Violin Concerto in B minor, Op. 61 Cover Image

Violin Concerto in B minor, Op. 61: Full Orchestra with Solo Strings Solo Part

$12.00 USD
$12.00 USD
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Violin Concerto in B minor, Op. 61 Cover Image
Violin Concerto in B minor, Op. 61: Full Orchestra with Solo Strings Solo Part

Violin Concerto in B minor, Op. 61: Full Orchestra with Solo Strings Solo Part

By Edward Elgar

Item: 36-A589348
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Description
One of his longer works and the last to see immediate popularity, Edward Elgar's (1857-1934) Violin Concerto in B minor, Op. 61 has always found its way on concert programs, even when Elgar's works fell out of fashion for much of the 20th century. The work was commissioned by the Royal Philharmonic Society in 1909 after the violinist Fritz Kreisler praised Elgar as "the greatest living composer... I wish Elgar would write something for the violin." The concerto was a personal favorite of Elgar's, and he conducted the premiere at the Royal Philharmonic Society concert on November 10th, 1910, with Fritz Kreisler playing the solo, accompanied by the London Symphony Orchestra. Instrumentation: 2.2.2.2+CBsn(opt): 4.2.3.1(opt): Timp: Str (9-8-7-6-5 in set): Solo Violin.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852689-7
ISBN13: 979-8-88-852689-7
UPC: 660355129735
SKU: 36-A589348
Instrumentation: 2.2.2.2+CBsn(opt): 4.2.3.1(opt): Timp: Str (9-8-7-6-5 in set): Solo Violin

More about this title

About the Composer: Edward Elgar

Edward Elgar (1857-1934) stands as one of Britain's most important composers, yet his career unfolded in relative isolation from continental musical centers. Working largely outside academic institutions, he developed a voice that merged Romantic grandeur with distinctly English sensibilities, creating works of structural ambition and emotional depth that secured him international recognition by middle age.

Elgar's later works, including the Violin Concerto, reveal a composer at the height of his powers. The concerto represents not a showpiece for display but a profound dialogue between soloist and orchestra, reflecting Elgar's deep engagement with the instrument and his respect for virtuosity grounded in musical substance. This work remains central to the violin repertoire and demonstrates why Elgar was revered by performers of his time.

Why we love this

Elgar crafted a concerto that rewards both soloist and orchestra equally. The orchestration is rich and conversational rather than accompanying, giving the ensemble genuine musical substance throughout. Conductors consistently program this work because it maintains its power across decades; audiences respond to the lyricism and the architectural sweep of the four-movement structure.

What to expect

The concerto unfolds with aristocratic elegance, moving between moments of intimate conversation and sweeping orchestral assertion. The opening melody establishes an English pastoral quality, but undercurrents of melancholy and searching emotion surface throughout, especially in the introspective inner movements. By the finale, the work achieves a balance of triumph and resignation that feels earned rather than imposed.

Who it's for

Advanced soloists prepared for a substantial romantic concerto requiring mature musicality and secure high-register facility. This work demands orchestras with capable string sections and winds confident in lyrical, exposed writing. The piece suits festival performances, regional orchestra concerts, and competition showcases where serious repertoire and substantial ensemble involvement matter.

How to get the most out of it

  • Shape the solo line with long phrases rather than breaking at every notated articulation. The romantic sensibility Elgar intended relies on sustained singing through structural points.
  • Balance the solo voice carefully against woodwind countermelodies in the inner movements. These are not background figures but essential musical ideas that dialogue with the violin.
  • Allow the cadenza passages room to breathe. Elgar wrote them as moments of genuine repose and introspection, not display opportunities demanding breakneck speed.
  • Coordinate string sections with precision in the tuttis. The violas and cellos often carry critical harmonic language that can blur if not cleanly articulated.

How to use it

Program this as a centerpiece work on a concert built around English or late-romantic repertoire. It pairs naturally with other Elgar orchestral works or with concertos from his contemporaries. The four-movement structure and 30-minute duration make it ideal for a featured artist appearance where the soloist merits substantial concert time.

Skills your students will build

  • Sustaining long romantic phrases across shifts in harmony and orchestration
  • Balancing solo voice against complex orchestral texture
  • Navigating extended high-register passages with tonal control
  • Coordinate ensemble rhythm and phrasing in tutti sections
  • Interpreting cadenza writing as musical expression rather than technical display

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