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
Why musicians love to play from B�¤renreiter Urtext Orchestral Parts
- 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
SKU: PR.114423360
UPC: 680160686285.
When the Newport Music Festival commissioned me for a piano trio in honor of their 2021 season, I looked for a topic that would celebrate an aspect of the Newport community. While researching the area, I was struck by the nine lighthouses situated around the island. The dual nature of lighthouses was particularly appealing to me: not only do they serve a vital role in the navigation of ships around rocks and land, but they are also a beautiful sight, particularly at night when their blinking beacons are clearly visible to the eye. It occurred to me that lighthouses link the past with the present, and will endure long into the future, with their beacons serving the same purpose for every generation.I became fascinated with the lighthouse on the property of Castle Hill Inn, located at the opening of the East Passage of the Narragansett Bay. This squat thirty-four foot granite structure was erected in 1890 on a very picturesque spot, right at the water’s edge. Its “characteristic,†the nautical term for each lighthouse’s unique light sequence that allows ships to identify the lighthouse, is to alternate on for three seconds, then off for three seconds. The lighthouse has also served as the starting and finish line for numerous high profile yacht races, as well as survived a massive hurricane in 1938, though the lighthouse keeper’s nearby residence wasn’t so lucky. American novelist Thornton Wilder wrote much of his 1973 novel Theophilus North while staying at the Castle Hill Inn; a passage from the book perfectly captures the dual nature of lighthouses:“At a later visit I was able to engage the pentagonal room in a turret above the house; from that magical room I could see at night the beacons of six lighthouses and hear the booming and chiming of as many sea buoys.â€In Beacon of the Bay, we first hear the lighthouse’s characteristic as its ruby light blinks on and off. This is followed by a simple theme that represents the lighthouse performing its solitary duty. As the piece progresses, we hear waves playfully lapping around its base, then yachts gracefully floating by; this is followed by a violent storm that churns the waves with so much force that they crash against the lighthouse’s granite body. But the steadfast lighthouse holds firm to the rocks, grandly blinking its ruby light. The music quiets back down to its simple theme, with yachts sailing by once more as the piece concludes.
SKU: HL.49045418
ISBN 9784890664856. 9.0x12.0x0.135 inches.
Four Imaginary Landscapes from Basho for violin and piano was commissioned by Concert Hall Shizouka. This work consists of four pices which can be performed independently. Three pieces: 2. Spring (Petal by petal fluttering down yellow mountain roses-, Sound of the rapids.) 3. Summer (The summer grass-, holding still the dreams of the stalwart warriors.), and 4. Autumn (Chrysanthemum scent..., in Nara Ancient statues of Momo Kodama (piano) in Shizouka on March 9th, 2007. 1 Winter (Sound of oar hitting waves in the dead of night, Freezing bowels..., tears.) was premiered by Keiko Urushibara (violin) and Shigeo Neriki (piano) in Shizouka on January 14th, 2011. Hisako Takahashi (violin) and Kyoko Sasaki (piano) performed all of the pieces on March 13th, 2011.
SKU: HL.49019514
ISBN 9790220132575. 9.0x12.0x0.111 inches.
“All Stars Aligned was originally to be a set of variations on a theme that is almost hidden in the opening bars. However, the piece took on much more of a fantasia feel and shape as I wrote it and it could be argued that a second theme first heard in the violin of the ground (derived from material in bar 5) becomes more dominant than the first as the piece progresses. The piece is in one continuous movement but is in three distinct sections and tempi: medium, slow and fast. The material shares some similarities with my piano trio, Nightswimming, and in some ways can be seen as a companion piece (minus the cello of course). The title comes from a track on an album by the artist St. Vincent called Marry Me which I hope is appropriate for a piece commissioned to celebrate a wedding anniversary.†Joe Duddell 2010.
SKU: BA.BA11086
ISBN 9790006564446. 32.5 x 25.5 cm inches.
