Urtext. Composed by Ludwig van Beethoven. Edited by Clive Brown. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). Beethoven would probably have loved to be able to commission a new edition of his violin concerto from Clive Brown, since he is one of the top specialists, with a profound knowledge and experience of performance practice in Beethoven's day. Solo concerto; Classical. Set of parts. 92 pages. Duration 42'. Breitkopf and Haertel #OB 5353-30. Published by Breitkopf and Haertel (BR.OB-5353-30).
ISBN 9790004340752. 10 x 12.5 inches.
What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.
Urtext. Composed by Ludwig van Beethoven. Edited by Clive Brown. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). Beethoven would probably have loved to be able to commission a new edition of his violin concerto from Clive Brown, since he is one of the top specialists, with a profound knowledge and experience of performance practice in Beethoven's day. Solo concerto; Classical. Set of parts. 92 pages. Duration 42'. Breitkopf and Haertel #OB 5353-30. Published by Breitkopf and Haertel (BR.OB-5353-30).
ISBN 9790004340752. 10 x 12.5 inches.
What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.
Preview: Violin Concerto in D major Op. 61
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