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This edition showcases Mozart's Concerto No. 5, A Major, K. 219 in its purest form, presenting you with the authentic Urtext version. Immerse yourself in the composer's original intentions, as every note and nuance has been carefully preserved.\r\n\r\nCrafted with the utmost precision and attention to detail, this edition is a testament to Barenreiter Verlag's commitment to excellence. The renowned Christoph Hellmut Mahling has meticulously edited this masterpiece, ensuring the utmost accuracy and authenticity. With his expertise, you can trust that every musical element has been thoughtfully considered, allowing you to experience Mozart's genius in its truest form.\r\n\r\nWhether you are a seasoned performer or an aspiring musician, this edition is designed to meet your every need. The clear and legible sheet music ensures effortless reading, allowing you to focus solely on your performance. The violin and piano parts have been expertly arranged, striking the perfect balance between technicality and musicality.\r\n\r\nIndulge in the rich harmonies, intricate melodies, and breathtaking cadenzas that define Mozart's Concerto No. 5. This edition provides you with the tools to unlock the full potential of this masterpiece, allowing you to showcase your skills and captivate audiences with every note.\r\n\r\nInvest in the best, and let Mozart's brilliance shine through your performance. With the Mozart, WA - Concerto No 5 in A Major, K 219 - Violin and Piano - edited by Christoph Hellmut Mahling - Barenreiter Verlag URTEXT, you can be confident that you are choosing the ultimate edition for your musical journey. Elevate your playing to new heights and experience the magic of Mozart like never before.\"","brand":"Shar Music","offers":[{"title":"Default Title","offer_id":45591276880103,"sku":"1285 114","price":26.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0660\/7414\/9095\/products\/media_7002ed9f-f119-44e4-a023-a6847de24c6a.jpg?v=1676391867"},{"product_id":"schubert-fantasia-in-c-major-op-159-d-934","title":"Schubert, Franz - Fantasia In C Major, Op 159, D 934 - for Violin and Piano - Barenreiter URTEXT","description":"","brand":"Shar Music","offers":[{"title":"Default Title","offer_id":45591734649063,"sku":"1382 162","price":21.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0660\/7414\/9095\/products\/media_c5e2c21c-42e2-41f9-befb-9d24f05b346e.jpg?v=1670322943"},{"product_id":"bach-sonatas-bwv-1014-1019-violin-and-piano","title":"Bach, JS - 6 Sonatas for Violin and Piano, BWV 1014-1019, Volume 1 - for Violin and Piano -  edited by Wollny and Manze - Barenreiter Verlag URTEXT Edition","description":"","brand":"Shar Music","offers":[{"title":"Default Title","offer_id":45591739072743,"sku":"1385 162","price":31.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0660\/7414\/9095\/products\/media_01d24c95-2d21-487d-b3b0-d88ca784d829.jpg?v=1670322965"},{"product_id":"roman-kim-three-romances-for-violin-and-piano","title":"Kim, Roman - Three Romances - for Violin and Piano - Barenreiter","description":"\u003cbig\u003e\u003cb\u003eDrei Romanzen\u003c\/b\u003e\u003c\/big\u003e Three Romances\u003cbr\u003efor Violin and Piano\u003cbr\u003eby Roman Kim\u003cbr\u003eBarenreither Edition\u003cbr\u003e\u003cbr\u003eSensational international violin soloist, Roman Kim, is as artistic with his pen as he is with his bow. These unabashedly romantic sonatas will please any advanced violinist looking for the perfect recital showpiece. \u003cbr\u003e\u003cbr\u003eRoman Kim debuted the first of these Romances (in B-flat)\n as his first composition for violin and piano in 2012 as a Youtube video. This edition includes three Romances:\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003e\nRomance in B-flat major\u003cbr\u003eRomance in D minor\u003cbr\u003eRomance in G-flat major\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe included piano accompaniment part is soft-cover bound, and the violin part is a pull-out booklet. Included, also, is a preface by Roman Kim, which describes a method for achieving the \"harmonics\"\n timbre in the piece.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDifficulty:\u003c\/b\u003e A6 (Advanced)\u003cbr\u003e\u003cbr\u003e","brand":"Shar Music","offers":[{"title":"Default Title","offer_id":45591755129063,"sku":"1395 162","price":17.6,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0660\/7414\/9095\/products\/media_1db968bf-2d6e-437f-9b8c-e29ecfa18005.jpg?v=1670323041"},{"product_id":"brahms-sonata-in-g-major-op-78-violin-and-piano","title":"Brahms, Johannes - Sonata in G Major, Op 78 - for Violin and Piano - edited by Clive Brown and Neal Peres Da Costa - Barenreiter URTEXT","description":"Johannes Brahms:\r\nThe Works for one Instrument and Piano\r\n\u003cbr\u003e\u003cbr\u003eJohannes Brahms’ compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.\r\n\u003cbr\u003e\u003cbr\u003eThe New Urtext Editions\r\n\r\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s pioneering new scholarly-critical editions of Brahms’ works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today’s musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.\r\n\r\n\u003cbr\u003e\u003cbr\u003eIn addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.\r\n\r\n\u003cbr\u003e\u003cbr\u003eAn integral part of Bärenreiter’s Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms’ own piano playing as well as that of his circle and contemporaries are discussed.\r\n\r\n\u003cbr\u003e\u003cbr\u003eThe violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim’s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms’ associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.\r\n\r\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s new Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. 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These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.\n\u003cbr\u003e\u003cbr\u003eThe New Urtext Editions\n\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s pioneering new scholarly-critical editions of Brahms’ works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today’s musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.