Mozart, Wolfgang Amadeus Così fan tutte K. 588 Facsimile of Mozart's autograph score

Deux volumes trésor de charme, pièces effervescents composés par Mozart dans les années 1770 et 1780. Inclus sont les favoris tels que Eine kleine Nachtmusik, K.525, 'Une Plaisanterie musicale,' K.522, la 'Haffner' Serenade, K.250/248b, Serenata Notturna, K.329, et le 'Posthorn' Serenade, K 0.320.Réimpression de sélection à partir de Wolfgang Amadeus Mozart Werke, Breitkopf and Härtel, 1880-1881. / Orchestre

The Magic Flute In Full Score was created at the peak of the Enlightenment Mozart's divine and enduring milestone of Opera is both a light-hearted fairy tale and an epic story of the strugglebetween good and evil.The Magic Flute met instant acclaim at its 1791 premiere and it remains among one of Mozart's most performed and admired works.

Although Mozart wrote with incredible versatility in every musical genre his operas for many stand highest among his achievements. This volume contains the composer's greatest operatic overtures enormously popular with music lovers worldwide. This collection includes the overtures from five world-famous works. Reproduced in full score from an authoritative early edition.

Mozart, Wolfgang Amadeus Missa en do mineur K. 427 Grande messe en do mineur La magnifique «Grande messe en ut mineur K. 427» de Mozart est impressionnante non seulement pour sa monumentalité et sa beauté musicale, mais aussi pour son état fragmentaire qui fascine les érudits et les interprètes depuis des décennies. En collaboration avec la Fondation internationale Mozarteum de Salzbourg, Barenreiter présente maintenant une nouvelle édition de ce travail, reflétant la pointe de la recherche tout en tenant compte des besoins des artistes interprètes. Normes savantes élevées, achèvement et reconstruction des mouvements: cette publication pionnière intègre tout cela afin de se rapprocher le plus possible de l''uvre elle-même: - Les «Kyrie» et «Gloria», qui survivent tous les deux de la main de Mozart, sont édités conformément aux normes savantes. - Les deux premières sections du «Credo» ont été méticuleusement complétées par l'éditeur Ulrich Leisinger, en s'inspirant des compositions originales de Mozart, par exemple l'air «Deh vieni non tardar» de «Le mariage de Figaro» et en prêtant attention à un style stylistiquement approprié et transparent. du son. - Le «Sanctus» et le «Benedictus» (avec le «Hosanna»), qui sont soit incomplets soit ne survivent que dans des sources secondaires, ont été reconstruits par l'éditeur. Les sections sans source connue sont omises dans cette édition. Pour compléter la publication, vous trouverez un avant-propos complet (allemand / anglais) et un commentaire critique détaillé (anglais). La première représentation de la nouvelle édition d'Ulrich Leisinger a été donnée en avril 2019 à l'Elbphilharmonie Hamburg par le Hamburg State Philharmonic Orchestra et la ChorWerk Ruhr sous la direction de Kent Nagano. La première première autrichienne a eu lieu à Salzbourg en août 2019 dans la grande salle du Mozarteum, avec Andrew Manze dirigeant la Camerata de Salzbourg sous les applaudissements du public et des critiques.

for Violin, Viola and Orchestra. Par MOZART WOLFGANG AMADEUS. There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ; Symphonie concertante his special attention. On April 5, 1778, he wrote to his father: ; Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon. Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned ; sinfonie concertante in his program. Mozart had no reason to compose any more for this genre in Paris. After Mozart's return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time. - Urtext of the New Mozart Edition - Full score & parts (BA4900), study score format 22. 5 x 16. 5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale/ Répertoire / Orchestre

Par MOZART WOLFGANG AMADEUS. Urtext Der Neuen Mozart-Ausgabe/ Répertoire / Orchestre

D major. Par MOZART WOLFGANG AMADEUS. Urtext Der Neuen Mozart-Ausgabe/ Répertoire / Orchestre

Par MOZART WOLFGANG AMADEUS. Urtext Der Neuen Mozart-Ausgabe/ Répertoire / Orchestre

Par MOZART WOLFGANG AMADEUS. Urtext Der Neuen Mozart-Ausgabe/ Répertoire / Orchestre

Par MOZART WOLFGANG AMADEUS. Urtext Der Neuen Mozart-Ausgabe/ Répertoire / Orchestre

Serenade für 13 Instrumente. Par MOZART WOLFGANG AMADEUS. An announcement in the Wiener-Zeitung read: “Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. , presently in the service of His Majesty the Emperor, will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which, among other select pieces, he will present a grand work for wind-band of a quite special character, composed by Herr Mozart. ” That this was almost certainly four movements from the present Serenade in B-flat major, K. 361, is suggested by an account of the occasion published some months later, which states, “Today I heard a composition by Herr Mozart in 4 movements for wind ensemble. . . comprising 13 instruments: 4 horns, 2oboes, 2 bassoons, 2 clarinetts, 2 basset horns and a contrabass viol. . . . ” Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K. 361 is striking for its seriousness of artistic content, its length (seven movements lasting nearly an hour), and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players, not thirteen). If the work was not conceived in the first instance as a concert work, its potential as such must have been recognized early on by Mozart or Stadler. - Urtext of the New Mozart Edition - Parts (BA5331-22) and study score format 22. 5 x 16. 5cm (TP312) available for sale/ Répertoire / Partition de Poche

Par MOZART WOLFGANG AMADEUS. Study Score format 22. 5cm x 16. 5cm. The Symphony No. 26 In E-Flat, K. 184 (166a) was probably written in Salzburg in March 1773. Scored for Flute (2), Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Strings. Available for sale full score & performance material (BA4744) and study score (TP72). The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding aswell as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices./ Répertoire / Orchestre