| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Wolfgang Amadeus Mozart: Piano Concerto No. 21 in C Major, K. 467 ( Elvira Madigan ) - Music Minus One
Piano solo [Sheet music + Audio access] - Advanced Music Minus One
Music Minus One Piano. Composed by Wolfgang Amadeus Mozart (1756-1791). Music Mi...(+)
Music Minus One Piano. Composed by Wolfgang Amadeus Mozart (1756-1791). Music Minus One. Classical Period and Play Along. Softcover Audio Online. With solo part, standard notation, fingerings and orchestral cues. K. 467. 64 pages. Music Minus One #MMO3072. Published by Music Minus One
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| Wolfgang Amadeus Mozart: Piano Concerto No. 21 In C Major, K. 467 2 Pianos, 4 hands [Score] Barenreiter
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Hans Engel, Horst Heu...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Hans Engel, Horst Heussner. K. 467. Piano duet score (2 copies necessary for performance) for two pianos four-hands. Urtext of the New Mozart Edition. With duet notation and introductory text. C Major. 63 pages. Published by Baerenreiter-Ausgaben (German import).
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| Piano Concerto [No. 21] in C major K. 467 Piano solo Breitkopf & Härtel
Piano solo, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, strings (solo: pno ...(+)
Piano solo, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, strings (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.PB-15110-07 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. Softbound. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle VerlagEB 10766 is printed in score form; two copies are needed for performance.Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C m. Solo concerto; Classical. Study Score. 72 pages. Duration 30'. Breitkopf and Haertel #PB 15110-07. Published by Breitkopf and Haertel (BR.PB-15110-07). ISBN 9790004212677. 6.5 x 9 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 21] in C major K. 467 Piano and Orchestra [Score] Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) ...(+)
Piano/harpsichord and orchestra (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.PB-15106 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. Orchestra; Softbound. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle VerlagEB 10766 is printed in score form; two copies are needed for performance.Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C m. Solo concerto; Classical. Full score. 72 pages. Duration 30'. Breitkopf and Haertel #PB 15106. Published by Breitkopf and Haertel (BR.PB-15106). ISBN 9790004211892. 10 x 12.5 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $61.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Wolfgang Amadeus Mozart: Mozart - Simplified Piano Solos Piano solo [Sheet music] - Intermediate Hal Leonard
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano s...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano solo book. Classical period. Series: The World's Great Classical Music. 208 pages. 9x12 inches. Published by Hal Leonard.
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Major Works For Orchestra Orchestra [Score] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040). UPC: 680160600045. 5.5x5 inches. This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works. About CD Sheet Music (Version 1) CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series. $18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Wolfgang Amadeus Mozart: Mozart Piano solo [Sheet music] - Intermediate Hal Leonard
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano s...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano solo book. Classical period. Series: The World's Great Classical Music. 224 pages. 9x12 inches. Published by Hal Leonard.
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Concerto [No. 21] in C major K. 467 Breitkopf & Härtel
Woodwinds (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-30(+)
Woodwinds (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-30 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. This edition: wind parts. Folder. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag EB 10766 is printed in score form; two copies are needed for performance. Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 467. Solo concerto; Classical. Set of parts. 60 pages. Duration 30'. Breitkopf and Haertel #OB 15106-30. Published by Breitkopf and Haertel (BR.OB-15106-30). ISBN 9790004339220. 10 x 12.5 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $68.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 25] in C major K. 503 Piano and Orchestra [Score] Breitkopf & Härtel
Piano/harpsichord and orchestra (Solo: pno- 1.2.0.2 - 2.2.0.0 - timp - str) S...(+)
Piano/harpsichord and orchestra (Solo: pno- 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.PB-15123 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Orchestra; Softbound. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle VerlagEB 10825 is printed in score form; two copies are needed for performance. Our edition EB 8579 contains a Ferrucci Busoni cadenza for the Piano. Solo concerto; Classical. Full score. 88 pages. Duration 33'. Breitkopf and Haertel #PB 15123. Published by Breitkopf and Haertel (BR.PB-15123). ISBN 9790004212738. 10 x 12.5 inches. The C major Concerto K. 503 was held in particularly high esteem by Mozart, who, for example, put it on the program of his subscription concert at Leipzigs Gewandhaus in 1789, three years after it was written. This new edition is based on the autograph and also takes into account the first edition published by Constanze Mozart at her own cost in 1797.The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Ernst Herttrich to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text. $70.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 21] in C major K. 467 Breitkopf & Härtel
Violin 2 (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-16 ...(+)
Violin 2 (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-16 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. This edition: violin 2 part. Stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag EB 10766 is printed in score form; two copies are needed for performance. Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 467. Solo concerto; Classical. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15106-16. Published by Breitkopf and Haertel (BR.OB-15106-16). ISBN 9790004339190. 10 x 12.5 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 21] in C major K. 467 Breitkopf & Härtel
