SKU: HL.48020536
9.0x12.0x0.191 inches.
SKU: M7.BP-1079
ISBN 9790015107900.
SKU: AP.36-60710010
ISBN 9798888521663. UPC: 676737709938. English.
Hungarian composer, pianist and ethnomusicologist Béla Bartók (1881-1945) originally completed the cycle of 85 short piano pieces FOR CHILDREN in 1909. Each piece was based on a folk tune, with the first 42 being Hungarian, and the remaining 43 being Slovakian. Famed Hungarian violinist Joseph Szigeti (1892-1973) took six of the Hungarian folk tunes and transcribed them for violin and piano. As Bartók later removed and revised some of the songs in the collection, the following numbers included are the original numbers from the 1909 collection: No. 28 - Parlando, No. 18 - Andante con moto, No. 42 - Allegro vivace, No. 33 - Andante sostenuto, No. 6 - Allegro, No. 13 - Andante, No. 38 - Poco vivace. In addition to the original, more difficult violin part he transcribed originally, Szigeti also wrote a simplified version where only the first to fourth positions are used. Both violin versions are included in this edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.49018726
ISBN 9790001178952. UPC: 884088657123. 9.0x12.0x0.097 inches.
Although the Wurzburg court musician and violin soloist Joseph Kuffner (1776-1856) had to deal with military music for professional reasons, he had also written a series of symphonies, orchestral works and concertos. In the field of chamber music, he liked to compose potpourris on popular opera melodies. Kuffner made the highlights of Weber's 'Freischutz' into a potpourri for flute (or violin) and piano with pleasant music-making guaranteed!
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: BR.EB-10708
In Cooperation with G. Henle Verlag
ISBN 9790201807089. 9.5 x 12 inches.
Bruch's evergreen for the first time in Urtext Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the BreitkopfUrtext edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote 3, 4 development sections in the finale, and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: Have I written nothing but this one concerto? The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work.In Cooperation with G. Henle Verlag.
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