| Mozart as a eight-year-old Composer K. 15a-15ss Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-3276 The London Sketchbook. Composed by Wolfgang ...(+)
Piano SKU: BR.EB-3276 The London Sketchbook. Composed by Wolfgang Amadeus Mozart. Edited by Georg Schunemann. Solo instruments; Softbound. Edition Breitkopf. Classical period. Score. 64 pages. Breitkopf and Haertel #EB 3276. Published by Breitkopf and Haertel (BR.EB-3276). ISBN 9790004161623. 7.5 x 10.5 inches. ,,Im grossen Saale in Spring-Gardens, nahe St. James Park, wird heute den 5. Juni, um 12 Uhr ein grosses Vokal- und Instrumentalkonzert abgehalten zum Vorteile von Miss Mozart, eilf Jahre alt und Master Mozart, sieben Jahre alt, beide Wunder der Natur. - Jedermann wird beide mit Bewunderung horen und besonders den Knaben von sieben Jahren, der das Klavier mit grosser Geschicklichkeit und Vollendung spielt. Es ubersteigt alle Einbildungskraft, und es ist schwer zu sagen, was mehr zu bewundern ist, ob seine Fahigkeit auf dem Klavier und sein fertiges Notenlesen oder seine eigenen Kompositionen. - Er hatte die Ehre, sich vor Ihren Majestaten zu deren grosser Befriedigung horen zu lassen. So las man im Jahre 1764 im Publ. Advertiser, dem verbreitetsten Tageblatt Londons.
A Wolfgangs' Music Book - 43 Piano Pieces, Sonata Movements, Sketches and Drafts. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Wolfgang Amadeus Mozart: Piano Trio In Eb Major, K. 398 (Kegelstatt) Piano Trio: mixed chamber instrumentation [Set of Parts] - Intermediate Barenreiter
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Wolfgang Plath, Wolfg...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Wolfgang Plath, Wolfgang Rehm. K. 398. For Bb clarinet (or violin - part included), viola and piano. Includes set of performance parts (includes separate pull-out clarinet and viola parts). With introductory text. Classical period. Eb Major. 42 pages. 9x12 inches. Published by Baerenreiter-Ausgaben
(4)$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mein Bruder ist ein Wunderkind - Nannerl Mozart er Hug
Book SKU: HG.GH-11708 Nannerl Mozart erzahlt. Composed by Leonie M...(+)
Book SKU: HG.GH-11708 Nannerl Mozart erzahlt. Composed by Leonie Mathot and Ton Koopman. This edition: hardbound. Children's. Book and CD. Hug Musikverlage #GH 11708. Published by Hug Musikverlage (HG.GH-11708). ISBN 9790202823651. Mein Bruder ist ein Wunderkind liefert eine spielerische und kindgerechte Einfuhrung in das Leben des jungen Wolfgang Amadeus Mozart. Aus der Perspektive von Nannerl Mozart erfahren wir von den zahlreichen Abenteuern, welche die Familie Mozart wahrend einer grossen Konzertreise durch Europa erlebt. Und dass Nannerl hierbei ganz andere Schwerpunkte setzt als die vielen erwachsenen Mozart-Biographen, versteht sich von selbst: So erfahrt der staunende Leser zum Beispiel, wie der kleine Wolfgang wahrend eines feierlichen Konzerts im Schloss Schonbrunn das enge Kleid seiner Schwester zum Platzen bringt, wie die Kinder mit dem schrecklich laut brullenden Nashorn Clara Bekanntschaft machen oder wie sie in London unter der Erde die Geheimsprache Italienisch lernen. An jede dieser Geschichten schliesst sich ein kurzer, informativer Text zur Musik, den verschiedenen Musikinstrumenten und dem Leben zur Zeit von Nannerl und Wolfgang an. Auf Malblattern kann man ausserdem die eigenen Gedanken und Traume zu den Erlebnissen der Familie Mozart hinmalen oder -schreiben und auf diese Weise seine ganz personliche Wunderkindgeschichte gestalten. Fur Kinder ab 6 Jahren Auf der CD: Ton Koopman und das Amsterdam Baroque Orchestra mit Musik von Leopold und Wolfgang Amadeus Mozart Schon ist, dass dem Buch eine CD beiliegt, so dass die Kinder direkt die Moglichkeit haben, die Musik, von der im Buch berichtet wird, auch anzuhoren. ... Das Buch regt noch weiter zum Kreativsein an, indem lere Blatter zum Selbstgestalten eingefugt wurden. So konnen die Kinder ihre eigenen Traume, Wunsche oder Erinnerungen an Erlebnisse festhalten und dazu beitragen, dass das Buch hubsch illustriert ist. (www.rezension.org). $33.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Musizier-liederbuch Schott
