for Violin and Orchestra-Beethoven?s 'Romances' are performed all over the world yet how many conductors performers and listeners are aware that op. 50 which was incidentally composed before op. 40 comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer.Bärenreiter?s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven?s autograph with editorial markings clearly indicated the second score has beenedited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.Barenreiter No. BA9026

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.

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

Beethoven?s Concerto For Violin And Orchestra is one of the most famous works in the history of music. Over the last 150 years it has been published in numerous editions none of which have up to now done justice to the work. For this edition Jonathan Del Mar has freed the work of additions made over the decades by various editors and violinists. The significance of Beethoven?s solo and tutti markings has also been clarified for the first time. Following the publication of the full score Piano reduction and orchestral parts (BA 9019) in the autumn of 2009 Bärenreiter is now publishing a study score of this pioneeringcritical edition which will prove indispensible for all violinists and students as well as for orchestras and music libraries. An introduction by Beethoven expert Barry Cooper on the history of this concerto is included for the first time. Del Mar?s edition clarifies Beethoven?s solo and tutti markings for the first time.

E Minor Op. 64. Par MENDELSSOHN-BARTHOLDY FELIX. 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 premiere - the ?child prodigy? Joseph Joachim - and Hubert Leonard, 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 Leonard. The letter informs us that the composer invited Leonard 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 Leonard. The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. That the young violinist made a positive impression on the composer is confirmed in the latter?s correspondence following their joint performance. The editor of this revised edition of the Mendelssohn Violin Concerto, Clive Brown, is an acknowledged expert on Romantic performance practice. This study score complements the full score and orchestral parts (BA 9099), the piano reduction of the 1844 version (BA 9099-92), the piano reduction of the 1845 version (BA 9099-90), as well as the brochure ?Performance Practices in the Violin Concerto op. 64 and Chamber Music for Strings of Felix Mendelssohn Bartholdy? (BA 9060)./ Répertoire / Violon et Orchestre

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown?s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary

William Walton Edition-This edition of William Walton's Violin Concerto has been off-printed from the William Walton Edition full score and combines the scholarship of the Edition (including an introduction by the editor) with the practical benefits of a study score format.Commissioned by Jascha Heifetz the work was completed in 1939 and premiered by Heifetz later that year. Walton revised the concerto in 1943 and it is this version which is presented in the current edition.