Partitions Numériques de Yin pour Orchestre, Violon

Yin

Concerto D Major
Orchestre, Violon

Violin and orchestra - intermediate to advanced - Digital Download Adelaide. Composed…(+)

Violin and orchestra - intermediate to advanced - Digital Download Adelaide. Composed by Wolfgang Amadeus Mozart (1756-1791). This edition: piano reduction with solo part. Madame Adelaide, Violin concerto, Paris. Downloadable. Schott Music - Digital #Q54917. Published by Schott Music - Digital
As can be seen from the dedication, this piece is the first violin concerto Mozart wrote in spring 1766 while staying at the French court for several weeks when he came to Paris for the second time with his father and sister after their return back from England. The work probably came into being because the astonishing abilities of the young artist were often called into question and he was therefore set a task which had to be completed in the presence of the commissioner. And this is how Mozart composed this violin concerto for Madame Adelaide of France, the eldest daughter of Louis XV.As can be seen from the dedication, this piece is the first violin concerto Mozart wrote in spring 1766 while staying at the French court for several weeks when he came to Paris for the second time with his father and sister after their return back from England. The work probably came into being because the astonishing abilities of the young artist were often called into question and he was therefore set a task which had to be completed in the presence of the commissioner. And this is how Mozart composed this violin concerto for Madame Adelaide of France, the eldest daughter of Louis XV.
$16.99 15.47 € #Orchestre, Violon # Wolfgang Amadeus Mozart (1756-1791) #Concerto D Major # Schott Music - Digital #SheetMusicPlus

Violin - difficult - Digital Download Concerto for violin and orchestra. Composed by Thomas Ades (1971-). This edition: single sheet. Cadenza. Downloadable. Duration 2 minutes 30 seconds. Schott Music - Digital #Q18204. Published by Schott Music - Digital
In a conversation with the violinist Peter Herresthal, we touched on the "invitation" in the score of Ligeti's Violin concerto to provide a cadenza for the work. Peter suggested that I answer this invitation and I was happy to accept. I followed all the composer's directions exactly: the cadenza may use material from all five movements, and should be of "hectic" character throughout. I also aimed to write a cadenza of which the closing orchestral coda would be an inevitable result. (Thomas Ades)<br> <br> The cadenza can also be composed by the soloist and can last up to 1-2 minutes. It should be hectic throughout (continuation of the appassionata agitato molto), but can incorporate melodic material ad lib. from all five movements. Towards the end, the tempo should be prestissimo with alternating arco and left hand pizz. in mad virtuosity. The cadenza has no real end and is suddenly interrupted by the orchestra at R (as agreed between soloist and conductor). This interruption occurs suddenly as if unprepared. The soloist should at this point be playing in high positions (on the top string) at maximum velocity. The solo violin abruptly falls silent on the entry of the high woodblock. Gyorgy LigetiIn a conversation with the violinist Peter Herresthal, we touched on the "invitation" in the score of Ligeti's Violin concerto to provide a cadenza for the work. Peter suggested that I answer this invitation and I was happy to accept. I followed all the composer's directions exactly: the cadenza may use material from all five movements, and should be of "hectic" character throughout. I also aimed to write a cadenza of which the closing orchestral coda would be an inevitable result. (Thomas Ades)<br> <br> The cadenza can also be composed by the soloist and can last up to 1-2 minutes. It should be hectic throughout (continuation of the appassionata agitato molto), but can incorporate melodic material ad lib. from all five movements. Towards the end, the tempo should be prestissimo with alternating arco and left hand pizz. in mad virtuosity. The cadenza has no real end and is suddenly interrupted by the orchestra at R (as agreed between soloist and conductor). This interruption occurs suddenly as if unprepared. The soloist should at this point be playing in high positions (on the top string) at maximum velocity. The solo violin abruptly falls silent on the entry of the high woodblock. Gyorgy Ligeti