of the concerto for flute, harp and orchestra KV 299. Par MOZART WOLFGANG AMADEUS. In the unparalleled series ‚Cadenza‘, Schott Musik International presents cadences of well-known instrumental concertos of classical and Romantic music, composed by major composers and soloists of our time. The cadences of Mozart‘s Concerto for flute, harp and orchestra in C major KV 299 were created by Nino Rota. It is not known when and for which occasion Rota wrote these cadences. But the two soloists, on the other hand, to whom he dedicated the cadences are quite well-known: the harpist, Clelia Gatti Aldronandi and the famous flutist Severino Gazzelloni. Rota‘s brilliant neoclassicism is perfect for the virtuoso dialogue between the two solo instruments on the themes of the concerto./ Répertoire / Flûte Traversière et Harpe

Vl Va Vc Klav. Par MOZART WOLFGANG AMADEUS. W. A. Mozarts jüngster Sohn hieß eigentlich Franz Xaver Wolfgang, wurde aber von der Mutter schon als Kind zum Musiker bestimmt und Wolfgang Amadee genannt. Sein Opus 1 erschien bereits 1802. / Niveau : 3/3/2 - 3/3 / Répertoire / Musique de Chambre

After Volumes IV and III of the series with Mozartâ??s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively Mozart expert Wolf-Dieter Seiffert now presents Volume II â?? in full score and individual parts. Included are the â??Early Viennese Quartetsâ? from 1773 K. 168â??173. Entries in the autograph manuscript by the composerâ??s father Leopold however suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation thereby producing a new assured musical text. With artistic input from the Armida Quartet Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozartâ??s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively Mozart expert Wolf-Dieter Seiffert now presents Volume II â?? in full score and individual parts. Included are the â??Early Viennese Quartetsâ? from 1773 K. 168â??173. Entries in the autograph manuscript by the composerâ??s father Leopold however suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation thereby producing a new assured musical text. With artistic input from the Armida Quartet Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

Three arrangements including Ave Verum Corpus and the Lacrimosa from the Requiem.During the year 1771 when Mozart was 15 years old he and his father Leopold were touring Italy which was at that time the most formidable citadel of the music world. In the following four years the young Mozart was received at the homes and villas of Italy's aristocracy. He met the most famous musicians of the time including Niccolo Piccinni operatic rival to Gluck and Padre Martini from whom he was to benefit from studies in counterpoint. He also met many noted male soprano singers and for one the celebrated Venanzio Rauzzini he wrote in 1773 the motet Exsultate Jubilate from whichcomes the well known Alleluia.At the end of his life only 19 years later in Vienna 1791 Mozart was very ill and working on a number of massive works such as the operas The Magic Flute and Titus also the Requiem. Titus was completed in 18 nerve-shattering days as it had to be performed in Prague in September 1791. At its premiere it was a complete flop. This affected the now overworked almost penniless composer's spirit and he returned to Vienna suffering from mental and physical exhaustion. Rest was denied him. The Magic Flute had to be finished for its premier on September 30th 1791. The task of the Requiem still faced him. In this weakened state Mozart thought that he was in fact writing his own requiem reading evil omens into the commissioning of the work. He thought someone had calculated the precise time of his death and was thus troubled with sombre thoughts. He completed the first two of the twelve parts. The next six parts were in an unfinished state and his manuscript ceased at the Lacrimosa. Süssmayer who was working closely with Mozart at the time was given the task of finishing the Requiem.Ave Verum Corpus is also one of his final works. It is a setting of an anonymous hymn written as a motet for Anton Stoll the choirmaster at Baden in June 1791.Mozart was a composer of great genius who

'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived Piano concertos. These three concertos may be performed not only with a large Orchestra including wind instruments but also a quattro that is with two Violins one Viola and Violoncello. They will be issued early in April of this year (1783).'As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his Piano concertos K.413-5 and as we know from a letter Mozart wrote to his father in K.449 as well. In addition to orchestral forces it is also possible to use achamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with Piano.These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two Pianos the solo part - as well as the strings - are unchanged and thus identical with the version in the NMA. The Piano arrangement adheres to the original orchestral score.Chamber music editions available for:Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

Par MOZART WOLFGANG AMADEUS. Le quatuor à cordes classique et romantique fait partie du répertoire central des éditions G. Henle. Après que Haydn et Beethoven ont depuis longtemps déjà été représentés au catalogue Henle comme sur les podiums de concert du monde entier, vient maintenant le tour du troisième classique viennois: l?intégralité des 26 quatuors à cordes de Mozart (parmi lesquels les 3 «Divertissements salzbourgeois») figure au catalogue Henle en qualité Urtext, que ce soit en parties séparées, en édition numérique (App) ou en édition d?étude (partition de poche). Ces dernières sont ainsi également accessibles dans leur globalité, sous la forme d?un coffret pratique. Une vue d?ensemble unique sur l??uvre intégrale pour quatuor à cordes de Mozart. Édités par les soins de Wolf-Dieter Seiffert, l?expert de Mozart, ces quatre volumes sont remplis de surprises éditoriales. Voilà pourquoi ce coffret est un indispensable compagnon de route pour tous les ensembles de quatuors à cordes et les fans de Mozart! / Date parution : 2022-04-05/ Recueil / Quatuor avec Piano

