SKU: 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.

SKU: BR.PB-15133-07

In Cooperation with G. Henle Verlag

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.

SKU: BT.EMBZ14893

The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a motif of fate, and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song. The contrasts between depth and height, as well as darkness and light, have a significant role in all three movements. The music of the first movement gradually rises to increasingly bright and higher regions, the gloomy atmosphere of the marginal parts in the second movement is offset by the tune's transcendental light in its central part, while the rondo theme of the third movement with its 6/8 metre dance-like character is supplemented with motifs of a contrasting nature from the earlier movements.

SKU: BR.PB-5531-07

Beethoven would probably have loved to be able to commission a new edition of his violin concerto from Clive Brown, since he is one of the top specialists, with a profound knowledge and experience of performance practice in Beethoven's day.

ISBN 9790004212608. 6.5 x 9 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.