Concert Band Concert Band - Grade 0.5 SKU: FJ.B1845S Rise of the Pengu...(+)
Concert Band Concert Band
- Grade 0.5
SKU:
FJ.B1845S
Rise of
the Penguin Army.
Composed by Timothy
Loest. Concert Band. FJH
Starter Series. Score.
The FJH Music Company Inc
#98-B1845S. Published by
The FJH Music Company Inc
(FJ.B1845S).
English.
Many
know Mars, the Bringer of
War. Now meet his
diabolical son Deimos,
the Bringer of Terror.
Fashioned in the style of
Holst, this work uses
driving rhythms, dark
harmonies, and an
asymmetrical form to
personify Deimos, the
Greek mythological god of
terror and the namesake
of Mars' second moon.
Enjoy this first offering
from Loest's suite The
Moons.
About FJH
Starter
Series
Int
roduction to Beginning
Band - Ideal for the
first several months of
instruction. These pieces
are a comfortable length
for students (about a
half page of music) and
are playable with as few
as five instruments. All
instruments are limited
to a 6-note diatonic
range. Several
supplemental exercises
are included to help
teach different elements
of each piece. Grade
.5
Tenor Saxophone - 1 SKU: EB.1-930292-06-6 Premier Performance. Instructio...(+)
Tenor Saxophone - 1
SKU:
EB.1-930292-06-6
Premier Performance.
Instructional Method
Book. Ed Sueta Music
Publications
#1-930292-06-6. Published
by Ed Sueta Music
Publications
(EB.1-930292-06-6).
ISBN
9781930292062.
Prem
ier Performance(r)is an
innovative and
comprehensive band method
written with one primary
goal:providing band
directors with the most
effective and logically
sequenced instructional
materials for young
instrumentalists.Premier
Performance(r) is
carefully structured to
develop the three
cornerstones of
outstanding musicianship:
superior tone quality,
accurate rhythm reading
skills and technical
facility.Strong emphasis
is placed on rhythmic
development since this
may be the greatest
challenge facing first
and second year
students.
Premier
Performance(r) Book One
and Book Two each offer
instrument specific
downloadable
accompaniments.
Th
e first accompaniment
track features a
professional musician
playing the melody line
so students can hear and
emulate the sound of
their own instrument. The
second track eliminates
the melody line and
provides the background
accompaniment so students
may play independently.
The accompaniments
include solo and solo
accompaniment for each
student method book.
Trumpet/Cornet - 2 SKU: EB.1-930292-34-1 Premier Performance. Instruction...(+)
Trumpet/Cornet - 2
SKU:
EB.1-930292-34-1
Premier Performance.
Instructional Method
Book. Ed Sueta Music
Publications
#1-930292-34-1. Published
by Ed Sueta Music
Publications
(EB.1-930292-34-1).
ISBN
9781930292345.
Prem
ier Performance(r)is an
innovative and
comprehensive band method
written with one primary
goal:providing band
directors with the most
effective and logically
sequenced instructional
materials for young
instrumentalists.Premier
Performance(r) is
carefully structured to
develop the three
cornerstones of
outstanding musicianship:
superior tone quality,
accurate rhythm reading
skills and technical
facility.Strong emphasis
is placed on rhythmic
development since this
may be the greatest
challenge facing first
and second year
students.
Premier
Performance(r) Book One
and Book Two each offer
instrument specific
downloadable
accompaniments.
Th
e first accompaniment
track features a
professional musician
playing the melody line
so students can hear and
emulate the sound of
their own instrument. The
second track eliminates
the melody line and
provides the background
accompaniment so students
may play independently.
The accompaniments
include solo and solo
accompaniment for each
student method book.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Clive Brown.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). In
the case of the First
Symphony, Clive Brown
again reaches an optimal
balance between source
criticism and
performance-practical
requirements. Symphony;
Classical. Part. 12
pages. Duration 30'.
Breitkopf and Haertel #OB
5231-16. Published by
Breitkopf and Haertel
(BR.OB-5231-16).
ISBN
9790004337066. 10 x 12.5
inches.
Whether for
first editions or not the
primary sources of
Beethoven's works always
have to be interpreted
with great expertise. The
editor's knowledgeability
is the decisive point
when it comes to the
level of quality of a new
edition. And both Clive
Brown and Peter Hauschild
are setting standards.On
the whole, it was a good
idea for Breitkopf to
give itself time with
these editions. The
difficult feat of doing
justice to the needs of
performers and to
philological scholarship
has been carried off at a
level that raises the
standards to an almost
frighteningly high level.
