Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.PB-1...(+)
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-1...(+)
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.
Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde...(+)
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in Vienna.
Composed by Johannes
Brahms (1833-1897).
Partitur-Bibliothek
(Score Library). The
Double Concerto in A
minor op. 102 is Brahms'
last work for orchestra.
He wrote it in Thun in
summer 1887 at the
suggestion of the cellist
Robert Hausmann, to whom
Brahms had also dedicated
his Cello Sonata No. 2
op. 99; it was completed
just before o. Romantic.
Study score. Breitkopf
and Haertel #PB 3697-07.
Published by Breitkopf
and Haertel
Cello and Orchestra SKU: HL.14028003 Cello Concerto No. 1. Compose...(+)
Cello and Orchestra
SKU: HL.14028003
Cello Concerto No.
1. Composed by Poul
Ruders. Music Sales
America. Classical.
Score. Composed 2002.
Edition Wilhelm Hansen
#WH30292. Published by
Edition Wilhelm Hansen
(HL.14028003).
ISBN
9788759862896.
Poul
Ruders Polydrama
(Manyfold Event) for
cello and orchestra, is
the last part of a drama
trilogy otherwise
consisting of Dramaphonia
for piano and 11
instruments and Monodrama
for percussion and 32
instruments. In this
abstract drama, the
individual listener is
left entirely to his own
associations. The
composer has compared
polydrama with the
gradual defoliation of a
big tree: the vigorously
growing organism is
attacked by a swarm of
locusts until, finally,
nothing remains but bare
branches in a landscape
of long shadows; a
solitary, singing bird
remains, however, like a
streak of hope in an
increasingly dark and
pessimistic universe.
