KV 207, 211, 216, 218, 219, 261, 269 (261a), 373. Par MOZART WOLFGANG AMADEUS. Based on the Urtext of the 'New Mozart Edition”, this new study score unites the five violin concertos and the 3 single movements for violin from the pen of Mozart in one thoroughly reliable study score. A new historical introduction by Gudula Schütz provides valuable additional information. Full scores, piano reductions and performance material to all works included in the study score are readily available./ Répertoire / Violon et Orchestre

My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece.The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue.The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon Et Orchestre

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon Et Orchestre

In this Concerto in C major the soloist is accompanied purely by a string orchestra, a scoring which can be mastered easily, even by amateur ensembles.Continuing Bärenreiter's collaboration with the Henle publishing company in the areas of large vocal compositions, operas and symphonic works, the edition of this violin concerto is based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete London and Paris symphonies as well as several 'Sturm und Drang? symphonies are already available. All works appear with a full score and performance material on sale in a large format.- Urtext from the Henle Complete Edition of the 'Works of Joseph Haydn?- Charming violin concerto where the accompaniment can be also be mastered by amateurs / Violon Et Orchestre

Facilement identifiable par son ISBN 9790201841038 cette pièce Works for Violin and Orchestra appartient à la collection désormais incontournable Kojima, Shin Augustinus.Composée pour Violon par le célèbre compositeur Beethoven Ludwig Van ce sont les éditions Henle qui on eu l'honneur d'imprimer cette partition. / Violon Et Orchestre / Edition Complète

Description Two of Saint-Saens most popular works appear together in this affordable volume. First composed in a song form Danse Macabre was later rewritten as a symphonic poem. It is important to remember that risque music was considered more daring and controversial than today and audiences at its 1875 debut were resistant to its unconventional charms, but it eventually became a crowd pleaser. Havanaise is among the most challenging of violin and orchestra pieces, but a standard showpiece in the repertoire of every serious violinist. Based on the Cuban dance, Habanera, the 1887 work features a languid mood, highlighted by bursts of virtuoso activity. This volume contains the full score for violin and orchestra of both these magnificent pieces.

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