\n\n\u003cbr\u003e\u003cbr\u003eIn addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.\n\n\u003cbr\u003e\u003cbr\u003eAn integral part of Bärenreiter’s Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms’ own piano playing as well as that of his circle and contemporaries are discussed.\n\n\u003cbr\u003e\u003cbr\u003eThe violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim’s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms’ associate Franz Kneisel. 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If you backorder this item, it will automatically ship as soon as it is available.  We apologize for any inconvenience.*\n\n\u003cbr\u003e\u003cbr\u003eJohannes Brahms:\nThe Works for one Instrument and Piano\n\u003cbr\u003e\u003cbr\u003eJohannes Brahms’ compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.\n\u003cbr\u003e\u003cbr\u003eThe New Urtext Editions\n\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s pioneering new scholarly-critical editions of Brahms’ works for one instrument and piano are edited by a team of musicologists who are also performers. 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A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.\n\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s new Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. 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These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.\r\n\u003cbr\u003e\u003cbr\u003eThe New Urtext Editions\r\n\r\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s pioneering new scholarly-critical editions of Brahms’ works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today’s musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.\r\n\r\n\u003cbr\u003e\u003cbr\u003eIn addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.\r\n\r\n\u003cbr\u003e\u003cbr\u003eAn integral part of Bärenreiter’s Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. 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A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.\r\n\r\n\u003cbr\u003e\u003cbr\u003eBärenreiter’s new Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. 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These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.\u003cbr\u003e\u003cbr\u003e\r\n\r\nThe New Urtext Editions\u003cbr\u003e\u003cbr\u003e\r\n\r\nBärenreiter’s pioneering new scholarly-critical editions of Brahms’ works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today’s musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.\u003cbr\u003e\u003cbr\u003e\r\n\r\nIn addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.\u003cbr\u003e\u003cbr\u003e\r\n\r\nAn integral part of Bärenreiter’s Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms’ own piano playing as well as that of his circle and contemporaries are discussed.\u003cbr\u003e\u003cbr\u003e\r\n\r\nThe violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim’s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms’ associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.\u003cbr\u003e\u003cbr\u003e\r\n\r\nBärenreiter’s new Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. 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Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, “La Stravaganza” is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe many reprints of “La Stravaganza” bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThis edition of “La Stravaganza” is not only the first scholarly-critical edition, it is also the only complete edition available. 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Study score with instrumentation for Violin Solo, Viola Solo, Oboe (2), Horn (2), Violin (2), Viola (2), Violoncello, Double bass. Edited and with a forward by Christoph-Hellmut Mahling.","brand":"Shar Music","offers":[{"title":"Default Title","offer_id":45600448774375,"sku":"6635 162","price":16.79,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0660\/7414\/9095\/products\/media_e32164d3-abd9-4741-99b5-4b0560a9ff87.jpg?v=1676392372"},{"product_id":"bach-trio-sonata-c-minor-bwv-1079-urtext","title":"Bach, JS - Musical Offering: Trio Sonata in c minor BWV 1079 for Flute, Violin and Double Bass - Barenreiter URTEXT Edition","description":"From A Musical Offering, BWV 1079. For Flute, Violin and Basso Continuo (cello,  bass or keyboard). 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Since its composition – probably in the late 1720s – \"L'arte\" has been an important source for baroque playing techniques and forms an indispensable collection of etudes for advanced lessons.\u003c\/p\u003e\u003cp\u003eThis critical edition contains not only the 40 variations as they have been handed down in three partly fragmentary copies from Tartini's circle and the (unauthorised) Le Clerc print of 1757, but also 17 variations (possibly early versions) from the earliest edition of \"L'arte\" published by Boivin in Paris in 1748 as well as 12 variations that are only available in an edition published by Marescalchi in Naples in 1788.\u003c\/p\u003e\u003cp\u003eThis performing edition, edited by Matteo Cossu, corresponds to the Urtext of the respective volume (BA11673-01) of the \"Giuseppe Tartini – Edizione nazionale delle opere musicali\" and contains a historical Introduction (Ital\/Ger\/Eng), a Critical Commentary (Eng) as well as continuo realizations of the theme in the violin part.\u003c\/p\u003e\u003cp\u003eContents:\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eIntroduzione\u003c\/li\u003e\n\u003cli\u003eIntroduction\u003c\/li\u003e\n\u003cli\u003eEinleitung\u003c\/li\u003e\n\u003cli\u003eL'arte dell'arco\u003c\/li\u003e\n\u003cli\u003eAppendix I: 17 \"Pinelli\" variations\u003c\/li\u003e\n\u003cli\u003eAppendix II: 12 \"Marescalchi\" variations\u003c\/li\u003e\n\u003cli\u003eCritical Report\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":51735738220775,"sku":"0123 162","price":37.05,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0660\/7414\/9095\/files\/0123162_0.webp?v=1768920461"}],"url":"https:\/\/www.sharmusic.com\/collections\/barenreiter-violin-editions.oembed?page=3","provider":"Shar Music","version":"1.0","type":"link"}