Concerto for Violin & Orchestra - Piano score

'Romance for violin and piano is a short reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.'???????????? - Helen GrimeBorn in 1981 Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07 Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison Michael Gandolfi Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO London Symphony Orchestra BCMG Britten Sinfonia BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding Oliver Knussen Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Hall? from the

A Violin and Piano arrangement of the Philip Glass Violin Concerto with the Piano reduction by Charles Abramovich. The original concerto for Violin and Orchestra was commissioned by the American Composer's Orchestra who gave thefirst performance at Carnegie Hall New York on 5th April 1987.

Concert rhapsody for violin and piano-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 laterorchestrated ?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 pianoIncludes Jelly D?Aranyi?s fingering

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

for Violin and Piano-Following the publication of the Valse-Scherzo we continue Henle's edition of Tchaikovsky?s complete works for violin and piano with the enchanting Sérénade mélancolique op. 26. This was Tchaikovsky?s first concertante work forviolin the beginning of a path that was to lead to his Violin Concerto three years later. He composed the Sérénade mélancolique in 1875 for violinist Leopold Auer originally for violin and orchestra but later also in a versionfor violin and piano. Since the autograph sources are lost this Henle edition is based on the Russian first editions which even in Tchaikovsky?s lifetime were issued in a number of revised versions. The editor RussianTchaikovsky scholar Alexander Komarov brings exemplary clarity to the confused state of the sources while Ingolf Turban unlocks the notation of the violin part with his accomplished fingerings and bowings.

Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.The Piano reduction of Mozart?s G Major Violin Concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages.The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section.A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas ?Eingänge? and fermata embellishments by Eugène Ysaÿe Leopold Auer Sam Franko and Martin Wulfhorst.This collection offers players a spectrum of styles available in no other publication.Urtext of the New Mozart EditionFull score and parts (BA4865) Violin and Piano reduction (BA4865-90) and study score format 22.5 x 16.5cm (TP272) available for sale.

Mozart?s concertos for Violin and Orchestra belong to that elite group of works determining a Violin players abilities; they are elegant and transparent with demanding passage-work. The Concerto In D Major K.2 271a the ?6th? Mozart Violin concerto has come down to us in two separate sources a French set of parts and score copy as well as a Berlin score. The editorial board of the New Mozart Edition considers this concerto to be of doubtful authenticity. There are however many musicologists who feel that the work has numerous Mozart attributes.This new publication takes both the above mentioned sources into account andincludes the cadenzas from the respective New Mozart Edition volume appendix although these are certainly not from Mozart's pen.- The ?6th? Mozart Violin concerto!- Cadenzas from the sources.- With an alternative ending.- Additional solo part with fingerings and bowings.- Straight-forward Piano reduction.- Full score and performance material (BA5769) and Violin and Piano reduction (BA5769-90) available for sale.

for Violin and Piano Reduction-The multi-talented Andre Previn composed this three-movement concerto on commission from the Boston Symphony Orchestra for violinist Anne-Sophie Mutter. The concerto was actually written during the months before the marriage ofMutter and Previn. It was premiered on March 14 2002 at Symphony Hall Boston. The composer's feelings and admiration for Mutter and the BSO come through in this expansively tuneful warm music. The piece reflects Previn's earlychildhood memories of Germany incorporating a German children's song in the third movement.

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 concerto forms (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 his Suites per istrumenti ad arco (1902) and his Concerto all'antica for violin (1908) here provided. / Violon Et Piano

Frederick Delius' Double Concerto for Violin Cello and Orchestra with orchestral Piano reduction by Philip Heseltine.

Joseph Haydn's Concerto No.2 in G Hob.VIIa/4 for Violin and Orchestra.Edition for Violin and Piano reduction edited by Kuchler. 

Concerto for violin and small orchestra arranged by the composer for violin and piano. Duration: c. 25 minutes.

Piano Reduction-This concerto in three movements by one of today's greatest composers is now available for violin and piano. Includes program notes by Bolcom. Duration ca. 20 minutes.