Concerto in A Minor for Violin Strings and Basso Continuo, Op.4 No.4, RV357

Concerto for Violin Strings and Basso Continuo D minor reconstructed from BWV 1052.Full score and performance material available for hire.

INTRODUCTION
The Four Seasons : Sonnet Texts
Bibliography
Il Cimento dell'armonia e dell'inventione
(The Contest of Harmony and Invention)
Twelve Concertos for violin, strings, and continuo
(Opus 8)
THE FOUR SEASONS (OPUS 8, NOS. 1-4)
Concerto No. 1 in E Major: La Primavera ( Spring )
(Op. 8, No. 1 / RV 269)
I. Allegro
II. Largo
III. Allegro
Concerto No. 2 in G Minor: L'Estate ( Summer )
(Op. 8, No. 2 / RV 315)
I. Allegro non molto
II. Adagio
III. Presto
Concerto No. 3 in F Major: L'Autunno ( Autumn )
(Op. 8, No. 3 / RV 293)
I. Allegro
II. Adagio molto
III. Allegro
Concerto No. 4 in F Minor: L'Inverno ( Winter )
(Op. 8, No. 4 / RV 297)
I. Allegro non molto
II. Largo
III. Allegro
OTHER VIOLIN CONCERTOS (OPUS 8, NOS. 5-12)
Concerto No. 5 in E-flat Major: La Tempesta di Mare ( The Storm at Sea )
(Op. 8, No. 5 / RV 253)
I. Presto
II. Largo
III. Presto
Concerto No. 6 in C Major: Il Piacere ( Pleasure )
(Op. 8, No. 6 / RV 180)
I. Allegro
II. Largo e cantabile
III. Allegro
Concerto No. 7 in D Minor
(Op. 8, No. 7 / RV 242)
I. Allegro
II. Largo
III. Allegro
Concerto No. 8 in G Minor
(Op. 8, No, 8 / RV 332)
I. Allegro
II. Largo
III. Allegro
Concerto No. 9 in D Minor
(Op. 8, No. 9 / RV 236)
I. Allegro
II. Largo
III. Allegro
Concerto No. 10 in B-flat Major: La Caccia ( The Hunt )
(Op. 8, No. 10 / RV 362)
I. Allegro
II. Adagio
III. Allegro
Conceto No. 11 in D Major
(Op. 8, No. 11 / RV 210)
I. Allegro
II. Largo
III. Allegro
Concerto No. 12 in C Major
(Op. 8, No. 12 / RV 178)
I. Allegro
II. Largo
III. Allegro
IMPORTANT VARIANTS
How to Use the Variants
Concerto No. 7 in D Minor (RV 242)
Allegro (Movement I)
a. Substitute for Bars 50-76
Concerto No. 9 in D Minor (RV
(Version for Oboe, Strings and Continuo, RV 454)
Allegro (Movement I)
a. Substitute for Bars 91-102
Concerto No. 11 in D Major (RV 210)
Allegro (Movement I)
a. Substitute for Bars 100-112
b. Substitute for Bars 122-132
Allegro (Movement II)
c. Substitute for Bars 38-67
d. Substitute for Bars 113-154
e. Substitute for Bars 171-214
f. Substitute for Bars 171-208
CRITICAL NOTES
The Sources
The Amsterdam Print
The Dresden Manuscripts
The Manchester Partbooks
The Turin Autograph Scores
The Dover Edition
Text Fonts Used in The Four Seasons

Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach's arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion./ Répertoire / Violon et Piano

Editor: Tivadar Nachéz
Dedication: Jacques Thibaud gewidmet
Instrumentation: violin, strings and organ
Edition: piano reduction with solo part
22 Pages - Saddle stitching

G minor BWV 1058-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The Concerto for Harpsichord and Strings in G minor BWV 1058 is the last complete work in the original autograph score of harpsichord concertos that Bach wrote out in or around 1738 (Berlin Staatsbibliothek Mus. Ms. Bach 234). However it only came to occupy this position later when the manuscript wasbound. It stands at the very outset of the genesis of this group of works and marks the earliest stage in Bach’s efforts to transform concertos for melody instrument and strings into harpsichord concertos. In this case the original model the Concerto for Violin and Strings in A minor (BWV 1041) has survived thereby allowing us to examine Bach’s technique of arrangement in detail.- Urtext of the New Bach Edition- Full score & parts (BA5230) two-keyboard reduction (BA5230-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

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

for Violin Strings and Basso continuo-Today the three Violin concertos BWV 1041 3 are among Johann Sebastian Bach’s best known and most popular instrumental works and enjoy a permanent place in the concert repertoire.This Urtext edition is based in the New Bach Edition. The revised Violin and Piano reduction includes an Urtext solo part and a solo part with bowing fingering and comments on performance by Andrew Manze.Full score and performance material (BA5189) Violin and Piano reduction (BA5189-90) and study score of BWV1041-1042 (TP269) available for sale.

Für Violine und Orchester 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 premi?re; the ‘child prodigy’ Joseph Joachim; and Hubert L?onard 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 L?onard.The letter informs us that the composer invited L?onard 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 L?onard.The recently discovered proofs reveal how L?onard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how L?onard 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 L?onard’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)

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive 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 solo violin 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 (Eng/Ger)

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for Harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly Violin or Oboe).- Urtext of the New Bach Edition- Full scores and performing material to the five concertos for Harpsichord and Strings BWV 1052-1056 (BA5224-BA5228) the concerto for Harpsichord two Recorders and Strings BWV 1057 (BA5229) as well as the concerto BWV 1058 (BA5230) also for Harpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

Arranged for Violin and Piano-The Belgian Charles Auguste de Bériot (1802-1870) was not only a violinist but also a teacher and composer.Bériot composed a number of concertos. His Concerto No.9 In A Minor published in 1859 is a favourite with more advanced students. Julia Fischer played it with verve at the early age of eight. The piece stands out with seemingly virtuosic short passages varied rhythms and a slight Hungarian touch.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 youngstring players in China. He continues 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.

F minor BWV 1056-In early 1729 Bach became director of the so-called 'Scottish Collegium Musician' a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The Concerto in F minor BWV 1056 is the fifth of the harpsichord concertos contained in the autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). It is one of those harpsichord concertos that reveal themselves to be transcriptions even though the original model is nowlost.- Urtext of the New Bach Edition- Full score & parts (BA5228) two-keyboard reduction (BA5228-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

Antonio Vivaldi's Concerto Grosso in D minor Op.3 No.11 for two Violins Cello and Strings. Edition for two Violins and Piano. Edited by Klengel.