Concerto for Violin and Viola with Strings and cembalo

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Edition for piano two violins viola and violoncello-Edition for piano two violins viola and violoncello (2-piano reduction with 1 each of the string parts) 'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived piano concertos. These three concertos may be performed not only with a large orchestra including wind instruments but also a quattro that is with two violins one viola and violoncello. They will be issued early in April of this year (1783).' As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his piano concertos K.413-5 and as we know from a letter Mozart wrote to his father inK.449 as well. In addition to orchestral forces it is also possible to use a chamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with piano. These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two pianos the solo Part - as well as the strings - are unchanged and thus identical with the version in the NMA. The piano arrangement adheres to the original orchestral score. Chamber music editions available for: Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived Piano concertos. These three concertos may be performed not only with a large Orchestra including wind instruments but also a quattro that is with two Violins one Viola and Violoncello. They will be issued early in April of this year (1783).'As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his Piano concertos K.413-5 and as we know from a letter Mozart wrote to his father in K.449 as well. In addition to orchestral forces it is also possible to use achamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with Piano.These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two Pianos the solo part - as well as the strings - are unchanged and thus identical with the version in the NMA. The Piano arrangement adheres to the original orchestral score.Chamber music editions available for:Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

Viola-Dvorák?s Violin Concerto was composed between 1879 and 1882 with the active assistance of Joseph Joachim and was issued by the publisher Fritz Simrock Berlin in 1883. Its premiere took place in October of that same year with Franti?ek Ondr cek as soloist.This new Urtext edition is based on the first edition (score solo Violin part Piano reduction and orchestral parts). It also takes Dvorák?s autograph which served as a master copy for the engraving into consideration. A fresh assessment of Dvorák?s manuscript made it possible to reconstruct several variants ignored in the first and subsequent editions and toclarify ambiguities in the notation and articulation. An important component of our Urtext edition is the original Piano reduction which probably stems from Dvorák himself and in which Joseph Joachim?s fingering is published. First Urtext edition of the original Piano reductionVariants in the solo part rendered as ossia passagesForeword on the work?s genesis (Ger/Cz/Eng) and detailed Critical Commentary (Eng) by the editor

For Violin Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on tothe next piece. This was particularly the case around the time of his Opus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music.The Sinfonietta waswritten (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started workon his Op.2 Phantasy for Oboe and String Trio a few weeks later.Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketchis unusually for Britten complete in practically every detail it is puzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear ifhe had particular performers in mind (he was of course a Viola player although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Brittenrecorded in his diary was 'pretty pleased' with it; but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' readsanother diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936.In theabsence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between

Arranged for Violin and Piano-The Belgian Charles Auguste de Bériot (1802-1870) was not only a violinist but also a teacher and composer. Scène de Ballet perhaps his best-known composition is a favourite with Violin students. One such student was the young Itzhak Perlman who included it in his collection Concertos from my Childhood. The piece captivates with its beautiful melodies and refined rhythms. The EditorKurt Sassmannshaus is a world-famous Violin teacher with a professorship in Cincinnati (Ohio USA). He is also the founder of the Great Wall Music Academy an international summer camp for young string players in China. Hecontinues the family tradition of Early Start on the Violin founded by his father Egon Sassmannshaus and published by Bärenreiter with editions in German and English. The series Bärenreiter's Concert Pieces includes works for solo strings usually the Violin but also Viola and Cello all with Piano accompaniment.

20 Easy to Intermediate Pieces from four Centuries. Par NEUMANN EVA-MARIA (Arr.). Making music in a quartet uniquely nurtures young string players’ musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music’s supreme discipline, as early as possible. Indeed, composers have all along advised the classical string quartet’s outstanding compositions, but they are hardly easy to play for beginners. Here, with the present collection, is where Eva-Maria Neumann comes in. The two volumes include A total of 20 easy to intermediate arrangements of pieces from Bach to Bartók, together with specifically composed ones in string-quartet friendly keys - Reading scores and individual parts - additionally, individual part for violin III instead of viola - Tips on warming up, intonation, bowing, fingering, tempos, dynamics, and playing musically - Specific instructions for the individual pieces - Lists of supplementary original literature The pieces are also effective as scored for chorus./ Recueil / Quatuor à Cordes

Paul Paradise has selected eight of Arcangelo Corelli's twelve Concerti Grossi and combined the concertino parts with the concerto grosso parts, edited the bowings, and added fingerings. Now these masterful works are playable by string orchestra or string quartet. The Concerto Grossi included are: No. 4 in D Major * No. 7 in D Major * No. 10 in C Major * No. 11 in B-flat Major * No. 12 in in F Major * No. 3 in C Minor * No. 8 in G Minor (Christmas) * No. 2 in F Major.