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

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.In addition to the Urtext solo part a second solo part with fingering and bowing by Detlef Mahn is also included in the piano reduction.- Piano reduction which includes an Urtext solo part as well as an additional solo part with fingering and bowing- The score to op. 50 available in two versions- Detailed critical commentary (Eng)Barenreiter no. BA9026A

Les romances de Beethoven pour violon et orchestre op. 40 et op. 50 sont des ?uvres de solistes gratifiantes nécessitant une technique souveraine et une grande subtilité d?interprétation. Leur simplicité de conception alliant nobles mélodies et ornements virtuoses en firent des ?uvres de concert déjà très appréciées du vivant de Beethoven. Outre la réduction pour piano destinée à un usage pratique les éditions G. Henle en proposent une partition d?étude. Celle-ci reproduit le texte musical de l?édition complète des ?uvres de Beethoven et correspond au matériel d?orchestre des éditions Breitkopf & Härtel. Dans sa préface détaillée Ernst Herttrich livre des informationsquant à la genèse et à l?état des sources des deux ?uvres.

Par BEETHOVEN LUDWIG VAN. Harm (Nach Der Neuen Ga)/ Répertoire / Violon et Orchestre

Par BEETHOVEN LUDWIG VAN. Harm (Nach Der Neuen Ga)/ Répertoire / Violon et Orchestre

Par BEETHOVEN LUDWIG VAN. Editeur(s) d'origine: Fischer, W. / UrakawAlto, T./ Répertoire / Violon et Orchestre

Par BEETHOVEN LUDWIG VAN. Editeur(s) d'origine: OISTRACH, D -BERNSTEIN, W H/ Répertoire / Violon et Orchestre

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