Kurt Weill: Concerto

  • for violin and wind orchestra
  • based on the text of the Kurt Weill Edition
  • 2 1 2 2 - 2 1 0 0 - timp, perc(3), cb(4)
  • Duration: 33’
  • Soloists:
  • Instrumentation details:
    1st flute
    2nd flute
    1st clarinet in Bb
    2nd clarinet in Bb
    1st bassoon
    2nd bassoon
    1st horn in F
    2nd horn in F
    trumpet in C
  • Composer: Kurt Weill
  • Editor: Andreas Eichhorn
  • Table of contents:
    1. Satz
    2. Satz
    3. Satz
  • Remarks: based on the text of the critically edited full score, Kurt Weill Edition, Ser. II, Vol. 2
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Printed product

Kurt Weill: Concerto for violin and wind orchestra - op. 12 | UE35538

  • Edition type: study score
  • Series: Neue Studienpartituren-Reihe
  • Edition info: The score is based on the critical text of the Kurt Weill Edition Ser. II, Vol. 2.
  • Format: 17.0 × 24.0 cm
  • ISBN: 978-3-7024-7113-2
  • ISMN: 979-0-008-08445-4
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Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.'
The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)

Sample Pages


  • 1. Satz
  • 2. Satz
  • 3. Satz


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