*OUT-OF-STOCK UNTIL FURTHER NOTICE*
|BA9050 90 second version 1845 (the most popular one). piano reduction and solo violin part|
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 new Bärenreiter Urtext edition, the Mendelssohn specialist R. Larry Todd edited the original version of the concerto and documented its development to the version performed 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 new 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.
- First ever Urtext edition of both versions of op. 64 - Critical Commentary in English - Informative preface (Engl. / Ger.) - Piano reductions each with an Urtext violin part and a second violin part prepared with fingerings and bowings
„Perhaps the greatest violin concerto in existence” H. C. Robbins Landon
„Professor Todd and Bärenreiter are to be congratulated on a fine job – of yourse, informed with the most rigorous research and exhaustive study of the sources – in offering this fresh edition of both versions of this beloved masterpiece.” (Nineteenth-Century Music, Vol. 4, Issue 1/2007