Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 - Alle wichtigen Infos zur Ausgabe

Alles Wichtige zu Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845

Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 gehört zur Kategorie Sachbuch und stammt von Felix Mendelssohn-Bartholdy - eine Kombination, die den Titel sowohl fachlich als auch bibliografisch interessant macht. Der Untertitel Partitur / Score ergänzt den Haupttitel Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 sinnvoll und gibt bereits früh einen konkreten Hinweis auf die inhaltliche Ausrichtung des Buches. Aus der Buchbeschreibung zu Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 ergibt sich ein klares Bild der thematischen Schwerpunkte: In 1838 Felix Mendelssohn wrote to the violin virtuoso Ferdinand David informing him that he was working on a violin concerto "& the opening theme, one in E minor runs through my head and it gives me no peace"; the concerto in the state described by Mendelssohn to David was never published in a performing edition. It was only rediscovered in 1988. One would think that such an important work would be adequately represented in modern editions true to the sources. Alas not even the score used today represents the orchestral parts Mendelssohn saw to print in 1845, but one heavily edited in the 1860s by Julius Rietz for the Mendelssohn Complete Edition. For the Bärenreiter Urtext edition, the Mendelssohn specialist R. Larry Todd has edited both the original version of the concerto as well as the later version known today. The first version of the concerto calls for the soloist to perform the orchestral tuttis, contains a shorter cadenza by Mendelssohn, many solo violin pitches in different octaves, passages with different orchestral scoring and many many surprises regarding articulation and dynamics. The later version goes back to the first edition orchestral parts published in 1845 and the piano reduction sanctioned by Mendelssohn. Todd makes use of all known sources including the letters between Mendelssohn and David as well as Mendelssohn and the original publishers where general schemes as well as specifics of articulation were exchanged. This first ever Urtext edition of one of the most popular violin concertos in the repertoire finally gives performers the opportunity of playing just what Mendelssohn wrote. The Bärenreiter Urtext edition offers the two versions of op. 64 back to back in score and parts together with facsimiles, an informative preface describing the genesis of the composition and a detailed critical commentary. This Bärenreiter Urtext edition offers: First ever Urtext edition of both versions of op. 64; Critical Commentary (Engl.) included with full score; Informative preface (Engl. / Ger.); Piano reductions each with an Urtext violin part and a second violin part prepared with fingerings and bowings. - Publisher Bibliografisch ist Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 mit dem Erscheinungsdatum 2005, dem Verlag Bärenreiter und dem Ort Kassel erfasst.

Warum Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 relevant sein kann

Innerhalb von Sachbuch bietet Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 eine klar erkennbare thematische Zuordnung. Die Angaben zu Bärenreiter und Kassel stärken die bibliografische Präzision des Eintrags. Die Ausgabe ist in Deutsch verfügbar und damit gezielt für Leserinnen und Leser mit entsprechender Sprachpräferenz interessant. Das hinterlegte Publikationsdatum 2005 unterstützt dabei, Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 zeitlich korrekt zu klassifizieren. Gerade wer nach Werken von Felix Mendelssohn-Bartholdy sucht, sollte Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 näher betrachten.

Inhalte, Themen und Relevanz

Die Beschreibung zeigt, dass Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845 klar dem Bereich Sachbuch zugeordnet werden kann: In 1838 Felix Mendelssohn wrote to the violin virtuoso Ferdinand David informing him that he was working on a violin concerto "& the opening theme, one in E minor runs through my head and it gives me no peace"; the concerto in the state described by Mendelssohn to David was never published in a performing edition. It was only rediscovered in 1988. One would think that such an important work would be adequately represented in modern editions true to the sources. Alas not even the score used today represents the orchestral parts Mendelssohn saw to print in 1845, but one heavily edited in the 1860s by Julius Rietz for the Mendelssohn Complete Edition. For the Bärenreiter Urtext edition, the Mendelssohn specialist R. Larry Todd has edited both the original version of the concerto as well as the later version known today. The first version of the concerto calls for the soloist to perform the orchestral tuttis, contains a shorter cadenza by Mendelssohn, many solo violin pitches in different octaves, passages with different orchestral scoring and many many surprises regarding articulation and dynamics. The later version goes back to the first edition orchestral parts published in 1845 and the piano reduction sanctioned by Mendelssohn. Todd makes use of all known sources including the letters between Mendelssohn and David as well as Mendelssohn and the original publishers where general schemes as well as specifics of articulation were exchanged. This first ever Urtext edition of one of the most popular violin concertos in the repertoire finally gives performers the opportunity of playing just what Mendelssohn wrote. The Bärenreiter Urtext edition offers the two versions of op. 64 back to back in score and parts together with facsimiles, an informative preface describing the genesis of the composition and a detailed critical commentary. This Bärenreiter Urtext edition offers: First ever Urtext edition of both versions of op. 64; Critical Commentary (Engl.) included with full score; Informative preface (Engl. / Ger.); Piano reductions each with an Urtext violin part and a second violin part prepared with fingerings and bowings. - Publisher Die Kapitel- und Inhaltsübersicht macht deutlich, wie das Buch aufgebaut ist: Introduction | Einleitung | Facsimiles / Faksimiles | First version / Erste Fassung 1844 | Second version / Zweite Fassung 1845 | Critical commentary Der dokumentierte Umfang von 190 Seiten sowie das Format pocket geben einen guten ersten Eindruck von der Ausgabe. Neben den Hauptverantwortlichen sind auch folgende Mitwirkende erfasst: R. Larry Todd (Editor)

