Wolfgang Amadeus Mozart: The Thirteen Early String Quartets

In his youth Mozart produced two authentic cycles of six string quartets: K.155 160 (Nos.2 7) and K.168 173 (Nos.8 13). Together with their forerunner the so-called ?Lodi? Quartet K.80 (No.1) this adds up to a total of thirteen juvenile quartets all of which may be regarded as early prototypes of their genre.- Urtext of the New Mozart Edition- Parts Books 1-4 BA4847-BA4850 & study score format 16.5 x 22.5cm TP318 available for sale

In his youth Mozart produced two authentic cycles of six string quartets: K.155 160 (Nos.2 7) and K.168 173 (Nos.8 13). Together with their forerunner the so-called ?Lodi? Quartet K.80 (No.1) this adds up to a total of thirteen juvenile quartets all of which may be regarded as early prototypes of their genre.- Urtext of the New Mozart Edition- Parts Books 1-4 BA4847-BA4850 & study score format 16.5 x 22.5cm TP318 available for sale

Serenade für 13 Instrumente-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

The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that it comes close to a pastoral mass a type not otherwise represented in Mozart?s mass oeuvre. As in no other setting of the Ordinary songlike graceful melodies predominate; only the main part of the Credo and the first section of the Agnus Dei stand out with their serious solemn mood.New important evidence for the work?s authenticity has come to light through the discovery of old parts that were written at a time in which a false attribution of another composer?s work to Mozart would not have been possible: a copy at Kremsmünster Monastery which according to Altman Kellner was writtenin Salzburg ?ca. (soon after) 1770? and a copy from Heilig Kreuz Kloster Augsburg of which thirteen parts contain autograph markings by W. A. Mozart. The master?s hand is unmistakable.Urtext of the New Mozart EditionFull score performance material (BA4736) and vocal score (BA4736-90) available for sale.

The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that it comes close to a pastoral mass a type not otherwise represented in Mozart?s mass oeuvre. As in no other setting of the Ordinary songlike graceful melodies predominate; only the main part of the Credo and the first section of the Agnus Dei stand out with their serious solemn mood.New important evidence for the work?s authenticity has come to light through the discovery of old parts that were written at a time in which a false attribution of another composer?s work to Mozart would not have been possible: a copy at Kremsmünster Monastery which according to Altman Kellner was writtenin Salzburg ?ca. (soon after) 1770? and a copy from Heilig Kreuz Kloster Augsburg of which thirteen parts contain autograph markings by W. A. Mozart. The master?s hand is unmistakable.Urtext of the New Mozart EditionFull score performance material (BA4736) and vocal score (BA4736-90) available for sale.

Music for wind ensemble also know as Harmoniemusik played an important part in Mozart’s Austria. Wind ensembles were not only cheaper to employ but they also were suitable for outdoor performance and so appealed to the lesser nobility of the time.Mozart composed the three great wind serenades during his first two years in Vienna with the first of them the Serenade No.10 in B flat K.361 seeing a huge expansion in terms of instrumentation and length. Instead of six (or eight) instruments this serenade is scored for thirteen instruments which include a string double bass. The use of the string bass suggests this work waswritten to be performed indoors unlike those which had preceded it.Available here is a highly authoritative Eulenburg miniature score of Mozart’s Serenade No.10 in B flat K.361 as edited by Harry Newstone which is the definitive reference source for study perusal and performance preparation.

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company