(Peter Gulke) In the case
of the First Symphony,
Clive Brown reaches an
optimal balance between
source criticism and
performance-practical
requirements.
Interpreters and scholars
appreciate the source
criticism for performance
practice that Breitkopf
cultivates not only in
its Beethoven
editions.
In the
case of the First
Symphony, Clive Brown
again reaches an optimal
balance between source
criticism and
performance-practical
requirements.
(KL) SKU: HL.49041045 Piano works. Composed by Peter Ilyich Tchaik...(+)
(KL)
SKU:
HL.49041045
Piano
works. Composed by
Peter Ilyich Tchaikovsky.
This edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition.
Composed 1875-1878. 262
pages. Schott Music
#NCE1069-10. Published by
Schott Music
(HL.49041045).
ISBN
9783795794453.
10.25x13.25x1.07
inches.
Petr
Iljitsch Tschaikowsky,
whom Igor Stravinsky
charakterized as being
'deeply national',
represents the
culmination of 'Russion
Classical music' of the
late-eighteenth and
nineteenth centuries.
Probably the most
versatile of Russian
composers, he made great
and lasting contributions
to all genres - operas,
ballets, incidental
music, symphonies and
other orchestral works,
chamber music, piano
music, sacred and secural
choral music, romances,
Lieder and folk-song
arrangements -
establishing a special
place for Russion music
within the European
tradition. Publications
of the first complete
edition of Tschaikowsky's
works was started in the
centenary year of his
birth, 1940. Publication
of a second edition will
begin in 1993, the
centenary of his death.
There are important
reason, both editorial
and in terms of content,
for a second edition to
follow so soon. In the
old edition, ideological
considerations meant that
some of the texts which
Tschaikowsky set to music
were arbitrarily altered.
Similarly, quotations of
the old Russian national
anthem were replaced by
other music. A number of
works, or independent
versions, werde
completely overlooked.
For example, the full
score of the opera
'Vakula the Smith' (the
first version of
Cerevicki) and the
unfinished Symphony in E
flat major werde not
standardized; in some
cases no textual analysis
was offered, and critical
apparatures were simply
dispensed with.The new
complete edition will
remedy these
shortcomings. In addition
to the composer's final
versions, it will include
alternative and earlier
versions of works, as
well as fragments and
incomplete works, all
reproduced faithfully
from the sources.
Documentation and
discussion will be
provided in Critical
Commentaries. Piano
reductions exist of the
stage works, concertos
and concertante pieces as
well as of some of the
cantatas and orchestral
works, either written by
Tschaikowsky himself, or
revised or authorized by
him. These are all to be
included in the edition
which, with its
historico-critical
approach, will address
the need both of scholars
and of practical
musicians.The edition of
musical works (Serie
I-IX) is supplemented by
a facsimile edition of
all of Tschaikowsky's
surviving sketches (Serie
X), the texts of his
diaries, writings and
letters, including the
three-volume
Tschaikowsky-Mekk
correspondence (Serie
XI), a two-volume
catalogue of works and a
single-volume
Tschaikowsky
Encyclopaedia (Series
XII).
An Ecological Musical for Soloists, Chorus, Narrator and Stage Band. By Peter Ro...(+)
An Ecological Musical for
Soloists, Chorus,
Narrator and Stage Band.
By Peter Rose.
(Libretto). Boosey and
Hawkes Stage Works. Size
7x10 inches. 19 pages.
Published by Josef
Weinberger.
Viola (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.OB-5581-19
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Thomas Schmidt.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Romantic. Part.
16 pages. Duration 30'.
Breitkopf and Haertel #OB
5581-19. Published by
Breitkopf and Haertel
(BR.OB-5581-19).
ISBN
9790004343227. 10 x 12.5
inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
Piano - early intermediate SKU: CR.977836 Composed by Concordia Publishin...(+)
Piano - early
intermediate
SKU:
CR.977836
Composed by
Concordia Publishing
House. Piano. Book. With
music. Concordia
Publishing House #977836.
Published by Concordia
Publishing House
(CR.977836).
ISBN
9780758662224. 9 x 12
inches.
Followin
g the successful Hymn
Prelude Library series
for organ comes a
comprehensive set of
piano preludes for all
the hymn tunes in
Lutheran Service
Book. Not an
adaptation of the organ
series, this collection
features newly composed
pieces by dozens of
composers who write in a
variety of styles and
harmonizations. The
pieces are useful as
preludes, postludes,
music at the offering,
for introductions, and
during distribution, as
well as for those who
play hymns at home. The
durable wire binding
ensures that each page
lies flat against the
music stand.
