Edited by U. Scheideler. Piano Reduction by J. Umbreit. Fingering, bowing and commentary by I. Ozim. On July 30, 1838 the composer announced to his friend, the violinist Ferdinand David, that he would "probably also like to turn out a violin concerto for you to play next winter; I've got one in e minor stuck in my brain, and the opening won't leave me any peace." Yet although the initial sketches date from 1841 at the latest, it was not until the summer of 1844 that Mendelssohn actually carried out his plan.
Title: Concerto in E Minor, Op. 64 for Violin and Piano, By Mendelssohn, Felix, Published by G. Henle Urtext Editions, Item number: HN720
Originally for clarinet and piano. The circumstances in which these poetic "Soiree Pieces" (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to flee with Clara to the countryside. Yet none of this is apparent in the music of these three pieces, whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the clarinet, they were accompanied by alternative parts for violin and cello as early as the original print.Includes a section of detailed editorial notes.
Title: Fantasy Pieces, Op.73 for Cello and Piano, By Schumann, Robert, Published by G. Henle Urtext Editions, Item number: HN422
Sonata for Piano and Violin in G major, op. 78 by Johannes Brahms. Urtext. Edited by Hans Otto Hiekel with Preface by Wolfgang Sandberger. Supplemental violin part with fingerings and bowings by Karl Rohrig. Piano fingerings by Hans-Martin Theopold.