Noch heute bekannt durch die Widmung in Beethovens Violin-Sonate op.47 war Kreutzer ein fĆ¼hrender Vertreter der franzƶsischen Geiger-Schule. Seine Sammlung von Violin-EtĆ¼den, die"42 Etudes ou Caprices" wird noch heute gespielt. Das enthaltene Konzert ist eines von19 welches er vor 1810 als gefeierter Solist schrieb, bevor er bei einem Kutschunfall seinen Arm brach.
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Yes, you can access Violin Concerto No. 17 by Rodolphe Kreutzer, Stephen Begley, Christoph Bisel in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Music. We have over one million books available in our catalogue for you to explore.
University of Rochester, Eastman School of Music, Sibley Music Library (2010) 'Dix-septiĆØme concerto pour violon, avec accompagnement de deux violons, alto basse, 2 flĆ»tes, 2 hautbois, 2 cors, 2 bassons, et timbales. Par R. Kreutzer.' [online], available: http://hdl.handle.net/1802/2593 [accessed 23rd February, 2010].
Description:
13 parts. 34 cm.
The label of J. H. Paling & Co., Rotterdam, is pasted over imprint. Plate no. 2470.
Separate parts: 2 violins, alto, basse, 2 flutes, 2 hautbois, 2 cors, 2 bassons, et timbales.
m.2, b.4, VIn. Pr: Dynamic missing in the original. (cf. VIn. IĀ°, m.2.)
m.3, b.1, Oboe IĀ°: ff sic.
m.3, b.1, Oboe IIĀ°:f in the original.
m.3, b.1, Timp: Dynamic missing in the original.
m.3, b.1, Vc. e Basso: Tutti sic.
m.4, b.4, Corno IIĀ°: Dynamic missing in the original.
m.4, b.2, nn.1-4, VIn. Pr: Articulation missing in the original.
m.6, b.4, VIn. Pr: Dynamic missing in the original, (cf. VIn. IĀ°, m.6.)
m.8, b.3, VIn. 1Ā°: Original marked f ; the presence of the f less than two bars earlier indicates that a special emphasis is attached to the second incidence of the dynamic as a particular stress on the note, for which, the common equivalent is sf. This is clearly indicated by comparing the principal violin (Boleros, m. 221, b.1, n.2 and b.2, n.2) and the same measure played at the unison by Violin IĀ° and others: VIn. Pr. shows sf while VIn. IĀ° shows f.
m.8, b.3, VIn. Pr: sf not in the original. (cf. VIn. IĀ°, m.8.)
m.8, b.4, n.3, VIn. Pr.: Ligature only reaches as the penultimate note of the measure in the original.
m.9, b.3, VIn. Pr: Original marked f but read as sf. See note to m.8, b.3, VIn. IĀ° above.
m.12, b.1, Fagotto IĀ°: Dynamic missing in the original. (cf. m.12, Ob.)
m.12, b.1, Fagotto IIĀ°: Dynamic missing in the original. (cf. m.12, Ob.)
m.14, b.4, nn.1-4, VIn. IĀ°: Articulation missing in the original. (cf. VIn. Pr. m.14, b.4.)
m.14, b.3, nn.1-4, VIn. Pr: Articulation missing in the original. (cf.VIn. IĀ°, m.14, b.3.)
m.19, b.2, Fagotto IĀ°:
sign missing from F. (cf.VIn. IIĀ°, m.19.)
m.20, b.2, Fagotte IĀ°:
sign missing from F. (cf.VIn. Pr. / VIn. IĀ°, m.20.)
m.22, b.1-4, n.1, VIn. IĀ°: Original shows f on each beat, intended to signify sf?
m.22, b.1-4, n.1, VIn. Pr: sf missing from original. (cf. VIn. IĀ°, mm.22.)
m.23, b.1-4, n.1, VIn. IĀ°: Original shows f on each beat, intended to signify sf?
m.23, b.1-4, n.1, VIn. Pr: sf missing from original. (cf. VIn. IĀ°, mm.23.)
m.34, b.1, VIn. IIĀ° / VIe / Vc. e Basso: Dynamic missing in the original. (cf. VIn. IĀ°, mm.34.)
