Concerto for Oboe and Violin for String Quartet

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

From Concerto For Violin and Oboe-This excellent String Quartet arrangement of Bach's much-loved concerto for Violin and Oboe is straightforward and accessible technically to reasonably good players as there are no tricky rhythms or high notes. SJ Music has also published John Cooley's arrangements of Mozart's Piano duets K497 and K521 for Piano trio (T1988-4) and Piano quartet (Q1995-2) respectively Bach's Organ Passacaglia and Fugue for String Quartet (Q2001-1) and one of Purcell's trio sonatas for string trio.(T2005-1)

The world premiere of Richard Blackford's Violin Concerto took place at the Wannieck Gallery Brno on 25th September 2008. The soloist was Marie Gajdosova with the Brno Philharmonic Orchestra conducted by Leo Svarowsky.Instrumentation2 Flutes (II doubling Piccolo)OboeClarinetBassoons2 HornsTrumpetSolo ViolinStrings

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 to the 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 was written (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 work on 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 sketch is, 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 if he 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 Britten recorded 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!' reads another 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 the absence 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 bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Edition: Piano Reduction/Vocal Score. Urtext Edition. Set of Parts
Editor:
Binding: stapled
Instrumentation: ObSolo, VSolo, Strings, Basso continuo
Duration: 20'

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 to the next piece. This was particularly the case around the time of hisOpus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music.The Sinfonietta was written (in less than three weeks) very soon after Britten had completed thefirst draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weekslater.Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketch is unusually for Britten complete in practically every detail it ispuzzling 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 if he had particular performers in mind (he was of course a Violaplayer 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 Britten recorded in his diary was 'pretty pleased' with it; but it isdistinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete theDouble Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936.In the absence of Britten's full score it was necessary for me to prepare the workfrom 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 bars 70 and 74 of the slow movement did there seem to be any need to add

reconstructed by Philip Wilby-This reconstruction of the Concerto in D K.315f was first performed on 15th August 1985 at the Dartington Hall Summer School of Music by Ernst Kovacic (Violin) and Bernard Roberts (Piano) with the Dartington Chamber Orchestraconducted by Diego Masson. This is the Study Score. Instrumentation includes SOLO VIOLIN; SOLO PIANO; 2 FLUTES; 2 OBOES; 2 HORNS IN D AND G; 2 TRUMPETS; TIMPANI; STRINGS.The duration of this work is 25 minutes. Full score solo and orchestral parts are available on hire from the publishers.

Urtext- u. Interpretationsausgabe mit Kadenzen und Eingängen

Edition : Piano Reduction/Vocal Score. Single Part. Urtext Edition
Editor : Mahling, Christoph-Hellmut
Binding : stapled
Instrumentation : Violin-solo, 2 Oboe, 2 Horn, Strings