Ausgabe, Identifikatoren und Referenzen

Auch externe Referenzen sind vorhanden: Die Work-ID lautet OL17334084W, die zugehörigen Editions-IDs sind OL25910149M. Durch die Kombination aus Bärenreiter, Kassel und 2005 lässt sich die Ausgabe sauber verorten.

Die zentralen Metadaten zu Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845

1. Umfang: 190 Seiten
2. Verzeichnetes Inhaltsverzeichnis: Introduction | Einleitung | Facsimiles / Faksimiles | First version / Erste Fassung 1844 | Second version / Zweite Fassung 1845 | Critical commentary
3. Ausgabeform: pocket
4. Abmessungen: 31 x x cm
5. Titel: Konzert in e-Moll für Violine und Orchester, op. 64, 1844/1845
6. Ort der Veröffentlichung: Kassel
7. Inhaltliche Kurzcharakteristik: In 1838 Felix Mendelssohn wrote to the violin virtuoso Ferdinand David informing him that he was working on a violin concerto "& the opening theme, one in E minor runs through my head and it gives me no peace"; the concerto in the state described by Mendelssohn to David was never published in a performing edition. It was only rediscovered in 1988. One would think that such an important work would be adequately represented in modern editions true to the sources. Alas not even the score used today represents the orchestral parts Mendelssohn saw to print in 1845, but one heavily edited in the 1860s by Julius Rietz for the Mendelssohn Complete Edition. For the Bärenreiter Urtext edition, the Mendelssohn specialist R. Larry Todd has edited both the original version of the concerto as well as the later version known today. The first version of the concerto calls for the soloist to perform the orchestral tuttis, contains a shorter cadenza by Mendelssohn, many solo violin pitches in different octaves, passages with different orchestral scoring and many many surprises regarding articulation and dynamics. The later version goes back to the first edition orchestral parts published in 1845 and the piano reduction sanctioned by Mendelssohn. Todd makes use of all known sources including the letters between Mendelssohn and David as well as Mendelssohn and the original publishers where general schemes as well as specifics of articulation were exchanged. This first ever Urtext edition of one of the most popular violin concertos in the repertoire finally gives performers the opportunity of playing just what Mendelssohn wrote. The Bärenreiter Urtext edition offers the two versions of op. 64 back to back in score and parts together with facsimiles, an informative preface describing the genesis of the composition and a detailed critical commentary. This Bärenreiter Urtext edition offers: First ever Urtext edition of both versions of op. 64; Critical Commentary (Engl.) included with full score; Informative preface (Engl. / Ger.); Piano reductions each with an Urtext violin part and a second violin part prepared with fingerings and bowings. - Publisher
8. Weitere Beteiligte: R. Larry Todd (Editor)
9. Verfügbare Sprache dieser Ausgabe: Deutsch
10. Open-Library-Work-ID: OL17334084W
11. Open-Library-Editions-IDs: OL25910149M
12. Publiziert bei: Bärenreiter
13. ISBN-13: 9790006525928
14. Untertitel: Partitur / Score
15. Erscheinungsdatum: 2005
16. Primäre Kategorie: Sachbuch
17. Verfasst von: Felix Mendelssohn-Bartholdy

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