By Felix Bartholdy Mendelssohn (1809-1847). Edited by Felix Bartholdy Mendelssohn. Arranged by August Ferdinand Hermann Kretzschmar. For 2 Soprano voices, 2 Alto voices, Tenor voice, and 2 Bass voices (Soli), SATB Choir / Piano (Chorus and piano). Romantic; Sacred/Hymns. Vocal Score. Text Language: German, English. Composed 1846. 200 pages. Duration 131 minutes

Volume 5. Composed by Ferdinand Hiller / Franz Liszt / Frederic Chopin. Arranged by Nils Franke. This edition: French/Spanish text. Wiener Urtext Primo. Romantic. Full score (study). 64 pages. Wiener Urtext/Vienna Urtext #UT52010. Published by Wiener Urtext/Vienna Urtext (PR.UT052010).

(English/German edition). Composed by Ferdinand Hiller, Franz Liszt, Frederic Chopin. Arranged by Nils Franke. For piano. Wiener Urtext Primo. Romantic. Score. 64 pages. Wiener Urtext/Vienna Urtext #UT52009. Published by Wiener Urtext/Vienna Urtext

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

SKU: BR.OB-15132-15

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 15132-15. Published by Breitkopf and Haertel (BR.OB-15132-15).

ISBN 9790004341940. 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.

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

SKU: BR.PB-15133

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; stapled. Partitur-Bibliothek (Score Library). Solo concerto; Romantic; Late-romantic. Study Score. Duration 25'. Breitkopf and Haertel #PB 15133. Published by Breitkopf and Haertel (BR.PB-15133).

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.

Violin solo, orchestra

SKU: BR.SON-433

Complete Works. Composed by Felix Bartholdy Mendelssohn. Edited by Birgit Muller and Salome Reiser. Linen. Complete Works. Romantic period. Complete Works. 184 pages. Breitkopf and Haertel #SON 433. Published by Breitkopf and Haertel (BR.SON-433).

ISBN 9790004802892. 10 x 12.5 inches.

Felix Mendelssohn Bartholdy's violin concerto op. 64 had - like many of his other works - a lengthy genesis: it is in the summer of 1838 that surviving documents first mention the promise made to his friend Ferdinand David, concert master of the Leipzig Gewandhaus, to write, besides a sonata, a grand solo concerto for him. Ultimately, work on this opus continued - with some longer interruptions - until September 1844. Even then, it owed its preliminary completion in no small measure to the constant urging of the prospective solo violinist. But after the ,,official handing-over of the parts to David and a first joint rehearsal of the concert in Leipzig Mendelssohn continued working on the score. There subsequently began an intensive correspondence with David between Leipzig and Frankfurt am Main, where Mendelssohn resided with his family, in particular concerning issues of the principal part and the reworking of the solo cadence. In March 1845 the then current version of the work was premiered in a subscribers' concert in Leipzig.This volume deals with Mendelssohn's first complete manuscript of the score with the corrections contained therein, including all surviving drafts and sketches; also included is the epistolary evidence of the correspondence with Ferdinand David prior to the premiere. The further developments up to the printing of the main version of op. 64 by Breitkopf & Hartel are dealt with in Series II, Vol. 7 of the edition.

Violin - Level 4

SKU: FH.VLR04

Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR04. Published by The Frederick Harris Music Company (FH.VLR04).

ISBN 9781554409051.

C arefully selected and curated to support teachers and students in their artistic and technical development, the Violi n Series, 2021 Edition includes pieces from a diverse range of eras and styles that represent stepping stones to major violin repertoire. Each level is constructed to connect repertoire selections to necessary techniques and corresponding etudes, while illustrating step-by-step connections for developing core skills. Each Reper toire book includes access to quality video and audio recordings by some of North America's finest violinists and accompanists; both performance and accompaniment-only tracks for each Reper toire selection offer students a model for performance practice and the convenience of accompanied rehearsal at home.

Violi n Repertoire 4 includes Baroque, Classical, Romantic, and 20th- and 21st-century selections of Johann Sebastian Bach, Natalya Backlanova, Ethel Barns, Harold Birston, Arcangelo Corelli, Franz Joseph Haydn, Ferdinand Kuchler, Jacques Fereol Mazas, Eduard Mollenhauer, Yoshinao Nakada, Charlotte Ruegger, Arnaldo Sartorio, and Gerry Thornton. Level 4 introduces new aural challenges with tempo fluctuations and harmonic modulations, while exploring compound meters, syncopation, and hemiola. This book encourages performers to be flexible, as it expands upon hand-frames with extensions, fourth-position fluency, and fingered double stops, while the bow develops stylistic applications of articulations, including off-string strokes.

Guitar Solo

SKU: IS.G6129EM

Composed by Matteo Carcassi. Plucked - Guitar. Metropolis Music Publishers #G6129EM. Published by Metropolis Music Publishers (IS.G6129EM).

ISBN 9790365061297.

Carc assi was born in Florence, Italy, and first studied the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuoso concert guitarist. He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house. For Meissonnier he also arranged a number of popular songs for guitar that were originally written for piano, including works by Théodore Labarre and Loïsa Puget. From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognized, partly because of the presence of Ferdinando Carulli. Carcassi was in Germany again during autumn 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in Paris in 1853. His most famous works are collected in his 25 Etudes op. 60. In these, he managed to blend technical skills and brilliant romantic music. This is the reason his music is still played by so many classical guitarists today.