Konzert in e für Violine und Orchester, Op.64 - Inhalt, Kategorie und bibliografische Infos

Konzert in e für Violine und Orchester, Op.64: Inhalt, Einordnung und bibliografische Details

Konzert in e für Violine und Orchester, Op.64 von Felix Mendelssohn ist ein Titel aus dem Bereich Sachbuch, der thematisch klar positioniert ist und für Leserinnen und Leser mit Interesse an diesem Fach- oder Themengebiet besonders relevant sein kann. Aus der Buchbeschreibung zu Konzert in e für Violine und Orchester, Op.64 ergibt sich ein klares Bild der thematischen Schwerpunkte: This edition presents the piano reduction of Mendelssohn's authorized version of his Violin Concerto in E minor, op, 64, and forms a companion volume to the Bärenreiter edition of the full score of the 1844 and 1845 versions, where the reader may find a review of the compositional history of the concerto and discussion of the primary sources. Having finished the first draft in Frankfurt in September 1844, Mendelssohn soon began to contemplate revisions, and in the following months consulted the violinist Ferdinand David, concertmaster of the Gewandhaus Orchestra in Leipzig, about numerous details affecting the solo part. In December, in the midst of these discussions, the composer asked his Leipzig publisher, Breitkopfopf & Härtel, to commission a piano reduction of the orchestral score, with the specific requirement that two staves be left blank beneath the piano part to accommodate corrections. We do not know who prepared the piano part, but within weeks it was ready and sent on January 18 to Mendelssohn in Frankfurt; he corrected and returned the reduction on January 25, along with a "Zettelchen" with instructions for the engraver. Now lost, these materials served as the Stichvorlage for the Breitkopft & Härtel print of the piano reduction released on June 1, 1845. - Introduction by R. Larry Todd. 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. - Publisher Konzert in e für Violine und Orchester, Op.64 wurde am 2018 publiziert und dem Verlag Bärenreiter mit Verlagsort Kassel zugeordnet.

Relevante Merkmale auf einen Blick

Mit dem Erscheinungszeitpunkt 2018 lässt sich Konzert in e für Violine und Orchester, Op.64 sauber in einen bibliografischen Kontext einordnen. Konzert in e für Violine und Orchester, Op.64 ist besonders für Leserinnen und Leser interessant, die sich gezielt mit Veröffentlichungen von Felix Mendelssohn beschäftigen möchten. Der Verlag Bärenreiter und der Verlagsort Kassel liefern zusätzliche Orientierung bei der Einordnung dieser Ausgabe. Dass Konzert in e für Violine und Orchester, Op.64 in Deutsch erschienen ist, erleichtert die gezielte Auswahl für sprachspezifische Recherchen. Innerhalb von Sachbuch bietet Konzert in e für Violine und Orchester, Op.64 eine klar erkennbare thematische Zuordnung.

Was behandelt Konzert in e für Violine und Orchester, Op.64?