La présente édition Urtext due à Henrik Wiese maître-flûtiste munichois et expert de Mozart est enrichie par un passionnant avant-propos et un apparat critique exhaustif. On y lit par exemple quelques particularités dans la réception des quatre quatuors pour flûtes de Mozart: l?un des quatuors est très vraisemblablement un faux et n?est donc pas de Mozart (Ut majeur Anh. 171 [K. 285b]) un autre n?a que deux mouvements et de plus de réception bizarre ce qui légitime pour le moins quelques soupçons quant à l?authenticité de la version connue (Sol majeur K. 285a) un troisième certes un authentique quatuor pour flûtes de Mozart a été jusqu?à présent fort mal daté àla suite du catalogue Köchel (La majeur K. 298 année de composition 1786 ? et non 1778 !). Seul le premier quatuor pour flûtes en Ré majeur (K. 285) est lié avec certitude au séjour de Mozart à Mannheim en 1777. C?est là comme on le sait qu?il s?est immortellement épris d?Aloysia Weber la s?ur aînée de Constanze qu?il épousa bien plus tard. L?acquisition de cette magistrale édition s?impose ? ne serait-ce que pour cette ?uvre.

This volume brings together Mozart?s youthful attempts at this later so central genre of the string quartet: the astonishing ?Lodi Quartet? K. 80 by the only fourteen-year-old composer, the three ?Quartet-Divertimenti? K. 136?138 which are also readily played by chamber orchestras, and Mozart?s first true string-quartet cycle K. 155?160 which was composed during his third (north-)Italian journey in 1772/73. Mozart?s cleanly written scores of all the compositions have been preserved so that the edition stands on a secure foundation. In his informative commentary, Wolf-Dieter Seiffert, the experienced Mozart editor at G. Henle Publishers, devotes a separate, comprehensive explanatory section to the well-known articulation problem ?dot or wedge?. The Armida Quartet provided artistic input for this edition.

Epistelsonate. Par MOZART WOLFGANG AMADEUS. Edition based on the Mozart autograph in the Saltikov-Shtchedrin Library in St. Petersburg. Carus editions of the Mozart masses for which the Epistle Sonata KV 263 would be suitable. Missa in C KV 259 [Organ Solo Mass, CV 40. 628]; Missa longa in C KV 262 [CV 51. 262, in prep. ]; Missa in C KV 258 [Spaur Mass, CV 40. 627]; Missa in C KV 257 [Great Credo Mass, CV 40. 616]/ Répertoire / 2 Clarinettes, 2 Violons, Orgue et Basse Continue

Fragments K. 442-Mozart often began work on a composition only to put it aside unfinished. Some of these fragments contain wonderful music as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer and on this basis they were given the number ?442? in Köchel?s catalogue. The first edition used completions by Mozart?s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed highly rewarding completions by Robert D. Levin.

Full score Henle Urtext edition of W.A. Mozart's String Quintets Volume 1. Mozart applied himself to this genre six times even giving important parts to the two violas. For this edition the editors were able to refer tothe autograph which is once again accessible. It shows Mozart’s intensive compositional work resulting in the fact that he composed the minuet and finale of the work a second time. The first version of both movements is includedin the appendix of our edition enabling insightful comparisons.

Epistelsonate. Par MOZART WOLFGANG AMADEUS. Edition based on the Mozart autograph in the Saltikov-Shtchedrin Library in St. Petersburg. Carus editions of the Mozart masses for which the Epistle Sonata KV 263 would be suitable. Missa in C KV 259 [Organ Solo Mass, CV 40. 628]; Missa longa in C KV 262 [CV 51. 262, in prep. ]; Missa in C KV 258 [Spaur Mass, CV 40. 627]; Missa in C KV 257 [Great Credo Mass, CV 40. 616]/ Répertoire / 2 Clarinettes, 2 Violons, Orgue et Basse Continue

?Because I only need four parts to express everything? Haydn is said to have replied thus when asked why he had not composed a string quintet. Mozart saw things differently. He applied himself to this genre sixtimes even giving important parts to the two Violas. Following Volume II which contains the three most often played quintets we warmly recommend Mozart?s first Quintet K. 174 to ensembles (the 3rd andfinal volume was published in 2008). The editors were able to refer to the autograph which is once again accessible. It shows Mozart?s intensive compositional work resulting in the fact that he composed the minuet andfinale of the work a second time. The first version of both movements is included in the appendix of our edition enabling insightful comparisons.

Arrangeur: Eric Vireton. Par MOZART WOLFGANG AMADEUS. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 2/6 - Facile - Durée : 0 mn 55 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Wolfgang Amadeus MOZART - Arrangeur : Eric VIRETON / Niveau : Facile / Répertoire / Quatuor de Cordes

String Ensemble. Par MOZART WOLFGANG AMADEUS. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 2 mns - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Wolfgang Amadeus MOZART - Arrangeur : Eric VIRETON / Niveau : Intermédiaire / Répertoire / Quatuor de Cordes