Concerto for violin, 3 horns and orchestra in D major

Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars/ Répertoire / Violoncelle et Orchestre

This concerto is dedicated to Dennis Russell Davies and Paul Zukofzky who presented the first performance. The orchestral accompaniment consists of two flutes (one doubling as piccolo) two oboes E-flat clarinet two clarinetsand bass clarinet two bassoons four horns three trumpets three trombones tuba timpani percussion (snare drum bass drum triangle cymbal woodblock) harp and strings.Presented here in full score.

Violino piccolo pitch notation - notated the way it sounds-Violin solo part sounds at pitch (F major).Includes original version of the Sinfonia BWV 1046a.Authoritative Urtext edition of Johann Sebastian Bach's Brandenburg Concerto No.1 in F major BWV 1046.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach’s appointment in Cöthen.Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form.These Urtext publications [BA5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even along side the version known today.In the earlier version of Concerto No.1 (BWV 1046a) which according to the editor of the edition Heinrich Besseler seems to have been Bach’s favorite among the six there is no violino piccolo part to be found and the violin concerto-like 3rd movement as well as the Polonaise movement are also absent.In nearly every bar the articulation in one instrument or another differs from the later version; for example the 16th-note slurs in bars 1 and 2 of the horns are missing in the later score the oboe slurs and trills in m.12 are also not to be found. The later version has the cello seperated from the continuo which means that the 16ths in m.7 are not to be played by the Violone grosso.

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.

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 Orchestra conducted by Diego Masson. 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.

Written in 1803 by Johann Nepomuk Hummel (1778-1837) this Trumpet Concerto is a classical piece of the Trumpet repertoire. This version of the concerto features the score and part for Trumpet and band. Composed in the spirit of Mozart the band is composed of:  - Flute I & II (2) - Oboes I & II (2) - Clarinet I (2) - Clarinet II (2) - Clarinet III (2) - Horns I & II (2) - Trumpets I & II (2) - Timpani - Solo Trumpet - Bass Clarinet (2) - Bassoons I & II (2) - Countrabassoon Former student of Mozart Johann NepomukHummel (1778-1837) was a brilliant composer pianist conductor and teacher. Evolving at the same period as Beethoven he became as famous and wrote numerous concertos (for Piano Oboe Trumpet Violin and others) operas and some wind music pieces.

Written in 1803 by Johann Nepomuk Hummel (1778-1837) this Trumpet Concerto in E-flat Major is a classical piece of the Trumpet repertoire. Composed in the spirit of Mozart and initially for the keyed-Trumpet it was re-discovered in 1958 by a Yale student after 150 years of inertia due to the obsolescence of the instrument for which it was made. This edition offers a transposition in E-flat Major (initially in E Major) adapted to the instruments in use today. The other instruments to be involved in this concerto are a Flute two Oboes two Clarinets two Bassoons two Horns Timpani and Strings. Hummel?s Trumpet Concerto begins with an orchestra onlyfirst movement in a sonata theme which is repeated with the inclusion of the soloist. This Allegro Spirito sounds reminiscent of the Haffner Symphony (No. 35 in D Major) by Mozart but distinguished itself by a second theme. The second movement Andante is more melodic with the trumpet which holds long notes. Finally the Rondo offers a blissful and bright end to the Concerto. Former student of Mozart Johann Nepomuk Hummel (1778-1837) was a brilliant composer pianist conductor and teacher. Evolving at the same period as Beethoveen he became as famous as him and wrote numerous concertos (for Piano Oboe Trumpet Violin and others) operas and some wind music pieces.

Par WEILL KURT. Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)/ Répertoire / Violon et Orchestre d'Instruments à Vent