SKU: BO.B.3340
ISBN 9788480207591.
English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentarios del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
SKU: HL.14028022
ISBN 9788759861615. 12.0x16.5x0.52 inches.
Ruders writes: My second concerto for violin and orchestra is a 'reverse' cousin of Polydrama the cello concerto. The former starts out extremely slow and speeds up gradually and the latter progresses in exactly the opposite way, but whereas the cello concerto is composed as one, uninterrupted stretch, the violin concerto is formally completely different: there are 4 movements, each of them combined via a 'ritornello', a solo-cadenza which appears 4 times (the works conclude with a solo) in almost the shape, i.e. the length varies from time to time.
SKU: HL.49045166
ISBN 9790220135002. UPC: 888680724214. 8.25x11.75x0.276 inches.
Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece. The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centers on a twofold search. First there is the ongoing pursuit to recapture the simple melodic material stated by the solo violin - accompanied by thar harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue. The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabas Kelemen and the Halle.
SKU: BA.BVK01950
ISBN 9783761819500. 19 x 12.5 cm inches. Language: German. Preface: Tarkmann, Andreas N.
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. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger).
SKU: HL.49046240
ISBN 9783795714536. UPC: 888680964696. 6.0x9.0x0.237 inches.
The violin concerto from 1935 is probably the best-known and most frequently performed instrumental work by Alban Berg. Written on behalf of the violinist Louis Krasner, it is his last completed composition. Krasner played the solo part at the world premiere at the Palau de la Música Catalana in Barcelona on 19 April 1936 after Berg's death. The concert is dedicated to “The Memory of an Angel.†Berg processed the death of 18-year-old Manon Gropius, who had contracted polio, and his daughter Alma Mahler-Werfel's marriage to architect Walter Gropius. His intention was “to translate the traits of the young girl into musical charactersâ€. With more than 1,200 titles from orchestral and choral literature, chamber music and music theater, Edition Eulenburg is the largest score series in the world. It covers a large part of music history from the baroque to classical modernism and looks back on a long tradition.
SKU: HL.49019952
ISBN 9783795772611. UPC: 841886021471. 6.25x9.0x2.301 inches.
Mendelssohn: Concerto in E minor, Bruch: Concerto No. 1, Brahms: Concerto in D, Beethoven: Concerto in D, Vivaldi: The Four Seasons, Tchaikovsky: Concerto in D, Bach: Concerto in A minor, Bach: Concerto in E, Bach: Concerto for two Violins in D minor, Brahms: Double Concerto in A minor.
SKU: HL.49003321
ISBN 9790220119804. UPC: 073999369168. 8.0x11.75x0.184 inches.
I did not want to write a virtuoso show-piece, but rather to draw on the orchestra's alertness as an ensemble. The solo part is essentially lyrical and there is no cadenza as such. But I was also conscious of the fact that, as with a baroque concerto, the soloist may also direct the work and does so here. (G. Bryars).
SKU: HL.4491618
UPC: 888680082123. 10.5x14.0x0.064 inches.
(Love Theme) Performance time - ca. 3:00.
SKU: HL.49010208
ISBN 9783795768256. UPC: 841886018198. 5.25x7.5x0.266 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HL.49045342
ISBN 9783795765989. UPC: 841886020382. 6.5x9.0x0.245 inches. German - English.
Volume 98 includes a Naxos CD with performances by the Deutsche Bachsolisten under the direction of Helmut Winschermann.
SKU: HL.48020614
UPC: 884088404383. 7.25x10.25x0.282 inches.
SKU: HL.49010217
ISBN 9790200206654. UPC: 073999377996. 5.25x7.5x0.11 inches.
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