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Difficulty (Explanation)
Other titles of this difficulty
Violin Concerto a minor op. 37
7 difficult

About the Composer


Henry Vieuxtemps

A violinist and composer of the Romantic era from Belgium who attained great international fame by his virtuosic playing. He is regarded as the most important representative of the Franco-Belgian violin school. His works include concerti for violin, viola, and cello, solo pieces, and chamber music.

1820Born in Verviers on February 17. At age four he receives violin lessons from his father, later from Joseph Lecloux-Dejonc.
1827–31Concert tours take him to Liège and Brussels, among other places. He is accepted into Charles-Auguste de Bériot’s class.
1829In Paris he makes his debut at the Théâtre-Italien with Pierre Rode’s Violin Concerto no. 7 in A minor, op. 9.
from 1831Decades-long concert tours throughout Europe and America help him rise to become the most popular violinist of his age. He meets important contemporaries, including Schumann, Spohr, and Bernhard Molique. He intensifies his studies with Simon Sechter in Vienna.
1835–36He takes composition lessons with Anton Reicha in Paris.
1844He marries Viennese pianist Josephine Eder, who frequently accompanies him at the piano.
1846–50In St. Petersburg he is active as soloist to the Tsar and as professor at the conservatory, where he founds the St. Petersburg school of violin. He composes four violin concerti.
1861He publishes his Violin Concerto no. 5 in A minor, op. 37, one of his best-known works.
1871As professor at the Brussels Conservatoire he teaches, among others, Eugène Ysaÿe.
1879He withdraws from public life for health reasons.
1881Dies in Mustapha, Algeria, on June 6.

About the Authors

Ray Iwazumi (Editor, Fingering and bowing for Violin)


Johannes Umbreit (Piano reduction)

Prof. Johannes Umbreit studied the piano at the Musikhochschule in Munich. From 1987 onwards he was a regular accompanist at courses given by Wolfgang Schneiderhan, Thomas Brandis, Ljerko Spiller, Igor Ozim, Olga Woitowa, Ernő Sebestyén, Walter Nothas, F. Andrejevsky, Denis Zsigmondy and Zakhar Bron amongst others. He has appeared in numerous radio and TV broadcasts and plays chamber music with members of the Bavarian State Orchestra, the Munich Philharmonic Orchestra and the Bavarian Radio Symphony Orchestra.

He is on the jury of different international competitions and has been invited to several international music festivals. Umbreit was a teacher for almost ten years at the Musikhochschule in Munich and at the same time a lecturer for chamber music and piano accompaniment at the Richard Strauss Conservatory. Since 2008 he has been a lecturer at the Hochschule für Musik und Theater München. As the long-serving managing director of the Richard-Strauss-Gesellschaft, he was made an honorary member of the board in 2009. In May 2011, the Bavarian Minister of Culture appointed Johannes Umbreit an honorary professor of the Hochschule für Musik und Theater München on the suggestion of its academic senate.

Marie Cornaz (Preface)

Marie Cornaz is the head of the music division at the Royal Library of Belgium and lecturer in musicology at the Université Libre de Bruxelles. After her doctoral dissertation on music publishing in Brussels during the 18th century, she has published on manuscript and printed musical sources kept in Belgian collections and on the history of the musicians in the Low Countries and Belgium between the 17th century and the beginning of the 20th century. She is the author of the following books: L’édition et la diffusion de la musique à Bruxelles au XVIIIe siècle (2001), Les Princes de Chimay et la musique (2002), The Dukes of Arenberg and Music in the Eighteenth Century. The Story of a Music Collection (2015) and À la redécouverte d’Eugène Ysaÿe (2019).

Die vorliegende sehr verdienstvolle Ausgabe des Klavierauszugs erfüllt mit zwei beigefügten Solostimmen alle Ansprüche einer kritischen Edition der Solostimme (den Klavierauszug mit Hinweisen auf die Instrumentierung fertigte sehr kompetent Johannes Umbreit an). Sie geht auf die überlieferten Quellen zurück, korrigiert deren Fehler und Versehen und publiziert die Ergänzungen von Ray Iwazumi sowie eine Fassung der 1. Kadenz, die Ysaÿe eingerichtet hat. In einer Einleitung berichtet Marie Cornaz über Entstehung und Aufführung des Werks durch den Komponisten, ein Kritischer Bericht von Ray Iwazumi beschreibt die Quellen und dokumentiert die editorischen Entscheidungen. Eine Vielzahl der mitgeteilten Lesarten mag interpretatorisch belanglos bleiben, aufzulisten sind sie gleichwohl. Sie verschaffen dem Benutzer das sichere Gefühl, die beste verfügbare Ausgabe des Werks zu benutzen. Notenstich (Wendestellen!) und Druck lassen keine Wünsche offen.

Das Orchester, 2016