Et Orchestre / 86 (A3) pages / Partition

Par BEETHOVEN LUDWIG VAN. 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 been edited 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)/ Répertoire / Violon et Orchestre

A Facsimile Edition of the Autographs-Only about a tenth of Mozarts works were printed during his lifetime the rest having been published without the benefit of his supervision. This long-awaited edition of the autograph score offers a rare opportunity to see Mozarts violin concertosaccording to the composers intentions. Thanks to the well-preserved condition of the original manuscripts and Mozarts legible handwriting these reproductions of his scores can be used for study reference and performance. In addition to the fiveworks Concerto No. 1 in B Flat K. 207; Concerto No. 2 in D K. 211; Concerto No. 3 in G K. 216; Concerto No. 4 in D K. 218; and Concerto No. 5 in A K. 219 the volume includes two additional pieces the Adagio in E K. 261 and the Rondo in BFlat K. 261a. The first edition of this volume was published in a limited edition in 1986 and has been virtually unobtainable for many years. Two informative introductory essays by violinist Gabriel Banat who located the manuscripts missing sinceWorld War II supplement the collection: the first one traces Mozarts relationship with the violin and the other examines the history and importance of these manuscripts thought to have been forever lost. This outstanding edition offers teachers violinists conductors musicologists and Mozart enthusiasts an extraordinary chance to possess a score reproduced from the masters own hand.

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

Les éditions Bärenreiter ont édité sous la référence BA 6720 cette partition musicale pour satisfaire au maximum les amateurs de musique Classique et plus particulièrement les pratiquant de Violon. Cette partition a pour titre Konzert 1 in E für Violine und Orchester (1932/33) et pour compositeur Martinu Bohuslav. / Violon Et Orchestre / Partition

Beethoven?s Concerto For Violin And Orchestra is one of the most famous works in the history of music. Over the last 150 years it has been published in numerous editions none of which have up to now done justice to the work. For this edition Jonathan Del Mar has freed the work of additions made over the decades by various editors and violinists. The significance of Beethoven?s solo and tutti markings has also been clarified for the first time. Following the publication of the full score Piano reduction and orchestral parts (BA 9019) in the autumn of 2009 Bärenreiter is now publishing a study score of this pioneeringcritical edition which will prove indispensible for all violinists and students as well as for orchestras and music libraries. An introduction by Beethoven expert Barry Cooper on the history of this concerto is included for the first time. Del Mar?s edition clarifies Beethoven?s solo and tutti markings for the first time.

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.