The
complete library will
include 12 volumes
organized alphabetically
by hymn tune. Volume 5
contains preludes for
tunes starting with the
letters H and I.
Subscribe and
Save! With a
subscription, you'll pay
$40.00 for each volume in
the
series—a
20% savings.
You'll also automatically
receive each new volume
as soon as it is
released. Subscribe now
>
About the
Editor Kevin
Hildebrand is Kantor at
Concordia Theological
Seminary in Fort Wayne,
Indiana. He has more than
75 music titles in print
with CPH and was the
editor of Hymn Prelude
Library.
Grade 5 SKU: CL.LDP-7017-00 Of Love and Beauty. Composed by Forte....(+)
Grade 5
SKU:
CL.LDP-7017-00
Of
Love and Beauty.
Composed by Forte.
Concert Band. Score and
set of parts. Composed
2002. Daehn Publications
#LDP-7017-00. Published
by Daehn Publications
(CL.LDP-7017-00).
A striking
musical picture of the
Goddess of Love; her
birth from the foam of
the sea, her
other-worldly beauty, and
her bewitching power over
mortal men. From:
Olympus: Four
Mythological Legends.
Splendid!
Organ SKU: FZ.50530 Collegiale Saint-Hippolyte de Poligny (Jura-France...(+)
Organ
SKU:
FZ.50530
Collegiale
Saint-Hippolyte de
Poligny
(Jura-France). Edited
by Pierre Cheron.
Instruments Historiques:
Monographies
d'Instruments, Facteurs
et Luthiers. Book and CD.
Published by Anne Fuzeau
Productions - France
(FZ.50530).
ISBN
9782360950003. 21.00 x
21.00 cm
inches.
Old
instruments collection is
a new series of
monographs featuring
single instruments or
instrument markers. Each
booklet contains
chronological charts,
historical and technical
details, together with
photographs, as well as
considering the
instrument from an
aesthetic point of view.
These individual studies
should be helpful to
musician, musicologists,
historians, instrument
markers and enthusiasts.
Serie: LES ORGUES. by
Jean-Christophe TOSI. The
History. Description.
Archives. Only in French.
Delve into the memory of
music with the Old
instruments monographies
collection from Anne
Fuzeau Classique.
Ricordi Opera Vocal Score Series. Composed by Giovanni Battista Pergolesi...(+)
Ricordi Opera Vocal
Score Series.
Composed by Giovanni
Battista Pergolesi
(1710-1736). Vocal Score.
Softcover. Ricordi
#CP140741. Published by
Ricordi (HL.50600414).
Choral (SATB) SKU: HL.417939 Composed by John Leavitt. Sacred Choral. Chr...(+)
Choral (SATB)
SKU:
HL.417939
Composed by
John Leavitt. Sacred
Choral. Christmas.
Octavo. 16 pages.
Duration 295 seconds.
Published by Hal Leonard
(HL.417939).
UPC:
196288059295.
6.75x10.5x0.036 inches.
II Corinthians 9:15,
Revelation
12:5.
Floating
effortlessly, this anthem
for soloist and choir is
the perfect Christmas Eve
offering. Surprising
harmonies delight while
the theologically rich
lyric reminds us of the
true meaning of
Christmas. Score and
Parts (fl 1-2, ob, cl
1-2, bn, perc 1-3, hp, vn
1-2, va, vc, db)
available as a digital
download.
Composed by Ludwig van Beethoven (1770-1827). Edited by Ginevra Petrucci. LKM ...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Ginevra Petrucci. LKM
Music. Classical.
Softcover.
12 pages. Lauren Keiser
Music
Publishing #S113001.
Published by Lauren
Keiser
Music Publishing
Critical Edition, Cloth Piano Accompaniment; Voice (Voice and Piano) SKU: HL....(+)
Critical Edition, Cloth
Piano Accompaniment;
Voice (Voice and Piano)
SKU: HL.49041362
Hindemith Complete
Edition for Voice and
Piano Cloth. Composed
by Paul Hindemith. Edited
by Giselher Schubert,
Ludwig Finscher, and
Luitgard Schader. Edition
Schott. Classical.
Hardcover. 316 pages.
Schott Music #PHA602.
Published by Schott Music
(HL.49041362).
The work of
Paul Hindemith is
encyclopedic in nature.
From the outset, he
worked in all musical
genres and devised
several of his musical
ideas and projects not as
individual,
self-contained works but
as work cycles with
different functional
relationships. These
contrasting pieces
complement each other if
experienced as part of
the overall structure.
