SKU: BR.OB-5373-15

ISBN 9790004341001. 10 x 12.5 inches.

Wolfgang Amadeus Mozart wrote his Hafner Symphony K. 385 in the summer of 1782 on the occasion of the elevation into the nobility of his friend and patron Sigmund Hafner. Next to the well-known movements, this version (A) also contained the March K. 408/2 (385a) and possibly a second, no longer extant minuet. Called Hafner=Musique by Mozart, the work was unquestionably a serenade at first. In early 1783 Mozart then reduced the Hafner Music for his subscription concert at the Vienna Burgtheater on 23 March 1783 to a four-movement symphony. This is the form in which the work was first printed in 1785 (Version B). For a further performance, Mozart added flute and clarinet parts to the symphony. In 1805, this version (C) was published by Andre in Offenbach, who thus began making it known.The primary sources of the present Breitkopf Urtext edition are the autographs to K. 385 and K. 408/2 (385a). It thus becomes possible for the first time to play all three versions of the Hafner Music, since the variants of Versions A and B can be easily discerned through indications in footnotes and notes in small print.

SKU: BR.PB-5552-07

ISBN 9790004213629. 6.5 x 9 inches.

Wolfgang Amadeus Mozart wrote his Hafner Symphony K. 385 in the summer of 1782 on the occasion of the elevation into the nobility of his friend and patron Sigmund Hafner. Next to the well-known movements, this version (A) also contained the March K. 408/2 (385a) and possibly a second, no longer extant minuet. Called Hafner=Musique by Mozart, the work was unquestionably a serenade at first. In early 1783 Mozart then reduced the Hafner Music for his subscription concert at the Vienna Burgtheater on 23 March 1783 to a four-movement symphony. This is the form in which the work was first printed in 1785 (Version B). For a further performance, Mozart added flute and clarinet parts to the symphony. In 1805, this version (C) was published by Andre in Offenbach, who thus began making it known.The primary sources of the present Breitkopf Urtext edition are the autographs to K. 385 and K. 408/2 (385a). It thus becomes possible for the first time to play all three versions of the Hafner Music, since the variants of Versions A and B can be easily discerned through indications in footnotes and notes in small print.

SKU: BR.PB-5373

ISBN 9790004212417. 10 x 12.5 inches.

Wolfgang Amadeus Mozart wrote his Hafner Symphony K. 385 in the summer of 1782 on the occasion of the elevation into the nobility of his friend and patron Sigmund Hafner. Next to the well-known movements, this version (A) also contained the March K. 408/2 (385a) and possibly a second, no longer extant minuet. Called Hafner=Musique by Mozart, the work was unquestionably a serenade at first. In early 1783 Mozart then reduced the Hafner Music for his subscription concert at the Vienna Burgtheater on 23 March 1783 to a four-movement symphony. This is the form in which the work was first printed in 1785 (Version B). For a further performance, Mozart added flute and clarinet parts to the symphony. In 1805, this version (C) was published by Andre in Offenbach, who thus began making it known.The primary sources of the present Breitkopf Urtext edition are the autographs to K. 385 and K. 408/2 (385a). It thus becomes possible for the first time to play all three versions of the Hafner Music, since the variants of Versions A and B can be easily discerned through indications in footnotes and notes in small print.

SKU: BR.OB-5373-30

ISBN 9790004341049. 10 x 12.5 inches.

Wolfgang Amadeus Mozart wrote his Hafner Symphony K. 385 in the summer of 1782 on the occasion of the elevation into the nobility of his friend and patron Sigmund Hafner. Next to the well-known movements, this version (A) also contained the March K. 408/2 (385a) and possibly a second, no longer extant minuet. Called Hafner=Musique by Mozart, the work was unquestionably a serenade at first. In early 1783 Mozart then reduced the Hafner Music for his subscription concert at the Vienna Burgtheater on 23 March 1783 to a four-movement symphony. This is the form in which the work was first printed in 1785 (Version B). For a further performance, Mozart added flute and clarinet parts to the symphony. In 1805, this version (C) was published by Andre in Offenbach, who thus began making it known.The primary sources of the present Breitkopf Urtext edition are the autographs to K. 385 and K. 408/2 (385a). It thus becomes possible for the first time to play all three versions of the Hafner Music, since the variants of Versions A and B can be easily discerned through indications in footnotes and notes in small print.

SKU: BR.OB-5308-26

ISBN 9790004339992. 10 x 12.5 inches.

Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.Gut ein Dutzend Ausgaben dieses Konzerts durfen derzeit erhaltlich sein, doch diese hier ist etwas besonderes. (Ursula Pesek, Das Orchester).

SKU: BR.OB-5357-15

ISBN 9790004336762. 9 x 12 inches.

A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.

SKU: BR.OB-5308-16

ISBN 9790004339978. 10 x 12.5 inches.

Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.Gut ein Dutzend Ausgaben dieses Konzerts durfen derzeit erhaltlich sein, doch diese hier ist etwas besonderes. (Ursula Pesek, Das Orchester).

SKU: BR.OB-5357-23

ISBN 9790004336793. 9 x 12 inches.

A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.

SKU: BR.OB-5357-16

ISBN 9790004336779. 9 x 12 inches.

A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.

SKU: BR.OB-5357-30

ISBN 9790004336816. 9 x 12 inches.

A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.

SKU: BR.OB-5357-19

ISBN 9790004336786. 9 x 12 inches.

A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.

SKU: BR.OB-5357-27

ISBN 9790004336809. 9 x 12 inches.

A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.

SKU: BR.OB-5308-19

ISBN 9790004339985. 10 x 12.5 inches.

Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.Gut ein Dutzend Ausgaben dieses Konzerts durfen derzeit erhaltlich sein, doch diese hier ist etwas besonderes. (Ursula Pesek, Das Orchester).

SKU: BR.OB-4764-15

ISBN 9790004320792. 10 x 12.5 inches.

SKU: HL.51487150

ISBN 9790201871509. UPC: 888680924935. 6.5x9.25x0.218 inches.

The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron, and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival and departure of the musicians on that occasion - it shares the same date of composition as the Divertimento, is in the same key, and is scored for the same instruments. Mozart later returned several times to this “First Lodron night music”, and posterity appreciated it too: the Divertimento was published just a few years after his death, and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition, however, were the two autographs. Here, incidentally, the lowest part is designated “Basso,” which leaves open the question as to whether it was to be played by a cello, a double bass or both - a typical case of “as you like it” in the music of the 18th century!

SKU: BR.OB-15128-15

In Cooperation with G. Henle Verlag

ISBN 9790004341605. 10 x 12.5 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.