There has been increased general interest in the Bohemian composer Johann Baptist Georg Neruda (c. 1711–1776) over the past few years, especially due to his frequently played trumpet concerto. A respected violinist and longstanding member of the Dresden Court Orchestra, he did, however, mainly compose for the Violin. The substantial and technically quite demanding Violin Sonata in a minor was published for the first time ever in 1982 as part of Henle's edition “Bohemian Violin Sonatas” (HN 334). Henle are now proud to present it in a practical single edition with a new preface as well as an additional unmarked part.

At the age of 19, Mozart wrote a series of violin concertos that marked his coming of age as a composer of orchestral music. Now a part of the standard repertoire, these works convey the composer's uniquely sensual brand of melody. This volume comprises all five works: Violin Concerto No. 1 in B-flat major Violin Concerto No. 2 in D major Violin Concerto No. 3 in G major Violin Concerto No. 4 in D major Violin Concerto No. 5 in A major This practice and performance edition is the first to combine all of these pieces in a single, low-cost Piano reduction version with a separate and removable 64-page solo violin score. Reproduced from early authoritative editions, this volume is an essential addition to the collections of intermediate and advanced musicians. Reprint of early authoritative editions.

The Swan from Saint-Saens's Carnival Of The Animals arranged for Violin and Piano by Jascha Heifetz.

Dvorák wrote a total of four works for piano trio. The second Piano Trio in G minor op. 26 (1876) represents a conception of the form typical of the composer. At the same time, it documents the transition from his experimental phase to the emergence of his characteristic style which partly involved the return to definite form and thematic clarity. The main source for this present edition was the first printed edition (1880).

These sonatas are among the epoch-making works of the violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising, therefore, that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli’s time, however, more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation, with embellishment and “variations as desired”. The original score is therefore presented here with the earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated, but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume, the “variations as desired” used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation, but also to articulation, bowings and more besides, calling for specific markings in the separate violin part. The realisation of the continuo part echoes the fashions of that time. Here too, advice on performance is meant to stimulate free interpretation by the continuo player. A figured bass part is included for the player who prefers to read the accompaniment from figures.

Introducing the young violinist to the great symphonic repertoire.

One of the most beloved concertos in the violin repertoire, this piece features important formal innovations that place it on a par with the most significant works in the genre. Mendelssohn created the concerto specifically for Ferdinand David, his close friend and concertmaster of the Leipzig Gewandhaus Orchestra, for which the composer served as conductor. An instant success upon its 1845 premiere, the concerto remains essential to the repertoire of every aspiring violin virtuoso. Edited by the distinguished teacher and performer Leopold Auer, this authoritative practice and performance edition includes a 16-page insert of a separate, removable violin part. Professional and amateur musicians alike will appreciate this durable yet inexpensive edition, which features a sturdy binding that allows pages to remain open on music stands for years of use and enjoyment. Reprint of the Carl Fischer, New York, 1917 edition.

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Brahms composed just three sonatas for violin and piano, all of them staples of the repertoire—studied, practised, and performed by chamber music players everywhere. Musicians and students of music will be delighted to own all three works in this single-volume compilation, reprinted from authoritative editions. Both Sonata No. 1 in G Major, Op. 78, and Sonata No. 2 in A Major, Op. 100, are intensely lyrical in nature, containing some of Brahms' most beautiful and expressive melodies. Sonata No. 3 in D Minor, Op. 108, a tempestuous work full of fire and passion, is a particular favorite with audiences around the world. The violin part, edited by famed performer and teacher Leopold Auer, appears both within the book and as a separate, removable score. Reprint of the Carl Fisher, New York, 1916-17 editions.

A new, corrected edition of an important and substantial work which has been constructed from the existing set of parts by Russell Denwood. It was written in 1895 when the composer was still a student at the Royal College of Music. His composition teacher, Charles Villiers Stanford, was so impressed by the piece that he took it with him on a visit to Berlin in 1897, where he arranged for the Joachim Quartet to play it. It was published in 1902, but no score appears to exist and the parts required corrections to be made. For Clarinet in A, 2 Violins, Viola and Cello. A reduction for clarinet and piano is also available (EME651).

Two of Bruch's most enduring compositions, revealing the German composer's romanticism, fluent scoring, colourful orchestrations, and exuberant melody. The First Violin Concerto in G Minor stands as one of the most performed and recorded concertos in the violin repertoire while Scottish Fantasy reflects his lifelong interest in folk music. Reprint of Concert, Op.26, C. F. W. Siegel's Musikalienhandlung, Leipzig, n.d., and Fantasie, Op.46, N. Simrock, Berlin, 1880.

Introducing the young violinist to the great symphonic repertoire.

Sonate d-Moll / Sonata in D minor TWV 40:121 Sonate A-Dur / Sonata in A major TWV 40:122 Sonate a-Moll / Sonata in A minor TWV 40:123 Zirkelkanon e-Moll / in E minor TWV Anh. 40:103

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With two CDs of performances and accompaniments. Baroque, Classical, and Romantic violin solos suitable for the intermediate student violinist. The two enhanced CDs include performances and accompaniments of each piece and can also be used in computers to adjust the tempo. Content - Bach, J.S.: Allegro from Sonata in B minor - Beethoven: Andante Scherzoso from Sonata, op. 23 - Beethoven: Scherzo from Sonata op. 30 no. 2 - Corelli: Preludio and Allemanda from Sonata in E minor op. 5, no. 8 - Dancla: Air varie on a theme by Donizetti op. 89 no. 4 - Mozart: Adagio and Allegro from Sonata K.379 - Sarasate: Playera from Spanish Dances op. 23 - Schubert: Finale from Sonatina op. 137 no. 3 - Schumann, R: Phantasiestück op. 73 - Vivaldi: Largo from Winter (The Four Seasons)

As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio, composed in 1914. Thus the “Passacaglia” movement corresponds to the underlying form of the Baroque Period. The music on the other hand was, according to Ravel, “like that of Saint-Saëns”, which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: from a constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianist Pascal Rogé.

This short work for Oboe and String trio was written c.1878, probably for performance at Worcester Glee Club. It has never previously been published.

Both books of these popular duets are combined into one convenient, value-priced edition.