Easy SKU: HL.49015466 Fur alle und besondere Tage in der Familie, in S...(+)
Easy SKU: HL.49015466 Fur alle und besondere Tage in der Familie, in Schulen und Musikschulen und uberall, wo man singen und dazu musizieren will. Composed by Rudolf Nykrin and Thomas Holland-Moritz. This edition: Hardback/Hard Cover. Book. Edition Schott. Dieses ungewohnliche Liederbuch wendet sich an alle, die am Singen und Musizieren Freude haben - an Kinder und Erwachsene, in der Familie, in der Schule und Musikschule. Classical. Songbook. 153 pages. Schott Music #ED 8287. Published by Schott Music (HL.49015466). ISBN 9783795740054. German. Rolf Rettich. Dieses ungewohnliche Liederbuch wendet sich an alle, die am Singen und Musizieren Freude haben - an Kinder und Erwachsene, in der Familie, in der Schule und Musikschule.Jedes Instrument kann mitspielen - ob Flote oder Geige, Keyboard oder Cello, Klarinette, Kastagnetten oder Glockenspiel. Zu jedem Lied gibt es leichte Begleitstimmen fur verschiedenste Besetzungen.Ein Musizierbuch fur alle und auch besondere Tage, in dem sich neben bekannten viele neue Lieder finden, die in die heutige Zeit passen - ausgestattet mit zahlreichen anregenden und heiteren Bildern des bekannten Illustrators Rolf Rettich.Ausgezeichnet mit dem Deutschen Musikeditionspreis 1996. $28.99 - See more - Buy online | | |
| Major Works For Orchestra Orchestra [CD Sheet Music] 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 | | |
| 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 | | |
| O Sing a Song of Bethlehem Choral 2-part [Octavo] MorningStar Music Publishers
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Michael Burkhardt. ...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Michael Burkhardt. Michael Burkhardt Treble Choir Series. Christmas, Classical. Octavo. Published by MorningStar Music Publishers (MN.50-1961).
$1.70 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Horn Concerto [No. 1] in D major K. 412/514 (386b) French Horn and Piano Breitkopf & Härtel
Horn and piano (solo: hn - 0.2.0.2 - 0.0.0.0 - str) SKU: BR.EB-10701 U...(+)
Horn and piano (solo: hn - 0.2.0.2 - 0.0.0.0 - str) SKU: BR.EB-10701 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Arranged by Jan Philip Schulze. Solo instruments; stapled. Edition Breitkopf. In Cooperation with G. Henle Verlag Solo concerto; Classical. Piano reduction. 44 pages. Duration 12'. Breitkopf and Haertel #EB 10701. Published by Breitkopf and Haertel (BR.EB-10701). ISBN 9790201807010. 9.5 x 12 inches. With the publication of the score and parts of the D-major Horn Concerto K. 412/514, the Mozart expert Henrik Wiese adds another milestone to his edition of this important work group which was begun in 2013. In the course of time, the piece that was first edited in the Old Mozart Edition of 1881 as Mozarts 1st Horn Concerto turned out to be a pasticcio: while the opening movement is indisputably by Mozart, the elaboration of the Rondo must now be attributed to Sussmayr. This movement is transmitted solely as a sketch in Mozarts hand. The present edition contains both the Sussmayr Rondo (K. 514 = smWV 502) and the Mozartian Rondo fragment (K. 412) which was carefully completed by Wiese. The performer will thus have the choice between the traditional version (with Sussmayr) and the version presumably intended by Mozart, all in one practical edition.
