This work, composed in 1990 at the suggestion of the violinist Saschko Gawriloff, is in the tradition of great virtuoso violin concertos. Originally consisting of three movements, the work was revised by Ligeti into a five-movement work in 1992. / Violon Et Orchestre

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 ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

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 ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

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 ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

According to the Critical Complete Edition. Par BERG ALBAN. UE presents a new critical edition of Berg's Violin Concerto, which seeks to correct errors which have been incorporated in the score since its first publication. Carefully researched, this new definitive score is now the most accurate. Published in oversize (11' x 13') hardbound format. Dur.: 22'-25'/ Répertoire / Violon et Orchestre

Edition : Paris, l'Auteur, Boivin, Leclair, 1743.Présentation par Jean Saint-Arroman : L'agrémentation de concertos de Leclair.Edition originale en parties séparées : Violino di concertino - Violino primo - Violino secondo - Alto viola - Basse continue.En deux volumes, les douze très célèbres concertos opus VII et Opus X de J.M. Leclair, pour violon et orchestre à cordes. Le troisième concerto de l'opus VII peut se jouer à la flûte ou au hautbois. Les deux préfaces divisent les éléments d'interprétation (terminologie, agrémentation, effectif). / Violon Et Orchestre A Cordes / 128 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

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