Amongst Vieuxtemps’ seven violin concertos, the fifth in a minor is doubtlessly the best known and most popular by far. It was composed in 1860/61 as an obligatory examination piece for the violin class of his friend Hubert Léonard at the Brussels Conservatory, but then soon made its way into the concert hall. It owes its popularity not only to the brilliant violin part but also to the unusual form of the three movements that merge into one another without interruption. The violinist and musicologist Ray Iwazumi is not only the editor of our edition but also undertook the bowings for the solo part. The preface was penned by the Belgian expert on Vieuxtemps, Marie Cornaz.
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Henry Vieuxtemps (1820 – 81) probably composed his 5th Violin Concerto op. 37 in a minor in 1860, at the same time as his Sonata for Viola and Piano op. 36 (G. Henle Verlag HN 577), even though he later wrote in his autobiography: “The winter of 1858/59 I spent in Paris, and put the finishing touches to my Concerto no. 5 in a minor” (Le Guide musical, nos. … more
About the composer
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.
|1820||Born in Verviers on February 17. At age four he receives violin lessons from his father, later from Joseph Lecloux-Dejonc.|
|1827–31||Concert tours take him to Liège and Brussels, among other places. He is accepted into Charles-Auguste de Bériot’s class.|
|1829||In Paris he makes his debut at the Théâtre-Italien with Pierre Rode’s Violin Concerto no. 7 in A minor, op. 9.|
|from 1831||Decades-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.|
|1835–36||He takes composition lessons with Anton Reicha in Paris.|
|1844||He marries Viennese pianist Josephine Eder, who frequently accompanies him at the piano.|
|1846–50||In 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.|
|1861||He publishes his Violin Concerto no. 5 in A minor, op. 37, one of his best-known works.|
|1871||As professor at the Brussels Conservatoire he teaches, among others, Eugène Ysaÿe.|
|1879||He withdraws from public life for health reasons.|
|1881||Dies in Mustapha, Algeria, on June 6.|
About the authors
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.