Concerto for String Orchestra [Concerto Grosso, Op. 6/12 in B minor, HWV 330]

Violin Concerto No.1 for Violin solo and Harp Harpsichord and Strings by Poul Ruders (1981).

Henrik Hellstenius: In Memoriam - Violin Concerto No. 2 (2012) - for Violin solo String Orchestra and Percussion. Orch. parts are available on hire: hire@ewh.dk

The score of Georg Philipp Telemann's Trumpet Concerto In D. Edited by Karl Grebe.

Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969) the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident above all in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations emblematic for the whole piece and based on a constant pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante) while retaining its concertato charakter is at the same time an example of the composers ability to create emotionally serene lyrical moods and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music the constant mutabilityof the tonal situations and the sophisticated acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska translated by Ewa Cholewka]

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.

Vagn Holmboe's Concerto No.11 Op.44 For Trumpet And Orchestra is part of a series of 'Chamber' concertos written for soloists with smaller accompaniment groups. Concerto no.11 is based upon the concertos of Joseph Haydn and features the fast-slow-fast formal structure typical of the Classical concerto. Holmboe's melodic writing is modelled upon the motivic and thematic developments that are highly characteristic of Haydn's melodic constructions lending the work a timeless air.

Hob Vii A 1-One of Haydn's most attractive concertos from the mid seventeenth century the Concerto For Violin In C has only recently been re-discovered. In this charming concerto the soloist is accompanied by a String Orchestra a scoring which can be easily mastered by amateur ensembles. This Urtext edition full score is taken from the Henle Complete Edition of the Works of Joseph Haydn.

E flat major-The Concerto For Alto Saxophone And Orchestra is Alexander Glazunov’s last work; since its first performance in 1934 it has become part of the standard Saxophone repertoire. The sole surviving autograph manuscript is the hand-written dedication score given by Glazunov to Sigurd Raschèr (Raschèr was the founder and leader of the well-known and innovative Raschèr Saxophone Quartet).This score contains the original version of the work without the alterations which were made in the proofs to the orchestral score as well as the full version of the composer’s cadenza which was later shortened. The autograph manuscript also containssome performance markings by Raschèr.The correspondence between Raschèr and Glazunov documents the composer’s thoughts on the work and his recommendations about the size of the accompanying String Orchestra. Evidence from this correspondence has been integrated into this edition.This first scholarly-critical edition of a work by Glazunov contains an informative introduction with commentaries about the history of its composition facsimiles and a critical commentary.The solo part includes both the complete and the shortened version of the cadenza as well as a cadenza by Raschèr which the composer authorised.- Includes the original and new solo cadenzas.- With helpful performance tips by Carina Raschèr the daughter of Sigurd Raschèr.- With an Urtext solo Saxophone part and a second part prepared by Carina Raschèr.- Informative foreword (Ger/Eng).- Full score & performance material (BA8732) and Saxophone & Piano reduction (BA8732-90) available for sale.

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.

Version For String Quartet And String Orchestra (Solo Parts)-Solo quartet parts for Endorphin - Concerto  Grosso for String Quartet and Chamber Orchestra (or String Orchestra) by Søren Nils Eichberg (2011/2016).

Concerto Grosso for String Orchestra-A Concerto Grosso for String Orchestra by Karl Jenkins presented in full score.