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To mark the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. This anthology is aimed at intermediate to advanced violinists looking for some interesting new discoveries away from the standard repertoire. Containing works largely from the Romantic era, these are virtuoso pi�ces de r�sistance and encores, expressive character pieces, gems of salon music and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.

Samuel Dushkin (1891-1976), advisor, duo partner and friend of Igor Stravinsky, wrote several transcriptions for his instrument, the violin, of then well-known and popular melodies from works by Stravinsky, of course, but also by other composers such as Bizet, Rachmaninov, Alb�.niz and Wieniawski.

The present collection is a compilation of arrangements by well-known and unknown composers: Exotically tinged melodies by Paul Kirman, R. Felber or Alexander Sasonoff are juxtaposed to a beguiling waltz by Max Reger, tone paintings in Mussorgsky's 'Ripples', George Gershwin's jazzy 'Short Story' and many others. The collection is not complete without a movement from Stravinsky's 'L'Oiseau de feu' and a tango .- spectacular music for the violin.

'You were often on my mind when I was writing', wrote Robert Schumann to Joseph Joachim who had encouraged him to write this concerto. In view of Schumann's illness, however, Joachim began to have his doubts about the value of the work. In his will, Joachim prohibited the first performance until the 100th anniversary of Schumann's death in 1956. After detailed editorial work, the premiere was brought forward to 1937.

The theme of the middle movement probably formed the basis of Schumann's Geistervariationen ('Ghost Variations'), the character of the third movement is that of a grand polonaise. Yehudi Menuhin who performed the world premiere of the unedited version of Schumann's solo part saw in this piece 'the bridge between Beethoven's and Brahms' concertos'.