SKU: BR.EB-7435

ISBN 9790004173961. 9 x 12 inches.

The French-born horn player Henri Kling edited Mozart's horn concertos for Breitkopf & Hartel. He prepared the piano reductions himself and set markings in the solo parts. In subsequent printings the editions were supplemented by a part for horn in F, thus making them ideally suited for the performance practice.

SKU: BT.AMP-154-404

ISBN 9789043165198. English-German-French-Dutch.

Philip Sparke’s Starter Solos is the first volume of a progressive series of books that takes the young wind player from beginner to accomplished musician. Specifically tailored for each instrument, this collection of 20solos starts with pieces based on only a handful of notes and carefully introduces new musical elements, such as articulation, dynamics and key signatures, in a structured progression to speed the learning process. The booksprovide invaluable additional material to complement any teaching method.
Starter Solos comes with an online audio access. The advantages of playing either with piano or audio accompaniment are that the beginning playercan now experience the important aspects of ensemble playing from their earliest lessons, thus developing the essential skills of listening while they play and maintaining strict tempo, which is not always a factor when playingalone.

Philip Sparke’s Starter Solos is het eerste deel van een serie boeken met muziek voor jonge blazers. Deze bundel van twintig solo’s begint met stukken die op een handvol noten zijn gebaseerd. Nieuwe muzikale elementen(articulatie, dynamiek, enz.) worden op een doordachte, gestructureerde manier toegevoegd. Dit studiemateriaal vult elke leermethode aan en is steeds toegesneden op het betreffende instrument.
Uitgave met online audio: Devoordelen van het spelen met begeleiding - hetzij met een pianist, hetzij met de opname - zijn dat de beginnende speler de belangrijke aspecten van het ensemblespel kan ervaren vanaf de eerste lessen en essentiële vaardigheden kanaanleren: het luisteren tijdens het spelen en het handhaven van een strak tempo. Bij het alleen spelen komen deze factoren minder aan de orde.

Das frühe Lernstadium ist, neben einem guten Lehrer im Unterricht, für jedes Instrument zweifellos das Wichtigste. Von großer Bedeutung ist aber auch motivierendes Lehrmaterial.
Für diese Ausgabe beriet sich Philip Sparke mitvielen Lehrern, wie man am besten neue Noten einführt und zugleich einen Rahmen schafft, in den sich neue musikalische Elemente in sinnvoller Reihenfolge einfügen lassen. Unterstützt von diesen Soli und Etüden in dreiverschiedenen Schwierigkeitsstufen können Instrumentalschüler schnell zu richtigen Musikern heranreifen. Jedes Buch ist genau auf die Bedürfnisse und Anforderungen des einzelnen Instrumentes zugeschnitten.
Die Stücke in dieserAusgabe können dank der im Buch in Notenform enthaltenen und online als Audiotracks zugänglichen Begleitungen auch gut alleine oder mit einem Pianisten einstudiert und aufgeführt werden. Der Vorteil dabei ist, dass Anfänger sonicht nur die wichtigsten Aspekte des Ensemblespiels erfahren, sondern auch von Anfang an die Fähigkeit entwickeln, während des Spielens zugleich zuzuhören und das Tempo zu halten.

Starter Solos est un recueil motivant offrant une présentation structurée des techniques de jeu et d’apprentissage. Les solos composés par Philip Sparke constituent les premiers pas plaisants de votre entrée dans leformidable monde de la musique !
Les enregistrements sont disponibles en ligne au format MP3 : vous trouverez une version intégrale de chaque pièce ainsi qu’une version où ne subsiste que l’accompagnement. La versionpapier des accompagnements de piano est jointe au recueil.

Accanto ad un buon insegnante, il materiale da studio valido è senza dubbio la cosa più importante al fine di un buon apprendimento. E’ quindi importante mettere a disposizione dell’allievo materiale motivante. Nello scriverequesti soli, Philip Sparke si è consultato a più riprese con insegnanti ed allievi per mettere a punto brani che consentono anche ai più inesperti di suonare in modo soddisfacente. Gli accompagnamenti al piano sono accessibilionline come file MP3.

SKU: BR.EB-10702

In Cooperation with G. Henle Verlag

ISBN 9790201807027. 9.5 x 12.5 inches.

Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a donkey in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well.Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann Andre. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition.

with parts for horn in F and Eb major.

SKU: BR.EB-8698

ISBN 9790004184813. 9 x 12 inches.

The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work. Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.