Wer wissen möchte, worauf Konzert in e für Violine und Orchester, Op.64 inhaltlich abzielt, findet in dieser Zusammenfassung einen ersten Ansatzpunkt: This edition presents the piano reduction of Mendelssohn's authorized version of his Violin Concerto in E minor, op, 64, and forms a companion volume to the Bärenreiter edition of the full score of the 1844 and 1845 versions, where the reader may find a review of the compositional history of the concerto and discussion of the primary sources. Having finished the first draft in Frankfurt in September 1844, Mendelssohn soon began to contemplate revisions, and in the following months consulted the violinist Ferdinand David, concertmaster of the Gewandhaus Orchestra in Leipzig, about numerous details affecting the solo part. In December, in the midst of these discussions, the composer asked his Leipzig publisher, Breitkopfopf & Härtel, to commission a piano reduction of the orchestral score, with the specific requirement that two staves be left blank beneath the piano part to accommodate corrections. We do not know who prepared the piano part, but within weeks it was ready and sent on January 18 to Mendelssohn in Frankfurt; he corrected and returned the reduction on January 25, along with a "Zettelchen" with instructions for the engraver. Now lost, these materials served as the Stichvorlage for the Breitkopft & Härtel print of the piano reduction released on June 1, 1845. - Introduction by R. Larry Todd. 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. - Publisher Aus dem Inhaltsverzeichnis ergeben sich die zentralen Themenfelder und Ordnungspunkte: Introduction = Einleitung. | The piano reduction = Der Klavierauszug / R. Larry Todd | The solo part and its earliest performers = Die Solostimme und die ersten Aufführenden / Clive Brown | Hubert Léonard / Richard Sutcliffe | Concerto, op. 64 Konzert in e für Violine und Orchester, Op.64 umfasst 1 Seiten und erscheint im Format pocket, was sowohl für die Nutzung als auch für den Vergleich mit anderen Ausgaben relevant ist. Die Angabe R. Larry Todd (Introduction), R. Larry Todd (Editor), Clive Brown (Introduction), Clive Brown (Editor) ergänzt den Eintrag um weitere relevante Personen oder Beteiligte.

Wichtige Kennzeichen dieser Ausgabe

Im Open-Library-Kontext ist das Werk über OL19630355W sowie die Editionszuordnungen OL26851306M referenzierbar. Die Ausgabe ist über den Verlag Bärenreiter, den Ort Kassel und das Datum 2018 klar kontextualisiert.

Bibliografische Eckdaten dieser Ausgabe

1. Externe Editionsreferenzen: OL26851306M
2. Autor beziehungsweise Autoren: Felix Mendelssohn
3. Buchtitel: Konzert in e für Violine und Orchester, Op.64
4. Verlag: Bärenreiter
5. Verzeichnetes Inhaltsverzeichnis: Introduction = Einleitung. | The piano reduction = Der Klavierauszug / R. Larry Todd | The solo part and its earliest performers = Die Solostimme und die ersten Aufführenden / Clive Brown | Hubert Léonard / Richard Sutcliffe | Concerto, op. 64
6. Sprache: Deutsch
7. Veröffentlicht am: 2018
8. Inhaltliche Kurzcharakteristik: This edition presents the piano reduction of Mendelssohn's authorized version of his Violin Concerto in E minor, op, 64, and forms a companion volume to the Bärenreiter edition of the full score of the 1844 and 1845 versions, where the reader may find a review of the compositional history of the concerto and discussion of the primary sources. Having finished the first draft in Frankfurt in September 1844, Mendelssohn soon began to contemplate revisions, and in the following months consulted the violinist Ferdinand David, concertmaster of the Gewandhaus Orchestra in Leipzig, about numerous details affecting the solo part. In December, in the midst of these discussions, the composer asked his Leipzig publisher, Breitkopfopf & Härtel, to commission a piano reduction of the orchestral score, with the specific requirement that two staves be left blank beneath the piano part to accommodate corrections. We do not know who prepared the piano part, but within weeks it was ready and sent on January 18 to Mendelssohn in Frankfurt; he corrected and returned the reduction on January 25, along with a "Zettelchen" with instructions for the engraver. Now lost, these materials served as the Stichvorlage for the Breitkopft & Härtel print of the piano reduction released on June 1, 1845. - Introduction by R. Larry Todd. 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. - Publisher
9. Ausgabeform: pocket
10. Primäre Kategorie: Sachbuch
11. Maße der Ausgabe: 31 x x cm
12. Verlagsort: Kassel
13. Internationale Standardbuchnummer (ISBN-13): 9790006564347
14. Open-Library-Work-ID: OL19630355W
15. Mitwirkende: R. Larry Todd (Introduction), R. Larry Todd (Editor), Clive Brown (Introduction), Clive Brown (Editor)
16. Umfang: 1 Seiten

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