My 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 centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the 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 Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon 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

Carl Ditters von Dittersdorf (1739-1799) attire l'attention sur lui même comme un enfant en raison de son talent musical: À l'âge de sept ans il prend des leçons de violon, seulement trois ans plus tard il a été embauché comme violoniste à Vienne et joue des solos de peu. Ses nombreuses compositions et particulièrement sa 'singspiels' (chanson-pièces) ont été très populaires avec le public : comédie de Ditters von Dittersdorf ' Der Apotheker und der Doktor ' surpassa même de Mozart ' Le nozze di Figaro' en popularité contemporaine en 1786. En 1766, Dittersdorf a écrit le Concerto en do majeur tout en étant en service comme leader d'un groupe de musique à Grosswardein, un poste dans la succession de Michael Haydn, il avait accepté. La partie solo a sans doute jouée par le compositeur lui-même à la première représentation. Le concerto est une oeuvre qui est amusant à jouer: A agréable, particulièrement concertante Allegro moderato est suivie par un Andante cantabile ludique et un Presto comme virtuose finale. / Violon Et Orchestre A Cordes

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

Par VINE CARL. Carl Vine’s atmospheric Violin Concerto (2011) creates a rich and multi-faceted relationship between soloist and orchestra. Unfolding over two finely-crafted movements of roughly equal length, the 23-minute work often uses the orchestra sparingly, with players from the orchestra joining the soloist in delicate chamber-music textures. / Scores / Répertoire / Violon et Orchestre

Complétant les éditions du Bärenreiter des oeuvres pour violon et piano, basée sur l'Urtext de la ' nouvelle édition Schubert, ' vient de Schubert totalement charme Rondo en la majeur pour violon Solo et cordes. Le Rondo, daté de 1816 est une oeuvre d'un mouvement contenant solo lyrique ainsi que virtuose des passages et peut également être effectuée avec chaînes seul ou avec un plus grand ensemble à cordes. Notre nouvelle édition contient une introduction informative (Ger/Eng) par érudit de Schubert Michael Kube, qui est aussi l'arrangeur de la réduction du piano. -Une nouvelle édition de Schubert peut-être plus charmant des travaux pour violon - comprend idiomatique réduction pour piano - Urtext de la ' nouvelle édition de Schubert ' / Orchestre Et Violon

In this Concerto in C major the soloist is accompanied purely by a string orchestra, a scoring which can be mastered easily, even by amateur ensembles.Continuing Bärenreiter's collaboration with the Henle publishing company in the areas of large vocal compositions, operas and symphonic works, the edition of this violin concerto is based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete London and Paris symphonies as well as several 'Sturm und Drang? symphonies are already available. All works appear with a full score and performance material on sale in a large format.- Urtext from the Henle Complete Edition of the 'Works of Joseph Haydn?- Charming violin concerto where the accompaniment can be also be mastered by amateurs / Violon Et Orchestre

Full Score. Par HILLBORG ANDERS. Hillborg's first Violin Concerto, composed in the early 90s, is a pivotal work in his oeuvre. Composed in the wake of his highly experimental Clang and Fury and Celestial Mechanics - both of which employ complex and unconventional tuning systems - the concerto displays a more pragmatic approach, though the drama it sets up is far from conventional, with a very fluid soloist-orchestra relationship. Esteemed conductor and composer Esa-Pekka Salonen, who has recorded the concerto in 2002, has described it as one Hillborg's best pieces./ Répertoire / Violon et Orchestre

Par BEETHOVEN LUDWIG VAN. Beethoven's 'Romances' are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form' The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer. Bärenreiter's new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice- the first score reflects the state of Beethoven's autograph with editorial markings clearly indicated, the second score has been edited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances. In addition to the Urtext solo part, a second solo part with fingering and bowing by Detlef Mahn is also included in the piano reduction. - Piano reduction which includes an Urtext solo part as well as an additional solo part with fingering and bowing - The score to op. 50 available in two versions - Detailed critical commentary (Eng)/ Répertoire / Violon et Orchestre