Contenu
- Performing Practices in Mendelssohn's Leipzig
- Performing Practice Commentary
- Faksimiles
- Aufführungspraxis in Mendelssohns Leipzig
- Hinweise zur Aufführungspraxis
in the Violin Concerto op. 64 and Chamber Music for Strings of Felix Mendelssohn Bartholdy
Édition | Livre (édition brochée) |
№ d’article | 675667 |
Auteur / Compositeur | Clive Brown |
Langues | allemand, anglais |
Dimensions | 72 pages; 24 × 31 cm |
Date de parution | 2018 |
Éditions / Producteur | Bärenreiter |
№ de fabricant | BA 9060 |
ISMN | 9790006565894 |
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.
für Violine und Orchester
Partitur zu beiden Fassungen (1844/1845)
pour: Violon, orchestre
Partition (texte original)
№ d’article: 676385
für Violine und Orchester
Zweite Fassung 1845
pour: Violon, orchestre
Partition musicale de poche (texte original)
№ d’article: 384927
für Violine und Orchester
Ausgabe für Violine und Klavier – Zweite Fassung 1845
Bärenreiter Urtext
pour: Violon, piano
Partition musicale piano, partition seule
№ d’article: 675668
Erste Fassung 1844 op. 64
Bärenreiter Urtext
pour: Violon, orchestre
Réduction piano, partition seule (texte original)
№ d’article: 675613
für Violine und Orchester – Zweite Fassung 1845
mit separatem Kommentar zur Aufführungspraxis
Revidierte Ausgabe; mit einer Urtext-Solostimme und einer eingerichteten Solostimme
pour: Violon, piano
Réduction piano, partitions seules
№ d’article: 676425
Bärenreiter Urtext
pour: Violon, orchestre
Violon 1 (partition d'orchestre)
№ d’article: 868849
Bärenreiter Urtext
pour: Violon, orchestre
Violon 2 (partition d'orchestre)
№ d’article: 1350868
Bärenreiter Urtext
pour: Violon, orchestre
Violon alto (partition d'orchestre)
№ d’article: 868848
Bärenreiter Urtext
pour: Violon, orchestre
Violoncelle (partition d'orchestre)
№ d’article: 868847
Bärenreiter Urtext
pour: Violon, orchestre
Contrebasse (partition d'orchestre)
№ d’article: 868846
pour: Violon, orchestre
L'harmonie (tous les partitions pour les vents)
№ d’article: 683459
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