Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.PB-15132

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; stapled. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag. Solo concerto; Romantic; Late-romantic. Full score. 84 pages. Duration 25'. Breitkopf and Haertel #PB 15132. Published by Breitkopf and Haertel (BR.PB-15132).

ISBN 9790004214688. 10 x 12.5 inches.

Bruch's evergreen for the first time in UrtextThanks 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.

Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.PB-15133-07

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; stapled. Partitur-Bibliothek (Score Library).

In Cooperation with G. Henle Verlag

Solo concerto; Romantic; Late-romantic. Study Score. 84 pages. Duration 25'. Breitkopf and Haertel #PB 15133-07. Published by Breitkopf and Haertel (BR.PB-15133-07).

ISBN 9790004214695. 6.5 x 9 inches.

Bruch's evergreen for the first time in UrtextThanks 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.

Woodwinds (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-15132-30

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Romantic; Late-romantic. Set of parts. 68 pages. Duration 25'. Breitkopf and Haertel #OB 15132-30. Published by Breitkopf and Haertel (BR.OB-15132-30).

ISBN 9790004341995. 10 x 12.5 inches.

Bruch's evergreen for the first time in UrtextThanks 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.

Violin 2 (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-15132-16

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Romantic; Late-romantic. Part. 8 pages. Duration 25'. Breitkopf and Haertel #OB 15132-16. Published by Breitkopf and Haertel (BR.OB-15132-16).

ISBN 9790004341957. 10 x 12.5 inches.

Bruch's evergreen for the first time in UrtextThanks 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.

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48025366

Cello and Piano. Composed by Hans Winterberg. Boosey & Hawkes Chamber Music. Classical. Softcover. Bote & Bock #M202538104. Published by Bote & Bock (HL.48025366).

UPC: 196288194279.

Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty.