Violin and Orchestra (Score)

SKU: HL.14008406

Composed by Sir Peter Maxwell Davies. Music Sales America. 20th Century. Book [Softcover]. Composed 1999. 94 pages. Chester Music #CH60978. Published by Chester Music (HL.14008406).

ISBN 9780711948716.

A work for solo violin and orchestra, commissioned by Donald McDonald for the 21st birthday of the Scottish Chamber Orchestra and the 60th birthday of the composer. It was first performed in November 1993 in Glasgow, by James Clark and the Scottish Chamber Orchestra conducted by Maxwell Davies. The spell is one quoted by George Mackay Brown in his book An Orkney Tapestry: 'Let not plough be put to acre except a fiddle cross first the furrow.' Davies's dancing concerto imagines the fiddler following a route from field to field, from dance to dance, accompanied by a bunch of companions in the form of an orchestra. As the music goes on, so it gets brighter and livelier, moving from the dark colouring of clarinets, bassoons and strings to full ensemble with prominent brass and (solo) tuned percussion, as if the dancers as much as the fields were beginning to glow with new life. Score (miniature). Duration c. 20mins.

For Violoncello and Orchestra. By Hans Pfitzner. (Study Score). Schott. 116 pages. Published by Eulenburg Germany (Schott).

Violin and orchestra (solo: vl - str - bc)

SKU: BR.PB-5354

Urtext. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

Bach's manuscript leaves several questions unanswered.

Solo concerto; Baroque. Full score. 24 pages. Duration 16'. Breitkopf and Haertel #PB 5354. Published by Breitkopf and Haertel (BR.PB-5354).

ISBN 9790004211533. 9 x 12 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

Bach's manuscript leaves several questions unanswered.