(After The Text Of Alban Berg). By Alban Berg (1885-1935). Edited by Douglas Jar...(+)
(After The Text Of Alban
Berg). By Alban Berg
(1885-1935). Edited by
Douglas Jarman. For Solo
Violin, Orchestra. This
edition: Critical
Complete Edition.
Hardcover. 83 pages.
Duration 23 minutes.
Published by Universal
Edition
Composed by Felix
Bartholdy Mendelssohn.
Edited by R. Larry Todd.
This edition: urtext
edition. Stapled.
Barenreiter Urtext. Set
of wind parts. Opus 64.
12/8/10/8/14/12/12/10/8/8
/6/6/6 pages.
Baerenreiter Verlag
#BA09099_65. Published by
Baerenreiter Verlag
(BA.BA09099-65).
ISBN
9790006565672. 32.5 x
25.5 cm inches. Key: E
minor.
WithElversku
d(The Erl-Kings
Daughter), Gade presented
his secondsecular cantata
for soloists, choir and
orchestra, the first
having been his
successfulComalaOp. 12
(1845/46). The genre was
quite popular among his
contemporaries. This
time, Gade planned to
base the work on the text
of a folk song.
Originally, he had
approached Hans Christian
Andersen for a text but a
collaboration did not
materialize. The text
Gade ultimately chose for
his music was that of a
ballad most likely penned
by Emil Erslev and Gade
himself. A German
translation by Edmund
Lobedanz was added at a
later time.
The
composition, started in
1851 and finished in
March of 1854, soon
became an international
success and one of Gade's
most-performed works. In
1864, the composer made a
number of changes to the
instrumentation. While
the new version was
subsequently used for all
performances conducted by
Gade, the changes were
never incorporated into
the printed edition of
the score. This edition
is the first to present
this 1864
version.
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Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
Violin, orchestra Urtext based on the Leipzig Mendelssohn Complete Edition. Co...(+)
Violin, orchestra
Urtext based on the
Leipzig
Mendelssohn Complete
Edition.
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Edited by Birgit Muller.
Breitkopf and Haertel #OB
5645-27. Published by
Breitkopf and Haertel
Orchestra; Violin (Study Score) SKU: HL.49045166 Study Score. Comp...(+)
Orchestra; Violin (Study
Score)
SKU:
HL.49045166
Study
Score. Composed by
Ryan Wigglesworth. This
edition: Saddle
stitching. Sheet music.
String. Classical.
Softcover. Composed 2011.
72 pages. Duration 16'.
Schott Music #ED13695.
Published by Schott Music
(HL.49045166).
ISBN
9790220135002. UPC:
888680724214.
8.25x11.75x0.276
inches.
Violin
Concerto is scored for a
Classical-sized
orchestra, with the
addition of a harp and
celeste, and lasts around
17 minutes. Although the
work sets out to explore
the lyrical
characteristics of the
solo instrument, it is
only gradually that the
violin finds its full,
lyric voice, and thence,
as the work progresses, a
more dominant role. This,
in one sense, is the
'journey' of the piece.
The work's
straightforward formal
scheme consists of three
movements (roughly
fast-slow-fast) framed by
a reflective introduction
and epilogue. However,
these formal divisions
exist within a single,
unbroken arc. Such an
overall symmetrical shape
places the slow Arioso
(itself divided into
three subsections) at the
midpoint, sandwiched
between the two Allegro
movements. The dramaturgy
of the piece centers on a
twofold search. First
there is the ongoing
pursuit to recapture the
simple melodic material
stated by the solo violin
- accompanied by thar
harp's bass register -
during the opening bars.
Whilst aspects of this
melody are invoked
frequently throughout
(especially in the violin
cadenza which closes the
Arioso movement), it is
only with the final and
most important climax of
the work that the melody
appears again in its
complete form, now
accompanied by violent,
orchestral stabs. The
second search is for a
tonal resting place, the
arrival of which is
delayed until the close
of the epilogue. The
original version of the
Violin Concerto,
commissioned by the
Netherlands Chamber
Orchestra, was premiered
in Amsterdam in February
2012 with Gordan Nikolic
as soloist. The present,
revised version was
created for Barnabas
Kelemen and the
Halle.
Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Ba...(+)
Urtext based on the
Leipzig
Mendelssohn Complete
Edition.
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Edited by Birgit Muller.
Score. Breitkopf and
Haertel
#PB 5645. Published by
Breitkopf and Haerte
Celtic Classics Orchestre, Violon - Intermédiaire Amstel Music
For Wind Orchestra and opt. Solo Fiddle. Composed by Johan De Meij. Amste...(+)
For Wind Orchestra and
opt. Solo Fiddle.
Composed by Johan De
Meij. Amstel Music.
Irish, Folk. Softcover.
46 pages. Amstel Music
#AM143-140. Published by
Amstel Music
(HL.4005098).
Solo Violin and Orchestra (V-solo,2Fl,2Ob,2Clar-iA, 2bassoon,2Hn,2Trp,Timp,2V ,V...(+)
Solo Violin and Orchestra
(V-solo,2Fl,2Ob,2Clar-iA,
2bassoon,2Hn,2Trp,Timp,2V
,Va,Vc,Db)
SKU:
BA.TP00394
Composed
by Felix Bartholdy
Mendelssohn. Edited by
Clive Brown and R. Larry
Todd. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Late version
1845. Study score. Opus
64. Duration 00:26:00.
Baerenreiter Verlag
#TP00394_00. Published by
Baerenreiter Verlag
(BA.TP00394).
ISBN
9790006203086. 22.5 x
16.5 cm inches. Key: E
minor. Preface: Todd, R.
Larry / Brown, Clive /
Sutcliffe,
Richard.
This
standard work of the
cello literature has been
extracted from volume II
of the Complete Works for
Violoncello and
Pianoforte (BA 9096 and
BA 9097) which was
published in 2016.
Mendelssohn scholar R.
Larry Todd edited the
scholarly-critical
edition ofSong without
Words.
This work
is not based on the
surviving autograph
manuscript, which could
not have been the basis
for the posthumous first
edition, but rather on
the only plausible
source: the German first
edition itself. This was
published in 1868 as op.
109 and is unquestionably
based on an untraceable
complete final
manuscript, perhaps once
previously owned by the
dedicatee, French cellist
Lisa Barbier
Cristiani.
The
publication is free from
editorial amendments and
modern performance
instructions and provides
an excellent basis for
musical
interpretation.
About
Barenreiter
Urtext
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Urtext
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practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
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pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
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