A suite whose movements always deliver something other than what they seem to promise. But throughout, the two instruments and respectively their players act like two people in very specific situations:I.: The opening movement is reserved for the piano; the initially earnest, solitary cantilena intensifies creating expectation. SuddenlyII.: the violin sounds. Its moving figures replace the now silent piano, also soloistically.III. „Passacaglia“: The title is taken literally – the two instruments/persons encounter each other in the street. Two musical characters who meet at a specific point, recognize each other, but move on again, each one by itself. IV. „Rondo“: The two of them dance together. Before me, I saw people dancing the Sardana – a round dance – in front of the cathedral of Barcelona. Four themes in different time signatures circle ceaselessly between the two instruments. V. „Fuga“: At last, regardless, panic flight – again the title is taken literally ... Human, only too human …
SKU: HL.48025055
ISBN 9781784547042. UPC: 196288024316. 9.0x12.0x0.235 inches.
The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. Each title in the series is available in two formats: the violin edition (with an optional easy violin part and guitar chords); or the complete edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means themusic can be played as solos, duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.
SKU: HL.48025138
ISBN 9781784546984. UPC: 196288093152. 9.0x12.0x0.321 inches.
The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means themusic can be played as solos, duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.
SKU: HL.51481164
UPC: 196288215875. 9.25x12.0x0.7 inches.
Grieg's violin sonatas are a firm staple of violin repertoire and are popular with amateurs and professionals alike. G. Henle Publishers takes this into account with a practical single-volume edition of the three sonatas. Thus, you are simply spoilt for choice as to whether you prefer the youthful zest of the first, the Nordic-folkloristic charm of the second or the mature drama of the third sonata. The opulent volume is rounded off by a small piece that is ideal as an encore: a march from Grieg's incidental music to Sigurd Jorsalfar, which the composer himself arranged for violin and piano. Therefore, this Henle Urtext edition actually offers GriegÂs complete oeuvre for this instrumentation â a âmust-haveâ for all fans of the great Nordic melodist.
About Henle Urtext
What I can expect from Henle Urtext editions:
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.49019982
ISBN 9783795746599. 9.0x12.0x0.201 inches.
This publication is designed as a supplement to the first volume of the textbook 'The Merry Violin' (ED 7299). All of the pieces are suitable for beginners. Musically, however, the issue goes far beyond the content of the first year of teaching, so that the pieces are also ideal for repetition and practice. The pieces include a wide variety of musical ideas and styles, from Baroque to modern, from the shanty to the Japanese national anthem, from a simple song to the ideal audition piece.
SKU: HL.49045998
ISBN 9781540034960. UPC: 888680790998. 9.0x12.0x0.142 inches.
In The Diamond Sutra, an early Buddhist text also known as The Diamond that Cuts Through Illusion, the Buddha leads his interlocutor, the Elder Subhuti, through a series of questions and provocations. The Buddha then concludes the session by offering this teaching to those assembled:All composed things are like a dream,a phantom, a drop of dew, a flash of lightning.That is how to meditate on them;that is how to observe them.This duo piece is in four sections, corresponding roughly to these four disparate visions of impermanence: four distinct moments of interplay between form and emptiness, four corners of a diamond. This series of images is itself a 'composed thing,' gathering dissimilar elements into a unified system. It suggests that the things we make are similar to things that exist beyond intention. The Buddha's utterance helps us hear so-called 'composition' and 'improvisation' - or the encompassing category, 'music' - as part of an even larger aggregate: that which forms and recedes.- Vijay Iyer.
SKU: BA.BA09428
ISBN 9790006541362. 31 x 24.3 cm inches.
Ravel worked on his Sonata for Violin and Piano for four years (1923â1927) which was longer than he took for any other composition. According to the composer, the reason for his difficulties was the âfundamental incompatibilityâ of these two instruments. However, the interplay between two quite different partners is precisely what makes this sonata so charming. The violin and piano are independent, sometimes playing alongside each other and at other times with each other: here in a lyrical Allegretto, there in a jazz-inspired second movement, finally in a âperpetuum mobileâ finale.This new edition edited by Douglas Woodfull-Harris corrects numerous inconsistencies of earlier editions. It also includes the âBerceuse sur le nom de Faurâ which is available for the first time in a scholarly-critical Urtext edition. This lullaby for violin and piano consists of variations on a theme derived from the letters of Faurâs name.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.51480587
ISBN 9790201805870. UPC: 888680044091. 10.0x13.0x0.15 inches.