Hindemith himself not
only wanted a complete
edition of his collected
works but had begun
planning it; at his death
he left a detailed list
of Unpublished pieces for
an eventual complete
edition. The Complete
Works contain all
finished works in all
extant versions, newly
engraved for the edition.
Sketches and fragments
are published in
appendices of the
relevant volume, and are
evaluated in the
Introduction and Critical
Commentary by the
respective volume editor.
Each volume contains a
preface by the editorial
directors and an
introduction by the
volume editor,
delineating the genesis
and performance history
of the work, with
authentic performance
instructions, an
evaluation of extant
recordings by Paul
Hindemith himself and a
Critical Commentary. The
Complete Works of Paul
Hindemith are thus
presented in a critical,
scholarly edition which
is equally appropriate
for study and
performance. Hindemith
researchers will welcome
the numerous first
publications of works by
the composer, and
practical musicians will
appreciate the newly
prepared, philologically
ordered performance
material.
For
Violin, Cello and
Piano. Composed by
Osamu Kawakami. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Classical. Softcover.
Composed 2005. 20 pages.
Duration 2'. Schott Music
#SJ1185. Published by
Schott Music
(HL.49045422).
ISBN
9784890664894.
Suit
e Carapace consists of 15
pieces composed between
2005 and 2015 collected
chronologically in three
volumes. The first of
these volumes includes
three works composed and
premiered at Tokyo
College of Music in 2005,
Horseshoe Crab,
Odontodactylus japonicus,
and Fiddler Crab, and two
works composed in 2007
and premiered at Yokosuka
City Culture Hall, Pistol
Shrimp and Japanese
Spider Crab. Each of
these works in this
volume was inspired by
the name or appearance of
a particular carapace, as
suggested by the titles.
Through the music, we are
able to examine each
creature in detail with a
variety of characteristic
rhythms and harmonies
arising from the
composer's deep interest
and imagination.
Soprano Saxophone.
Learning Music Together.
Tuition. Book with Online
Audio. Composed 2018. 72
pages.
Oldenkamp-Kastelein
Publications #OKP118-205.
Published by
Oldenkamp-Kastelein
Publications
(BT.OKP118-205).
English.
Followi
ng the huge success of
their instrumental method
Look, Listen and
Learn, Michiel
Oldenkamp and Jaap
Kastelein have focussed
their attention on school
bands and devised a
completely new method
that can be used in both
instrumental lessons and
class bands or wind
ensembles.
Learning Music Together
is the new
method for young wind
players and
percussionists, aged
eight and above.
Learning Music Together
has been
developed in close
collaboration with
professionals from the
class band world, music
schools, and academies in
the Netherlands and
Germany.
Learning Music
Together
combines instrumental
lessons with a course for
class band. The saxophone
lessons offer saxophone
-specific items such as
new notes and technical
exercises while at the
same time supporting the
learning of the class
band, with a focus on
rhythm, melodic structure
and playing music
together.
The method
consists of two volumes.
Volume One introduces the
first instrumental notes
in unison and then
develops part-playing
with duets. Volume Two
builds on the skills
taught in the first
volume and introduces
pieces in three parts.In
addition, supplementary
material is available on
the extensive website,
e.g. demo- and
accompaniment tracks for
all pieces, additional
pieces of music
(well-known songs) and
video tutorials.
Learning Music Together
is logically
structured and
illustrated in a
child-friendly way - a
perfect combination for
young musicians!
Piano - Level 3 SKU: FV.FUE-10073 Composed by Florentine Mulsant. Piano m...(+)
Piano - Level 3
SKU:
FV.FUE-10073
Composed
by Florentine Mulsant.
Piano music. Sound
Research of Women
Composers: Contemporary
Music C192. Sound
Research of Women
Composers: Contemporary
Music C192. Contemporary.
Score. Duration 45'00.
Furore Verlag #FUE 10073.
Published by Furore
Verlag (FV.FUE-10073).
The 45-minutes
work has been composed
between 2010 et 2011.
These ,,Preludes pour
piano are a tribute to
the Preludes of Alexander
Scriabine. There is no
tonal reference in the
writing of my Preludes
that were written in a
chronological way. It is
possible to play some of
them, however a complete
interpretation is
preferable. They are
mysterious, playing with
piano resonance, rhythmic
and passionate. They are
linked by a great unity
of language.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
12 Selected Arias for Tenor with Piano. Composed by Antonio Vivaldi (1678-17...(+)
12 Selected Arias for
Tenor
with Piano. Composed by
Antonio Vivaldi
(1678-1741).
Vocal Collection.
Classical.
Softcover. 76 pages.
Ricordi
#NR14245200. Published by
Ricordi
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.