Concerto For Violin And Orchestra #3 B Minor Op. 61

Together for the first time in a single affordable volume these are authoritative editions of the Violin Concerto in A Minor which broke the centuries-old mould of the concerto form and the Romance for Violin and Orchestra a mesmerizing reverie that builds to a finale of fiery technical feats.

Concerto in the Old Style Concerto in A Minor (18th century style)-Now available for the very first time the reduction for violin and piano of Ottorino Respighi’s Concerto all’antica originally composed for violin and orchestra.Composed in 1908 Respighi’s Concerto all’antica reflects one of the most characteristic artistic aspects of this composer namely his love for ancient music. This can also be seen in those of his works that adopt the toccata and concertoforms (Toccata for piano and orchestra Concerto a cinque) as well as his use of the late Renaissance/Baroque style for the three suites in his Antiche danze ed arie per liuto or in his Uccelli. We find it again in hisSuites per istrumenti ad arco (1902) and his Concerto all’antica for violin (1908) here provided.

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)