“Virtuoso piece in the style of a Hungarian Rhapsody†– thus reads Ravel's entry on “Tzigane†in the so-called “Autobiographical Sketch.†Composed in 1924, there are three versions of this work: with piano, with orchestra and with luthéal, a device for keyboard instruments to extend the timbre. “Tzigane†was inspired by the Hungarian-English violinist Jelly d'Aranyl, to whom Ravel had already promised a virtuoso piece in 1922 following Franz Liszt's “Hungarian Rhapsodies.†Work progressed slowly and d'Aranyl only received the music four days before the première – but she still gave a brilliant performance.
SKU: HL.51481275
UPC: 888680991661. 9.25x12.25x0.157 inches.
“Memory of a dear place†is the title given to this collection of three enchanting pieces for violin and piano. The “place†in question was the country estate of Brailov that belonged to Tchaikovsky's patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky's matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In the course of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d'un lieu cher was only added after Tchaikovsky's death.
SKU: CF.B3475
ISBN 9781491162026. UPC: 680160920709.
This work for violin and piano by Martin Bresnick is a play on the words suite and bittersweet. Each of the four movements is based on a Yiddish folk song, which in English translate to On the Road, My Resting Place, Black Cat, and Dona, Dona. Each of the four pieces is primarily based on a Jewish folk song, but re-envisions them in a modern context, akin to Bartok and Kodaly. The composer noted, I found it a very challenging, yet touching way to remain in contact with some part of my own past that I don't usually reveal. The title references the difficult (bitter) and pleasant (sweet) aspects of experiencing the tumultuous history of a people through their folk music.This work for violin and piano by Martin Bresnick is a play on the words suite and bittersweet. Each of the four movements is based on a Yiddish folk song, which in English translate to On the Road, My Resting Place, Black Cat, and Dona, Dona. Each of the four pieces is primarily based on a Jewish folk song, but re-envisions them in a modern context, akin to Bartok and Kodaly. The composer noted, “I found it a very challenging, yet touching way to remain in contact with some part of my own past that I don’t usually reveal.†The title references the difficult (bitter) and pleasant (sweet) aspects of experiencing the tumultuous history of a people through their folk music.
SKU: BO.B.3632
Duo-Sonata for violin and piano was written between September and October of 2010. It is made up of three movements, each of which has unique characteristics. The first, Allegro appassionato, is monothematic, although the theme itself is presented in several ways. Following a vigorous start featuring violin cadenza, the movement is developed with a lively feel, alternating lyrical fragments with other energetic ones. Its conclusion is resounding.Meanwhile, the second movement, Quasi un lamento, is introspective and fragile. A long melody is sustained by a delicate and transparent piano accompaniment, evoking once again the theme of the first movement and concluding with a Lento of descending piano harmonies while the violin follows, in octaves, with heartfelt glissando.The third movement, Scherzando-Allegro, is a light-hearted game between the piano and the violin. The main theme is repeated once again, this time with a binary time signature. The violin uses ricochet (the rebounding of notes in a bow stroke), as well as natural and artificial harmonies in quick time. The piano part unfolds completely naturally, excluding any gratuitous artifice.
SKU: HL.51481539
UPC: 196288308164. 9.25x12.0x0.16 inches.
During a concert tour through California in early 1920, Prokofiev composed five songs with piano accompaniment and textless voice parts, which appeared in print as Five Songs without Words op. 35 and with a dedication to the soprano Nina Koshetz. The quasi-instrumental conception of the work as vocalises accompanied by piano suggested an arrangement for violin and piano, which the composer then indeed undertook in 1925. Enriched with octave transpositions, double stops, harmonics and pizzicati, the violin part of the five pieces gained an enormous variety of additional expressive possibilities. No wonder the Five Melodies op. 35a today number among the Russian master's most popular chamber music works! Henle is publishing them for the first time as an Urtext edition based on all available sources. Simon Morrison, a true Prokofiev specialist, contributed the preface.
