Violin Concerto in A minor Violin Concerto in E Major Concerto for Two Violins in D minor

À ce jour, les concertos pour violon de Bach sont parmi les plus populaires pièces de répertoire de nombreux violonistes qui doivent répondre à des exigences techniques grands dans ces oeuvres. Créé au cours du temps de Bach à Köthen, dans laquelle le compositeur a présenté des oeuvres de nove révolutionnaire / Orchestre

Solo Violin Sonatas and Partitas 4 Concertos and Arioso-This volume from Schirmer's Library Of Musical Classics contains J.S. Bach's Complete Sonatas and Partitas (BWV 1001-1006) Concerto in A minor BWV 1041 Concerto in E Major BWV 1042 Concerto for TwoViolins in D minor BWV 104  Arioso from Ich steh mit einem Fuss im Grabe BWV 156 and Concerto in G minor BWV 1056R.

Piano reduction-Of all of Henry Vieuxtemps' Violin concertos his fifth in a minor is the best known and most popular by far. The Violin Concerto No. 5 In A Minor Op. 37 was composed between 1860-61 as anobligatory examination piece for the students of Vieuxtemps' friend Hubert Léonard at the Brussels Conservatory. The work soon made its way into the concert hall and owes its popularity not only to the brilliant Violinpart but also to the distinguished form of the three movements that combine without interruption. This Henle Urtext edition has been edited by the The violinist and musicologist Ray Iwazumi who also undertook thebowings for the solo part. The preface was penned by the Belgian expert on Vieuxtemps Marie Cornaz.

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)

Violin 2-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

Cello-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

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

Deux des compositions les plus durables de Bruch, révélant le romantisme du compositeur allemand, la notation couramment, orchestrations colorées, et la mélodie exubérante. Le Premier Concerto pour violon en sol mineur se présente comme l'un des concertos les plus jouées et enregistrées dans le répertoire pour violon tandis Fantaisie écossaise reflète son intérêt tout au long de la musique folklorique.Réimpression de concert, op.26, CFW Siegel Musikalienhandlung, Leipzig, sd, et Fantasie, Op.46, N. Simrock, Berlin, 1880. / Violon Et Orchestre

TWV 51:a1 A minor 51:D9 D major 51:g1 G minor-Three Concertos for Violin A minor TWV 51: a1; D major TWV 51: D9; G minor TWV 51: g1No fewer than twenty-five violin concertos by Georg Philipp Telemann (1681-1767) have come down to us over the years - presumably only a fraction of his total output in this geme. But even this corpus though reduced by time reveals that Telemann like other composers of his day regarded the violin as the most important and most versatile of all solo instruments. Two of his operas - Der neumodische Liebhaber Damon (1719 TWV 21:8) and Die last-tragende Liebe oder Emma und Eginhard (1728 TWY 27:25) - open with introductory violin concertos; there are eight concertos for twoviolins; and the violin plays an important role in virtually all his concertos for two or more solo instruments.Urtext of the Telemann EditionPerformance material available for hire

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.

Bach, Johann Sebastian Concerto for Violin, Strings and Basso Continuo G minor Reconstructed from BWV 1056 - Reconstructed from the Urtext of the ?New Bach Edition? - Meticulous analysis and evaluation of the sources - Interpretative leeway for keyboard players 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.

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

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 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)