In Cooperation with G. Henle Verlag. EB 10701 contains the parts for horn in F and Eb. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Mehrstimmige Gesänge Barenreiter
Singing voice/instruments (voices, instrument) SKU: BA.BA04557-01 Compose...(+)
Singing voice/instruments (voices, instrument) SKU: BA.BA04557-01 Composed by Wolfgang Amadeus Mozart. Edited by Carl-Gabriel Stellan Mörner. This edition: complete edition, urtext edition. Linen. New Mozart Edition (NMA) III/9. Klassik (Classical). Complete edition, Score, anthology. Baerenreiter Verlag #BA04557_01. Published by Baerenreiter Verlag (BA.BA04557-01). ISBN 9790006450596. 33 x 26 cm inches. Urtext der Neuen Mozart-Ausgabe. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$119.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mozart-Spielbuch Band 1 Moseler Verlag
2 recorders (SA), violin, cello, Orff-instruments and harpsichord SKU: M2.MOS...(+)
2 recorders (SA), violin, cello, Orff-instruments and harpsichord SKU: M2.MOS-28026 Composed by Wolfgang Amadeus Mozart. Score and parts. Möseler Verlag #MOS 28026. Published by Möseler Verlag (M2.MOS-28026). ISBN 9790203718765. Gerhard Maasz will mit seinem Mozart-Spielbuch Anfangern, vor allem den jungen Anfangern, die Moglichkeit bieten, schon im ersten Zusammenspiel Mozarts Musik zu erleben. Kern des ersten Heftes sind 2-stimmige Satze (z.B. aus den Kegel-Duetten) fur Sopran- und Tenorblockflote, zu denen eine Violine als dritte Stimme tritt. Daruber hinaus konnen Cembalo/Klavier, Violoncello und kleines Schlagwerk fullend und als rhythmische Stutzen eingesetzt werden. Das zweite Heft enthalt zwolf Kanons fur 2- bis 4-stimmige Streicher in wechselnder Besetzung. $48.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Alla Turca Jazz Op. 5b. Alto Saxophone and Piano Schott
Fantasia on the Rondo from the Piano Sonata in A major K. 331 Alt. Composed ...(+)
Fantasia on the Rondo from
the Piano Sonata in A major
K. 331 Alt. Composed by Fazil
Say. Woodwind Solo.
Classical. Softcover. 8
pages. Schott Music #ED23175.
Published by Schott Music
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| uebertragungen von Werken verschiedener Komponisten Barenreiter
Voice or instrument, or voice and instrument (Voice or Instr or Voice, Instr) (+)
Voice or instrument, or voice and instrument (Voice or Instr or Voice, Instr) SKU: BA.BA04620-01 Composed by Wolfgang Amadeus Mozart. Edited by Anke Bödeker, Dietrich Berke, Faye Ferguson, and Ulrich Leisinger. This edition: complete edition, urtext edition. Linen. New Mozart Edition (NMA). X/28/3-5,3. Supplement. Complete edition, Score, anthology. Baerenreiter Verlag #BA04620_01. Published by Baerenreiter Verlag (BA.BA04620-01). ISBN 9790006547050. 33 x 25.8 cm inches. Text Language: Latin. Preface: Dietrich Berke/Ulrich Leisinger. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$246.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| uebertragungen von Werken verschiedener Komponisten Barenreiter
Voice or instrument, or voice and instrument (Voice or Instr or Voice, Instr) (+)
Voice or instrument, or voice and instrument (Voice or Instr or Voice, Instr) SKU: BA.BA04620-02 Composed by Wolfgang Amadeus Mozart. Edited by Anke Bödeker, Dietrich Berke, Faye Ferguson, and Ulrich Leisinger. This edition: complete edition, urtext edition. Half-leather binding. New Mozart Edition (NMA). X/28/3-5,3. Supplement. Complete edition, Score, anthology. Baerenreiter Verlag #BA04620_02. Published by Baerenreiter Verlag (BA.BA04620-02). ISBN 9790006547074. 33 x 25.8 cm inches. Text Language: Latin. Preface: Dietrich Berke/Ulrich Leisinger. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$430.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Magic of Mozart Concert band - Intermediate C.L. Barnhouse
Concert band - Grade 3 SKU: CL.026-4371-01 Composed by Wolfgang Amadeus M...(+)
Concert band - Grade 3 SKU: CL.026-4371-01 Composed by Wolfgang Amadeus Mozart. Arranged by Huckeby. Concert Band. Build-A-Band. Extra full score. Composed 2015. Duration 4 minutes, 15 seconds. C.L. Barnhouse #026-4371-01. Published by C.L. Barnhouse (CL.026-4371-01). A unique collection of great Mozart themes made playable for bands with limited or less than ideal instrumentation. From the opening theme of the Magic Flute to the rousing conclusion of the famous Symphony #40 in G Minor, this lively, yet very playable, arrangement will keep your audience engaged and give your performers a real sense of accomplishment. Wonderful! About Build-A-Band Series The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.) $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Concerto [No. 25] in C major K. 503 Breitkopf & Härtel
Piano duets (Solo: pno- 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.EB-10825 ...(+)
Piano duets (Solo: pno- 1.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.EB-10825 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Arranged by Andras (KA) Schiff. Solo instruments; Softbound. Edition Breitkopf. 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. Piano reduction. 80 pages. Duration 33'. Breitkopf and Haertel #EB 10825. Published by Breitkopf and Haertel (BR.EB-10825). ISBN 9790201808253. 9.5 x 12 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.
