Shenandoah: Orchestra: Score

Bob Krogstad's skilled writing for strings is unmatched in its creativity and effectiveness. This sensitive setting of the beloved American folk tune is filled with Bob's artistic melodic treatment harmonic freshness and superborchestration. A beautiful program piece that will highlight any concert or festival perfromance. Dur: 3:30

Concerto giocondo e severo (Cheerful and Serious Concerto) Op. 132 for Orchestra by Vagn Holmobe (1977).   Programme note Concerto giocondo e severo was composed in 1977 and first performed in the following year on  18th April by the Aarhus Symphony Orchestra during a vist to Gothenburg with Jorma Panula conducting. This work is scored for a much larger orchestra than the other conertos (including a large percussion section) but the orchestration is relatively transparent. It is only occasionally that everybody is on the pitch at the same time. The concerto is in onemovement but is divided into a succession of different tempi and sections that contrast with each other in character. A fortissimo chord from the whole orchestra starts the the slow somewhat tentative introduction. But another fortissimo outbreak is required before strings and the woodwinds together prononunce the beginning of the first rapid section. Knud Ketting

o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the

E-moll Op. 64-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 soloviolin 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 (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

Carl Nielsen (1865-1931) was a Danish musician often seen as his country’s greatest composer. While his operas and songs have become embedded within the cultural heritage in his native Denmark internationally he is better known for his symphonies and concertos distinguished by his prominent use of Brass instruments and dramatic changes in tonality.His Symphony No.3 (Op. 27 FS. 60) was composed in 1911 and is often subtitled Sinfonia Espansiva after the tempo designation of the first movement. Somewhat unusually the second movement includes vocal parts: wordless solos for Soprano and Baritone. Throughout Nielsenexpertly contrasts sections of blissful calm with passages of incredible angst creating a wonderfully moving masterpiece.

The fate of Bohuslav Martinu's String Trio no.1 which dates from the turn of 1923 and 1924 and was lost until 2005 is somewhat remarkable. The trio is the first work which Martinu created in Paris after becoming the private pupil of Albert Roussel and was probably performed twice in Paris during 1924. It had its Czech premiere in February 1925 and Martinu requested his friend S. Novak to make sure that they didn't lose the scores of the things they played because he did not have any sketches or copies.Precisely that which Martinu feared then occurred - the sole existing version of the trio was lost; it was not until the autumn of 2005 that the autographof the trio (the score and parts for the viola and cello - the violin part is still missing) was found at the Danish Royal Library in Copenhagen thanks to the searches of the Bohuslav Martinu Institute and it is after this autograph that this edition has arisen.

Artist Level (correlates with Book 1 p. 42) Beautiful rendition of the beloved American song. (Artist Level)

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