Volver was originally composed by the man whose name is more closely associated than any other with the tango genre, singer/composer Carlos Gardel (1887/1890 - 1935). His birthplace and birthdate are both uncertain and are fiercely debated between France and Uruguay, but he grew up in the Abasto section of Buenos Aires and subsequently became an Argentine citizen. He introduced tangos into his repertoire in 1917, and during his career he composed some of the best-loved of them such as Soledad, Por Una Cabeza, El Dia Que Me Quieras, and, of course, Volver. As a singer he interpreted and recorded literally hundreds of tangos, and he enjoyed enormous world-wide popularity. Gardel died tragically in an airplane accident in Medellín, Colombia, in 1935, a death that plunged all of Latin America into deep mourning. The present author has attempted to modernize Volver by giving it a kind of Afro-Cuban rhythmic structure in its 6/8 time scheme, and he has provided a significant technical and musical challenge to the soloist. / Violon Et Orchestre A Cordes

L'oeuvre musicale qui a pour support une Partition a pour titre Recitatif (Violon Orchestre). C'est une partition musicale composée par Charpentier J. et qui est destinée aux joueurs de Violon. Le détail de l'instrumentation Violon Et Orchestre vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Violon Et Orchestre / Partition

Par QUERLEUX ALAIN. Ce « petit Concerto de chambre » comprend trois mouvements, pour une durée globale de 18 minutes environ. L?essence de son propos est le dialogue concertant et chantant entre un violon soliste et un orchestre à cordes (pouvant se réduire à un simple quatuor à cordes ). Le premier mouvement est sous-titré « ..Par un chemin d?échos divers.. » : il évoque une promenade et ses sons, rumeurs, chants et bruits ? naissant, s?amplifiant, s?éloignant ou renaissant en échos. Plusieurs tempi modérés s?enchaînent au gré des tonalités de ré mineur, ré majeur, sol mineur et sol majeur. Les interprètes devront varier les climats, nuances et couleurs. Le mouvement central, très lent et expressif, est de facture plus classique : l?orchestre expose le thème principal, bientôt repris et varié par la cantilène du violon solo, dans le ton de la mineur.Le passage central module en la majeur, un grand crescendo s?en suit, jusqu?au retour du premier thème ? soliste et orchestre réunis. Le Finale apporte joie et détente, dans un tempo vif et spirituel.C?est une forme Rondo, avec un refrain apparaissant à cinq reprises, et quatre couplets énoncés par le violon solo. Quelques traits virtuoses participent de la fête, le ton de La hésitant entre mineur et majeur. La partie de soliste conviendra aux violonistes à partir de la fin du 2ème cycle des conservatoires. Les parties d?orchestre sont abordables à partir du second cycle./ Répertoire / Violon Concertant et Orchestre

Early Version Of 1844 And Late Version Of 1845. Par MENDELSSOHN-BARTHOLDY FELIX. Replaces BA 9050- The orchestral parts are unchanged and continue to be available as BA 9050-65/-74/-75/-79/-82/-85 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 première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, 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 Léonard. The letter informs us that the composer invited Léonard 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 Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard 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 Léonard' 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)/ Répertoire / Violon et Orchestre

Par MOZART WOLFGANG AMADEUS. Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775, which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart, who still occupied the post of concertmaster to the Prince-Archbishop, was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773. The Piano reduction of Mozart ’s G Major Violin Concerto is easier to play, uncluttered and practical with page turns where you need them and where necessary fold-out pages. The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section. A prepared performance part is also included with bowings, fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas, ”Eingänge” and fermata embellishments by Eugène Ysaÿe, Leopold Auer, Sam Franko and Martin Wulfhorst. This collection offers players a spectrum of styles available in no other publication. Urtext of the New Mozart Edition Full score and parts (BA4865), Violin and Piano reduction (BA4865-90) and study score format 22. 5 x 16. 5cm (TP272) available for sale./ Répertoire / Violon et Orchestre