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A solo, for Violin with Piano Accompaniment, composed by udwig van Beethoven.
Reprint of the original, first published in 1866.
In accompanying the present edition of the Letters of Ludwig van Beethoven with a few introductory remarks, I at once acknowledge that the compilation of these letters has cost me no slight sacrifices. I must also, however, mention that an unexpected Christmas donation, generously bestowed on me with a view to further my efforts to promote the science of music, enabled me to undertake one of the journeys necessary for my purpose, and also to complete the revision of the Letters and of the press, in the milder air and repose of a country residence, long since recommended to me for the restoration of my health, undermined by overwork. That, in spite of every effort, I have not succeeded in seeing the original of each letter, or even discovering the place where it exists, may well be excused, taking into consideration the slender capabilities of an individual, and the astonishing manner in which Beethoven's Letters are dispersed all over the world. At the same time, I must state that not only have the hitherto inaccessible treasures of Anton Schindler's "Beethoven's Nachlass" been placed at my disposal, but also other letters from private sources, owing to various happy chances, and the kindness and complaisance of collectors of autographs. I know better, however, than most people--being in a position to do so--that in the present work there can be no pretension to any thing approaching to a complete collection of Beethoven's Letters. The master, so fond of writing, though he often rather amusingly accuses himself of being a lazy correspondent, may very probably have sent forth at least double the amount of the letters here given, and there is no doubt whatever that a much larger number are still extant in the originals. The only thing that can be done at this moment, however, is to make the attempt to bring to light, at all events, the letters that could be discovered in Germany. The mass of those which I gradually accumulated, and now offer to the public (with the exception of some insignificant notes), appeared to me sufficiently numerous and important to interest the world, and also to form a substantial nucleus for any letters that may hereafter be discovered. On the other hand, as many of Beethoven's Letters slumber in foreign lands, especially in the unapproachable cabinets of curiosities belonging to various close-fisted English collectors, an entire edition of the correspondence could only be effected by a most disproportionate outlay of time and expense.
In this second edition of Orchestral “Pops” Music: A Handbook, Lucy Manning brings forward to the present her remarkable compendium of information about this form of orchestral music. Since the appearance of the first edition in 2008, this work has proven critical to successful “pops” concert programming. With changes in publishers and agents, the discontinuation of the publication of certain original material or, worst of all, presses going out of business, music directors, orchestra conductors, and professional instrumentalists face formidable challenges in tracking down accurate information about this vast repertoire. This revised handbook alleviates the time-consuming task of researching these changes by offering a list of works for orchestral “pops” concerts that is comprehensive, informative, and current. Manning’s emphasis on clarity and accuracy gives users an indispensable tool for gathering vital information on the style, instrumentation, and availability of the repertoire listed, as well as notes on its performance. The user-friendly appendices include expanded instrumentation choices, easy-to-find durations, and handy title cross-references. In addition to corrections and updates, this new edition of Orchestral “Pops” Music includes at least 1,000 new title listings. Orchestral “Pops” Music: A Handbook is the ideal tool for working conductors and orchestral librarians, as well as music program directors at colleges, conservatories, and orchestras.