SKU: LM.29021
ISBN 9790230990219.
SKU: BR.PB-4854
From a letter sent by Leopold Mozart to his son, it would appear that Wolfgang Amadeus delivered this Adagio as a single movement to the Salzburg violinist Antonio Brunetti in 1776 after Brunetti found the original middle movement too scholarl. Solo concerto; Classical. Full score. 8 pages. Duration 8'. Breitkopf and Haertel #PB 4854. Published by Breitkopf and Haertel (BR.PB-4854).
ISBN 9790004206522. 9 x 12 inches.
There is considerable evidence to support the claim that the present Adagio in E major is an alternative middle movement intended for the well-known A-major Violin Concerto K. 219. Ultimately, Mozart decided to leave the work (written in 1775) as it was, without change.The violin part of the present edition contains - also in the tutti sections - the upper part of the orchestra, thus leaving it up to the soloist to decide whether he should pause here or join in.From a letter sent by Leopold Mozart to his son, it would appear that Wolfgang Amadeus delivered this Adagio as a single movement to the Salzburg violinist Antonio Brunetti in 1776 after Brunetti found the original middle movement too scholarly..
SKU: HL.14011619
ISBN 9788759866283. English.
For Cello And Orchestra was composed by Pelle Gudmundsen-Holmgreen in 1996 (rev. 2000).
SKU: BT.EMBZ14893
The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a motif of fate, and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song. The contrasts between depth and height, as well as darkness and light, have a significant role in all three movements. The music of the first movement gradually rises to increasingly bright and higher regions, the gloomy atmosphere of the marginal parts in the second movement is offset by the tune's transcendental light in its central part, while the rondo theme of the third movement with its 6/8 metre dance-like character is supplemented with motifs of a contrasting nature from the earlier movements.
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