SKU: FG.55011-635-1
ISBN 9790550116351.
In 1929 Sibelius sent some small pieces to the New York publisher Carl Fischer for consideration. Included among these was the Suite for Violin and String Orchestra, to which he had assigned the opus number 117. The Suite for Violin and String Orchestra represents the culmination point in a series of works written for violin and orchestra which started with the serenades op. 69 and continued with the Six Humoresques opp. 87 & 89. Together these works bear witness to the composer's deep insight into the instrumental possibilities of the violin. In these works, more limited in formal scope than the Violin Concerto though they be, the voice of the solo violin - Sibelius' second mother-tongue - unites with the orchestral writing of a mature and experienced symphonist. The reduction and solo part are published together for the first time. ---.
SKU: HL.49046938
ISBN 9781705170571. UPC: 196288086284.
Violin and Piano Reduction (from String Orchestra).
SKU: BO.B.3414
English comments: Concertino for violin and string orchestra was composed in 1993. It is a pleasant score with a slightly virtuosic touch written with the idea of creating a relaxed atmosphere in which the soloist and the orchestra can display their technique and expressive capabilities. It is a work, similar in lenght to baroque concertos, and is divided into three movements, folowing the conventional form.: two fast movements around a slow one. Te first two movements -Allegro burlesco and Adagio cantabile- follow the ABA pattern. The third starts with a -cadenza- by the soloist which includes thematic material from the previous slow movement linking straight up to the -Presto- which uses as its main idea a more forceful version of the opening melodic sketch of the -Allegro burlesco- converted into three time. The work was specially creatied for the violinist Gerard Claret and the Orquestra de Cambra Nacional d'Andorra. Recordings: Hermitage Orchestra-Camerata St. Petersburg, violin: Sergey Malov, conductor: Alexis Soriano. Ensayo (ENY-2003). Jordi CervelloComentarios del Espanol:Concertino para violin y orquesta de cuerda es una obra compuesta en 1993. Se trata de una partitura amable y de cierto toque virtuosistico cuya principal preocupacion ha sido crear una atmosfera distendida en la que el solista y la orquesta puedan desplegar con espontaneidad sus capacidades tecnicas y expresivas. Es una obra de duracion similar a la de los conciertos del barroco y dividida en sus tres tipicos movimientos. Dos rapidos enmarcando uno lento. Los dos primeros -Allegro burlesco y Adagio cantabile- se desarrollan bajo el esquema ABA. El tercero inicia con una -cadenza- del solista que recoge material tematico del movimiento lento precedente para enlazar sin interrupcion con el -Presto- que utiliza como idea principal el dibujo melodico que abre el -Allegro burlesco-, pero mas decidido y a compas ternario. La obra fue compuesta expresamente para el violinista Gerard Claret y la Orquestra Nacional de Cambra d'Andorra. Grabaciones: Hermitage Orchestra-Camerata St. Petersburg, violin solista: Sergey Malov, direccion: Alexis Soriano. Ensayo (ENY-2003) Jordi Cervello.
SKU: HL.14004213
9.0x12.0x0.175 inches.
Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.
SKU: HL.49019686
ISBN 9790543500174. 9.0x11.75x0.088 inches.
SKU: BO.B.3673
It is a work for violin and piano inspired directly by Paganini's Capriccio No. 13, known as La risata del diavolo and one of the most renowned capriccios from the series of twenty-four composed by the celebrated Genovese violinist and composer. In my version for violin and piano, I have singled out the two essential features of the work: the third notes on a double string that emulate the devil's laughter, and the quick eighth notes that follow, all of it within a light and humorous chromaticism.Il diavolo begins with a slow and fragmented but suggestive violin cadenza. It then follows the Allegro deciso, built on the two features mentioned above. In the central part, yet another violin cadenza of a similar character but which recalls the devil's laughter more evidently. The Allegro deciso goes on up to a carefree and virtuosic finale.The work is dedicated to violinist Jesus Reina.
SKU: IS.VLP4431EM
ISBN 9790365044313.
A collection of gypsy tunes for violin and piano, compiled by renowned Hungarian violinist Ferenc Kicsi, originally published in 1956 and released on LP by Kicsi and his orchestra in 1958. Titles include: Fantasia (Czardas), Balaklava, Zwei Gitarren, Schwarze Augen, Lioubotchka, Magyar Magyar, Simplement, Zigeunertraum.
SKU: HL.50483441
8.25x11.75x0.108 inches.
Congratulatory Rondo is for violin and piano. Madrigal in Memorium Oleg Kagan is written for unaccompanied violin.
SKU: HL.14030040
ISBN 9788774552147. UPC: 884088572952. 8.5x11.75x0.065 inches.
Violin/Piano reduction of the work for Violin and String Orchestra.
SKU: IS.VLP6533EM
ISBN 9790365065332.
Charles Camilleri (1931 - 2009) was a Maltese composer. As a teenager, he composed a number of works based on folk music and legends of his native Malta. He moved from his early influences by Maltese folk music to a musical form in which nothing is fixed and his compositions evolve from themselves with a sense of fluency and inevitability. He composed over 100 works for orchestra, chamber ensemble, voice and solo instruments. Camilleri's work has been performed throughout the world and his research of folk music and improvisation, the influences of the sounds of Africa and Asia, together with the academic study of European music, helped him create a universal style. Camilleri is recognized in Malta as one of the major composers of his generation. He died on 3 January 2009 at the age of 77. His funeral took place two days later at Naxxar, his long-time town of residence. Flags across Malta were flown at half-mast in tribute to him. Just like Bach's 6 suites for cello solo, these 6 arabesques are composed of a number of distinct movements which follow the suite principle. The melodies in these 6 arabesques are influenced by Mediterranean folk music.
SKU: IS.VLP6039EM
ISBN 9790365060399.
SKU: IS.VLP6539EM
ISBN 9790365065394.
SKU: IS.VLP6034EM
ISBN 9790365060344.
SKU: BA.BA09099-92
ISBN 9790006565733. 31 x 24.3 cm inches. Key: E minor. Preface: Larry R. Todd.
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).
About Barenreiter Urtext Orchestral Parts
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- Urtext editions as close as possible to the composer�s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
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