SKU: FG.55011-608-5
ISBN 9790550116085.
Aulis Sallinen (b. 1935) is one of the most famous Finnish contemporary composers. In his early instrumental works, Sallinen was still seeking to establish a style of his own. He had studied at the Sibelius Academy in the late 1950s, first with Aarre Merikanto - a composer representing a national brand of Neoclassicism - and then with Joonas Kokkonen, at that time just transitioning from Neoclassicism to dodecaphony. Twelve-tone music had won fairly widespread acceptance in contemporary Finn-ish music, and Sallinen was influenced, too. The Variations are Sallinen's first real work for the cello - an instrument that would later be one of his favourites, its warm, deep voice corres-ponding to his music's often dark undercurrent. The Variations for Cello and Orchestra, Op. 5 were composed in 1961-1962 and premiered in October 1962. The basic motif consists of a set of three descending intervals stated by the cello at the beginning: D-D flat-F, C-B-G and B flat-A-F sharp. Their use as basic material is a ref-lection of the composer's dodecaphony-oriented period, and variation of this material provides the framework for the piece. Variations for Cello and Orchestra are now published for the first time. Available are a reduction for cello and piano, study score and complete performance material with orchestra.
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.14020990
ISBN 9780711923904. 5.5x7.5x0.283 inches.
If Davies's Cello Concerto has already evoked comparisons with Elgar's, that is perhaps an indication not only of its wealth of solo melody (there is hardly a page where the cello is not singing, or if not that, then dancing), and of its predominantly slow tempos, but also of its musical stature. This second Strathclyde concerto is a virtuoso piece for the entire ensemble, which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue, especially in the opening Moderato and the slow movement; and though the finale is more extrovert, the work ends back in quietness and rumination.
SKU: BR.PB-15155
In Cooperation with G. Henle Verlag
ISBN 9790004215609. 10 x 12.5 inches.
Many well-known violinists such as the dedicatee Pablo de Sarasate, together later with Eugene Ysaye and Jacques Thibaud, included in their repertoires Camille Saint-Saens' concert piece composed in 1863. Even today, concert life is hard to imagine without the Introduction et Rondo capriccioso. The highly virtuosic work already inspired critics and audiences during the composer's lifetime; reported about the premiere in 1867 was: The Introduction and the Rondo capriccioso for the same instrument are both original and charming, and Maestro Sarasate, who was in his element here, admirably made the most of it. And a few years later, a music critic described the work as a kind of fantasy waltz in the Spanish style and with a most bewitching effect. After the first performances in 1867, despite success, the work's score and orchestral parts had little chance of publication due to concert companies' reluctance. In 1869 the Paris publishing house G. Hartmann merely published an arrangement for violin and piano produced by the composer's friend Georges Bizet. The orchestral score and parts were first published after the Paris publishing house Durand had acquired publication rights in 1875. The present edition published in collaboration with the G. Henle Verlag is the first critical edition of the work.
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