SKU: HL.51481346
ISBN 9790201813462. UPC: 888680925031. 9.25x12.0x0.066 inches.
When composing his Spanish Dances (HN 1370), the composer and violin virtuoso Sarasate united existing material - folk songs and songs by well-known composers - with his own uniquely charming musical language. The two Dances op. 22, “Romanza andaluza†and “JotaNavarra,†were completed in 1878 during Sarasate's first concert tour through Scandinavia. After their initial performances, the lyrical “Romanza†soon outstripped its brilliant sister piece in popularity, and thereafter it was one of Sarasate's compositions that he played most often himself. Since then, this piece has lost nothing of its charm, and it is now available as a stand-alone edition in the Henle catalogue.
SKU: HL.49044135
ISBN 9790001187091. UPC: 842819100096.
Zauberei, Magie, Mythen, Legenden, dies sind die grossen Themen barocker Opern - Ausdruck der Sehnsucht jener Zeit, sich durch die Illusion der Oper dem Phantastischen hingeben zu konnen. Diese unverkennbare Parallele zu unserer Gegenwart ist die Grundlage einer tiefgreifenden kompositorischen und inhaltlichen Auseinandersetzung mit Stoffen und Gesten der Alten Musik, die mich zu einer Reihe von Werken anregt. Sie wird mit dem Zaubergarten - Concertino fur Violine und Kammerorchester gleichsam eroffnet.Die vier Satze 'erwacht - verzaubert - bedroht - entschwunden', deren jeweilige atmospharische Struktur von der Solo-Violine charakterisiert wird (darin ahnlich den vivaldinischen Vier Jahreszeiten), durchlaufen unterschiedliche Stadien der Idiome 'Alter Musik', um sie durch das Prisma unserer Zeit unverbraucht und 'magisch' erscheinen zu lassen. So kann sich der Konzertmeister oder ein Gastsolist auf die Pfade des 'Zaubergartens' begeben, sie lenken oder sich dahintreibend in das Geschehen einfugen.Christian Jost, Mai 2011.
SKU: HL.49044153
ISBN 9790001197748.
Die Sonate op. 38 entstand im November und Dezember 2000 und ist das einzige unmittelbar autobiographische Stuck, das ich bisher komponiert habe. Es ist dem Gedenken eines toten Freundes gewidmet, den ich 17 Jahre lang aus den Augen verloren und im Sommer 2000 auf dem Friedhof wiedergefunden habe. Ein wahrend der Zeit unserer Freundschaft im Herbst 1983 entstandener Plan fur eine Violinsonate konnte nun verwirklicht werden. Die Initialen des Widmungstragers - A.F. - beherrschen die gesamte Struktur des Werkes. Der erste, in unaufhaltsamer, wilder Bewegung voransturmende Satz speist sich aus zwei ausladenden gesanglichen Themen, das erste aus dem Intervall A - F, das zweite aus dem Intervall (E)S - H gewonnen, die von unaufhorlichen Sechzehntelbewegungen des Klaviers vorangetrieben werden. Der zweite Satz schweisst drei Formteile in einen grossen Variationssatz zusammen: Zunachst Thema und funf Variationen uber Brahms' Volkslied Da unten im Tale, dann ein variierter Scherzosatz uber eben dieses Thema und schliesslich eine gedrangte Passacaglia, die auf der Basis des Klanges A - F die vergangenen musikalischen Ereignisse zusammenpresst. Zum Schluss erscheint noch einmal das Brahms-Lied in entruckter Klanggestalt in der entfernten Tonart E-Dur. Der Text dieses Liedes lautet: Da unten im Tale laufts Wasser so trub,Und i kann dirs net sagen, i hab di so lieb. Sprichst allweil von Lieb, sprichst allweil von Treu,und a bissele Falschheit is au wohl dabei. Und wenn i dirs zehnmal sag, dass i di lieb,und du willst nit verstehen, muss i halt weiterziehen. Fur die Zeit, wo du g'liebt mi hast, dank i dir schon,und i wunsch, das dirs anderswo besser mag gehen. - Stefan Heucke.
SKU: HL.49046262
ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French.
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldiâ€, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertosâ€. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-edition.com.