Our edition EB 8579 contains a Ferrucci Busoni cadenza for the Piano Concerto in C major K. 503. $32.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Clarinet Concerto (Clarinet / Concert Band) Clarinet, Orchestra [Score and Parts] - Intermediate Anglo Music
By Wolfgang Amadeus Mozart. Arranged by Philip Sparke. (Score and Parts). ANGLO...(+)
By Wolfgang Amadeus Mozart. Arranged by Philip Sparke. (Score and Parts). ANGLO MUSIC PRESS. Size 9x12 inches. Published by Anglo Music.
$282.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Clarinet Concerto Gr 5 Score/parts Full Score Clarinet, Orchestra Anglo Music
By Wolfgang Amadeus Mozart. Arranged by Philip Sparke. (Score). ANGLO MUSIC PRE...(+)
By Wolfgang Amadeus Mozart. Arranged by Philip Sparke. (Score). ANGLO MUSIC PRESS. Published by Anglo Music.
$43.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Horn Concerto [No. 1] K. 412 (386b) French Horn and Piano Breitkopf & Härtel
Horn and piano (solo: hn - 0.2.0.2. - 0.0.0.0. - str) SKU: BR.EB-8698 ...(+)
Horn and piano (solo: hn - 0.2.0.2. - 0.0.0.0. - str) SKU: BR.EB-8698 Original Version and Revised Version by Mozart completed by Robert D. Levin - Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Robert D. Levin. Arranged by Christian Rudolf Riedel. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Classical. Piano reduction. 56 pages. Duration 12'. Breitkopf and Haertel #EB 8698. Published by Breitkopf and Haertel (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. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Horn Concerto [No. 2] in E flat major K. 417 French Horn and Piano Breitkopf & Härtel
Horn and piano (solo: hn - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10702 U...(+)
Horn and piano (solo: hn - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10702 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Arranged by Jan Philip Schulze. Solo instruments; stapled. Edition Breitkopf. In Cooperation with G. Henle Verlag Solo concerto; Classical. Piano reduction. 40 pages. Duration 15'. Breitkopf and Haertel #EB 10702. Published by Breitkopf and Haertel (BR.EB-10702). 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. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto [No. 17] in G major K. 453 Breitkopf & Härtel
Piano duets (solos: pno - 1.2.0.2 - 2.0.0.0 - str) SKU: BR.EB-10765 Ur...(+)
Piano duets (solos: pno - 1.2.0.2 - 2.0.0.0 - str) SKU: BR.EB-10765 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Stephan Horner. Arranged by Andras Schiff. Solo instruments; Softcover. Edition Breitkopf. In Cooperation with G. Henle Verlag, EB 10765 is printed in score form; two copies will be needed for performance. You will find the original cadenzas under Mozart, 36 Cadenzas for his own Piano Concertos. Our edition EB 8577 contains Ferrucci Busoni’s ca. Solo concerto; Classical. Piano reduction. 60 pages. Duration 30 '. Breitkopf and Haertel #EB 10765. Published by Breitkopf and Haertel (BR.EB-10765). ISBN 9790201807652. 9.5 x 12 inches. Mozart's Concerto K. 453 enjoyed great popularity during the composer's lifetime and was widely known through copies and a print. The state of the sources is thus multi-faceted yet unequivocal: the primary source is the rediscovered autograph, which was considered lost after 1945 and was not at the disposal of the Neue Mozart-Ausgabe. 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 Stephan Horner 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. $31.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sehnsucht nach dem Frulinge Choral Unison Unison, Piano [Octavo] - Beginner Santa Barbara Music Publishing
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Andrea Ramsey. For Unison Ch...(+)
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Andrea Ramsey. For Unison Choir, piano, flute, violin. Choral octavo only. Instrumental accompaniment sold separately (SBMP 751.1). Choral. Easy. Choral octavo
$2.20 $2.09 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 17 Church sonatas for organ solo Organ Carus Verlag
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Zsigmond Szathmary....(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Zsigmond Szathmary. Free organ music. German title: 17 Kirchensonaten fur Orgel solo. Free organ music. Compact Disc. Composed 1844. 700 pages. Carus Verlag #CV 18.067/99. Published by Carus Verlag (CA.1806799).
$20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem (Arman-Fassung) Carus Verlag
Violoncello/double bass part (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2...(+)
Violoncello/double bass part (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc) SKU: CA.5165214 Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165214. Published by Carus Verlag (CA.5165214). ISBN 9790007313876. 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. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem (Arman-Fassung) Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc) SKU: CA.5165209 Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Set of Orchestra Parts. KV 626. Duration 50 minutes. Carus Verlag #5165209. Published by Carus Verlag (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. $69.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem (Arman-Fassung) Carus Verlag
2nd violin (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, ...(+)
2nd violin (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc) SKU: CA.5165212 Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165212. Published by Carus Verlag (CA.5165212). ISBN 9790007313852. 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. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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