Konzert In A Minor Op. 54

Par WEBER CARL MARIA VON. Pour deux raisons, Weber avait hésité à présenter au public son opus 79, connu en tant que «Konzertstück». Comme il l’écrit au journaliste musical Friedrich Rochlitz, l’expérience montre que les concertos en tonalité mineure sont moins bien acceptés par le public. De plus, il craignait d’être pris pour un «charlatan musical», car tout en composant il lui était venu des visions d’une histoire d’amour dramatique du temps des croisades, lesquelles marquaient de leur empreinte le caractère de l’oeuvre. Ces préoccupations sont toutefois sans fondement- le «Konzertstück» virtuose conquiert les salles de concert du monde entier. Il est désormais disponible en édition Urtext. Le célèbrepianiste Marc-André Hamelin a élaboré le doigté. ?/ Répertoire / 2 Pianos à 4 Mains

Le Concerto de Grieg in A Minor, Op.. 16, et le Concerto de Schumann en la mineur, op. 54 - deux des plus populaires de tous les concertos pour piano du répertoire - réimprimé dans les éditions qui font autorité. Dans chaque cas, la partie de piano 2ème est une réduction d'orchestre, en fournissant des pianistes avec le format 2-piano qui est la méthode standard pour les répétitions.Réimpression de sélections de Concerto en la mineur pour piano, op. 54, G. Schirmer, Inc, New York, 1918 et Konzert für Klavier, op. 16, A-??Moll, C. F. Peters, Francfort, n.c. / 2 Pianos

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Unter den insgesamt sieben Violinkonzerten Vieuxtemps' stellt das fünfte in a-moll sicherlich das mit Abstand bekannteste und beliebteste dar. Komponiert wurde es 1860/61 als Pflichtstück für die Geigenklasse seines Freundes Hubert Léonard am Brüsseler Konservatorium, machte dann aber rasch seinen Weg durch die Konzertsäle. Die Popularität verdankt es nicht nur dem brillanten Geigenpart, sondern auch der originellen Form in drei Sätzen, die pausenlos ineinander übergehen. Als Herausgeber konnte der Geiger und Musikwissenschaftler Ray Iwazumi gewonnen werden, der zugleich für die Strichbezeichnungen der Solostimme verantwortlich zeichnet, das Vorwort stammt von der belgischen Vieuxtemps-Expertin Marie Cornaz. / Violon Et Piano

Par VIVALDI ANTONIO. Concerto Grosso B Minor/ Répertoire / 4 Violons, Cordes et Basse Continue

Par VIVALDI ANTONIO. Concerto Grosso D Minor/ Répertoire / 2 Violons, Violoncelle Obligatoire, Cordes et Bass

Some of Edvard Grieg's most beautiful melodies have been transcribed here for clarinet and arranged into comfortable 'clarinet-friendly' keys allowing the performer to play with confidence. James Rae has selected a mixture of well-known and less well-known pieces which include: Piano Concerto in A minor Op. 16 (2 nd movement), Wedding Day at Troldhaugen, In the Hall of the Mountain King and more.All are very suitable for developing clarinettists at middle-grade technical levels. / Clarinette Et Piano