The Compozitor Publishing House • Saint-Petersburg offers your attention the series “Violist’s Golden Repertoire”, edited by the distinguished musician and teacher Alexey Vladimirovich Lyudevig. The introduced series “Violists’ Golden Repertoire” includes the substantial compositions of the world musical heritage.
Carl Maria Weber (1786–1826) — one of the founders of the German romanticism, wrote the first version of this composition for his brother violist Franz in 1809.
The second version “Andante and Hungarian Rondo” was written according to bassoonist Georg Friedrich Brandt’s request, whom Weber’s Concerto for bassoon was written before. Bassoon’s party in some places was remade for more comfort according to woodwind’s specifications. Some changes were made also in the score. The destiny of bassoon version was enviable. It was edited already in 1816 and is performed very successfully even up today. The destiny of original viola version differed. The reasons are left unknown, but this remarkable composition was performed, probably, too rarely and hadn’t been being edited more than for 100 years: the first sheet music appeared only in 1936 in Schott-edition. This composition appeared on the concert stage only in the second part of the 20th century.
This time “Andante and Hungarian Rondo” was firmly included to educational and concert repertoire.
The Compozitor Publishing House • Saint-Petersburg offers your attention the series “Violist’s Golden Repertoire”, edited by the distinguished musician and teacher Alexey Vladimirovich Lyudevig. The introduced series “Violists’ Golden Repertoire” includes the substantial compositions of the world musical heritage.
Carl Maria Weber (1786–1826) — one of the founders of the German romanticism, wrote the first version of this composition for his brother violist Franz in 1809.
The second version “Andante and Hungarian Rondo” was written according to bassoonist Georg Friedrich Brandt’s request, whom Weber’s Concerto for bassoon was written before. Bassoon’s party in some places was remade for more comfort according to woodwind’s specifications. Some changes were made also in the score. The destiny of bassoon version was enviable. It was edited already in 1816 and is performed very successfully even up today. The destiny of original viola version differed. The reasons are left unknown, but this remarkable composition was performed, probably, too rarely and hadn’t been being edited more than for 100 years: the first sheet music appeared only in 1936 in Schott-edition. This composition appeared on the concert stage only in the second part of the 20th century.
This time “Andante and Hungarian Rondo” was firmly included to educational and concert repertoire.
Издательство "Композитор • Санкт-Петербург" предлагает вашему вниманию серию "Золотой репертуар альтиста" под редакцией известного музыканта и педагога Алексея Владимировича Людевига, которая включает в себя наиболее значительные произведения мировой музыкальной литературы.
Карл Мария Вебер (1786–1826), один из основоположников немецкого романтизма, написал первую версию этого произведения для своего брата Франца, альтиста, в 1809 году. Вторая версия "Анданте и Венгерского рондо" была написана в 1813 году по заказу фаготиста Георга Фридриха Брандта, для которого Вебер еще раньше написал концерт для фагота. Партия фагота в некоторых местах переработана для большего удобства исходя из специфики духового инструмента. Небольшие изменения произошли и в партитуре.
Судьба фаготовой версии достаточно завидна: произведение было издано уже в 1816 году и по сей день часто исполняется с большим успехом. Иначе сложилась судьба первоначальной, альтовой версии. По непонятным причинам это замечательное произведение, вероятно, очень мало исполнялось и не публиковалось более ста лет! Первые печатные ноты появились только в 1936 году в издательстве Schott. На концертной эстраде это произведение активно зазвучало лишь во второй половине XX века.
В настоящее время "Анданте и Венгерское рондо" Вебера прочно вошло в репертуар не только студентов, но и известных концертирующих альтистов.
Izdatelstvo "Kompozitor • Sankt-Peterburg" predlagaet vashemu vnimaniju seriju "Zolotoj repertuar altista" pod redaktsiej izvestnogo muzykanta i pedagoga Alekseja Vladimirovicha Ljudeviga, kotoraja vkljuchaet v sebja naibolee znachitelnye proizvedenija mirovoj muzykalnoj literatury.
Karl Marija Veber (1786–1826), odin iz osnovopolozhnikov nemetskogo romantizma, napisal pervuju versiju etogo proizvedenija dlja svoego brata Frantsa, altista, v 1809 godu. Vtoraja versija "Andante i Vengerskogo rondo" byla napisana v 1813 godu po zakazu fagotista Georga Fridrikha Brandta, dlja kotorogo Veber esche ranshe napisal kontsert dlja fagota. Partija fagota v nekotorykh mestakh pererabotana dlja bolshego udobstva iskhodja iz spetsifiki dukhovogo instrumenta. Nebolshie izmenenija proizoshli i v partiture.
Sudba fagotovoj versii dostatochno zavidna: proizvedenie bylo izdano uzhe v 1816 godu i po sej den chasto ispolnjaetsja s bolshim uspekhom. Inache slozhilas sudba pervonachalnoj, altovoj versii. Po neponjatnym prichinam eto zamechatelnoe proizvedenie, verojatno, ochen malo ispolnjalos i ne publikovalos bolee sta let! Pervye pechatnye noty pojavilis tolko v 1936 godu v izdatelstve Schott. Na kontsertnoj estrade eto proizvedenie aktivno zazvuchalo lish vo vtoroj polovine XX veka.
V nastojaschee vremja "Andante i Vengerskoe rondo" Vebera prochno voshlo v repertuar ne tolko studentov, no i izvestnykh kontsertirujuschikh altistov.
