SKU: CA.5165219

ISBN 9790007313883. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SKU: CA.5165209

ISBN 9790007313838. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SKU: HL.49006248

ISBN 9783795713133. German.

Zurecht darf Heinrich Anton Hoffmann neben Peter Cornelius als der bedeutendste in Mainz geborene Komponist bezeichnet werden. Seine ersten Kompositionen zeigen Anklange an Fruhwerke der Wiener Klassik: Hatte er sich doch bei der Kaiserkronung Leopolds II. in Frankfurt (1790) mit Wolfgang Amadeus Mozart angefreundet, der sogar mit ihm musizierte. Rasch entwickelte Hoffmann eine sehr individuelle Schaffensweise. Seine musikalische Laufbahn begann in der Kurmainzischen Hofkapelle. In Frankfurt ubernahm er spater das Amt des Musikdirektors als Nachfolger von Louis Spohr, dem damals wohl grossten deutschen Geiger. Neben mehreren Kammermusikwerken, einem Doppelkonzert und zwei Violinkonzerten verdienen es besonders die 6 Streichquartette und 15 Streichduos, auch heute noch wegen ihrer Originalitat und Klangfulle gespielt zu werden. Von den Streichduos wurden 6 fur zwei Violinen und 9 fur Violine und Violoncello komponiert.

SKU: M2.MOS-40033-70

ISBN 9790203742333.

Durch die Verbindung mit dem Baron van Swieten kam Mozart in intensiven Kontakt mit den Werken von Johann Sebastian Bach und Georg Friedrich Handel und dadurch zur Auseinandersetzung mit der Fugenkomposition als musikalische Form und stilistisches Ausdrucksmittel. Die Fuge KV 401 (der Schluss ist von Maximilian Stadler erganzt) ist original fur Klavier zu zwei Handen (wegen seiner enormen Schwierigkeit spater fur Klavier zu vier Handen eingerichtet). Adolf Hoffmann hat sie, analog Mozarts eigenem Beispiel (s.u.), fur Streichorchester instrumentiert. Ein strenges Werk, das Anklange an den Contrapunctus I in Bachs Kunst der Fuge aufweist. 1788 hat Mozart seine fur zwei Klaviere komponierte Fuge KV 426 fur Streichorchester eingerichtet (KV 546) und ihr ein Adagio vorangestellt, das zu seinen erschutterndsten Kompositionen zahlt. Die franzosische Punktierung der Anfangstakte deutet bereits die grosse seelische Spannung des Satzes an. Aus Mozarts letzten Lebensjahren stammt die Fantasie KV 606, ein Stuck fur ein Orgelwerk in einer Uhr, die strengen Satz und Sonatenform verschmilzt. Sie ist ebenfalls von Adolf Hoffmann fur Streicher instrumentiert.

SKU: BR.EB-10787

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our edition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Piano reduction. 68 pages. Duration 28'. Breitkopf and Haertel #EB 10787. Published by Breitkopf and Haertel (BR.EB-10787).

ISBN 9790201807874. 9.5 x 12 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

SKU: BR.OB-5300-26

You will find the original cadenzas under Mozart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Busoni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 8 pages. Duration 35'. Breitkopf and Haertel #OB 5300-26. Published by Breitkopf and Haertel (BR.OB-5300-26).

ISBN 9790004335130. 10 x 12.5 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.