Violin 1 (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-15 ...(+)
Violin 1 (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-15 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. This edition: violin 1 part. Stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag EB 10766 is printed in score form; two copies are needed for performance. Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 467. Solo concerto; Classical. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15106-15. Published by Breitkopf and Haertel (BR.OB-15106-15). ISBN 9790004339183. 10 x 12.5 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 21] in C major K. 467 Breitkopf & Härtel
Basso (cello/double bass) (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: B...(+)
Basso (cello/double bass) (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-26 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. This edition: cello/double bass part. Stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag EB 10766 is printed in score form; two copies are needed for performance. Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 467. Solo concerto; Classical. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15106-26. Published by Breitkopf and Haertel (BR.OB-15106-26). ISBN 9790004339213. 10 x 12.5 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 21] in C major K. 467 Breitkopf & Härtel
Viola (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-19 (+)
Viola (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-15106-19 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Norbert Gertsch. This edition: viola part. Stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag EB 10766 is printed in score form; two copies are needed for performance. Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 467. Solo concerto; Classical. Part. 8 pages. Duration 30'. Breitkopf and Haertel #OB 15106-19. Published by Breitkopf and Haertel (BR.OB-15106-19). ISBN 9790004339206. 10 x 12.5 inches. The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Mozart (Jazz Play-Along Volume 159) B Flat, E Flat, C and Bass clef Instruments [Sheet music + CD] Hal Leonard
Mozart. (Jazz Play-Along Volume 159). By Wolfgang Amadeus Mozart (1756-1791). Fo...(+)
Mozart. (Jazz Play-Along Volume 159). By Wolfgang Amadeus Mozart (1756-1791). For E§ Instruments, C Instruments, B-flat Instruments, Bass Clef Instruments. Jazz Play Along. Softcover with CD. 80 pages. Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Library Of Easiest Book Of Piano Favorites Piano solo [Sheet music] - Easy Music Sales
For Piano. Classical, Folk, Holiday. Sheet Music. 240 pages. Published by Music ...(+)
For Piano. Classical, Folk, Holiday. Sheet Music. 240 pages. Published by Music Sales.
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Wolfgang Amadeus Mozart: Simply Mozart (29 of His Timeless Classics) Piano solo [Sheet music] - Easy Alfred Publishing
Arranged by Jerry Ray, composed by Wolfgang Amadeus Mozart (1756-1791). Collecti...(+)
Arranged by Jerry Ray, composed by Wolfgang Amadeus Mozart (1756-1791). Collection for easy solo piano. Series: Simply Mozart. 80 pages. Published by Alfred Publishing.
(1)$12.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best of Mozart Piano solo Hal Leonard
(E-Z Play Today Volume 180). Composed by Wolfgang Amadeus Mozart (1756-1791). Fo...(+)
(E-Z Play Today Volume 180). Composed by Wolfgang Amadeus Mozart (1756-1791). For Organ, Piano/Keyboard, Electronic Keyboard. E-Z Play Today. Softcover. 56 pages. Published by Hal Leonard
$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Concerto No.21 in C major, K.467 Piano solo Serenissima
SKU: SA.91763-PTS Composed by Wolfgang Amadeus Mozart. Set of Parts. Sere...(+)
SKU: SA.91763-PTS Composed by Wolfgang Amadeus Mozart. Set of Parts. Serenissima #91763-PTS. Published by Serenissima (SA.91763-PTS). 9.5 x 12.5 inches. $90.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Concerto [No. 8] in C major K. 246 Piano and Orchestra [Score] Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 0.2.0.0. - 2.0.0.0. - str) SKU: ...(+)
Piano/harpsichord and orchestra (solo: pno - 0.2.0.0. - 2.0.0.0. - str) SKU: BR.PB-4421 Luetzow Concerto. Composed by Wolfgang Amadeus Mozart. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Classical. Full score. 36 pages. Duration 21'. Breitkopf and Haertel #PB 4421. Published by Breitkopf and Haertel (BR.PB-4421). ISBN 9790004203347. 9 x 12 inches. $35.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Wolfgang Amadeus Mozart: Violin Concerto No.2 (With Cadenza) Violin and Piano [Set of Parts] Peters
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Ferdinand Kuechler, P...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Ferdinand Kuechler, Paul Klengel. K 211. Set of performance parts (includes separate pull-out violin part) for violin and piano. With solo part and piano reduction. D Major. Composed 1775. 27 pages. Published by C.F. Peters.
$18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fingerpicking Mozart Guitar notes and tablatures Classical guitar Hal Leonard
By Wolfgang Amadeus Mozart. Guitar Solo. With notes and tablature. Size 9x12 inc...(+)
By Wolfgang Amadeus Mozart. Guitar Solo. With notes and tablature. Size 9x12 inches. 32 pages. Published by Hal Leonard.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| First Mozart Piano solo [Sheet music] - Beginner Willis Music
John Thompson's Easiest Piano Course. Composed by Wolfgang Amadeus Mozart...(+)
John Thompson's Easiest Piano Course. Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Christopher Hussey. Willis. Softcover. 32 pages. Published by Willis Music (HL.171851).
$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto Themes Made Easy Piano solo [Solo Part] Carl Fischer
Made Easy for Piano Solo. By Edvard Grieg; Felix Mendelssohn Bartholdy; Franz Li...(+)
Made Easy for Piano Solo. By Edvard Grieg; Felix Mendelssohn Bartholdy; Franz Liszt; Frederic Chopin; Johannes Brahms; Ludwig Van Beethoven; Peter Ilyich Tchaikovsky; Robert Schumann; Sergei Rachmaninoff; Wolfgang Amadeus Mozart. Arranged by John Brimhall. Solo piano. For Piano Solo. Great Music Made Easy Masterwork Series. Solo part. 48 pages. Published by Carl Fischer
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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