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Mozart, Wolfgang Amadeus : Works For Piano 4 Hands
Format : Sheet music
Instrumentation :
1 Piano, 4 hands
Publisher :
Peters
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Mozart, Wolfgang Amadeus : Works For Piano 4 Hands
25.15 EUR
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Wolfgang Amadeus Mozart: Works For Piano 4 Hands: Piano Duet: Instrumental Album
26.95 GBP
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Wolfgang Amadeus Mozart: Piano Trios
Piano Trio: piano, violin, cello
[Score and Parts]
Barenreiter
By Wolfgang Amadeus Mozart. Edited by Plath, Wolfgang;Rehm, Wolfgang. For Violin...
(+)
By Wolfgang Amadeus Mozart. Edited by Plath, Wolfgang;Rehm, Wolfgang. For Violin, Violoncello, Piano. Playing Score; Set of Parts; Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import). ISBN M006456543.
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Wolfgang Amadeus Mozart: Divertimenti, K. 136, 137, 138
String Quartet: 2 violins, viola, cello
[Sheet music]
Kalmus
Composed by Wolfgang Amadeus Mozart (1756-1791). Masterworks; Quartet; Solo Smal...
(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). Masterworks; Quartet; Solo Small Ensembles; String Quartet. Kalmus Edition. Classical; Masterwork. Book. 68 pages. Kalmus Classic Edition #00-K03747. Published by Kalmus Classic Edition
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Mozart, Wolfgang Amadeus: Andante for Flute and Orchestra C major KV 315
Flute and Piano
[Reduction]
G. Henle
Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by Henrik Wiese....
(+)
Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Piano reduction by Jan Philip Schulze. Cadenza by Robert Levin. Flute. Pages: Score: III and 6 * Fl Part: 4. Piano Reduction-paper bound. Published by G. Henle.
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Mozart, Wolfgang Amadeus: Concerto for Flute and Orchestra G major KV 313
Flute and Piano
[Reduction]
G. Henle
For Flute and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by...
(+)
For Flute and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Piano reduction by Siegfried Petrenz. Cadenza by Robert Levin. Flute. Pages: Score = IV and 34 * Fl Part =16. Piano Reduction-paper bound. Published by G. Henle.
(1)
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Mozart, Wolfgang Amadeus: Concerto for Flute and Orchestra D major KV 314
Flute and Piano
[Reduction]
G. Henle
For Flute and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by...
(+)
For Flute and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Piano reduction by Siegfried Petrenz. Cadenza by Robert Levin. Flute. Pages: Score = IV and 28 * Fl Part =17. Piano Reduction-paper bound. Published by G. Henle.
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Wolfgang Amadeus Mozart : Complete Works for two Pianos
2 Pianos, 4 hands
[Score]
-
Advanced
Barenreiter
By Wolfgang Amadeus Mozart. Edited by Schmid, Ernst Fritz; Ferguson, Faye; Rehm,...
(+)
By Wolfgang Amadeus Mozart. Edited by Schmid, Ernst Fritz; Ferguson, Faye; Rehm, Wolfgang. For 2 Pianos. This edition: Urtext Edition. Collection. 72 pages. Published by Baerenreiter Verlag (German import).
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Classics to Jazz Mozart
Piano solo
Santorella Publications
Classics to Jazz * Mozart composed by Wolfgang Amadeus Mozart (1756-1791). Arran...
(+)
Classics to Jazz * Mozart composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Jonathon Robbins. For jazz piano. This edition: Paperback. Collection. Jazz. Book. Text Language: English. 48 pages. Published by Santorella Publications
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Wolfgang Amadeus Mozart - Selected Works Piano Masters Series
Piano solo
[Sheet music]
-
Intermediate
Alfred Publishing
By Wolfgang Amadeus Mozart. Edited by Dale Tucker. For Piano. Piano Collection. ...
(+)
By Wolfgang Amadeus Mozart. Edited by Dale Tucker. For Piano. Piano Collection. Belwin Edition: Piano Masters Series. Masterwork. Level: Late Intermediate. Book. 56 pages. Published by Alfred Publishing.
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Wolfgang Amadeus Mozart: Variations for Piano and Violin (revised edition)
Violin and Piano
[Sheet music]
G. Henle
By Wolfgang Amadeus Mozart. Edited by E.F. Schmid. Violin. Pages: Score = 15 * V...
(+)
By Wolfgang Amadeus Mozart. Edited by E.F. Schmid. Violin. Pages: Score = 15 * Vl Part = 6. Urtext edition-paper bound. Published by G. Henle.
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Wolfgang Amadeus Mozart: Requiem, K. 626
Choral SATB
SATB, Piano
[Vocal Score]
-
Intermediate/advanced
Schirmer
(SATB). By Wolfgang Amadeus Mozart (1756-1791). For soprano solo voice, alto sol...
(+)
(SATB). By Wolfgang Amadeus Mozart (1756-1791). For soprano solo voice, alto solo voice, tenor solo voice, bass solo voice, SATB choir and piano accompaniment (SATB). This edition: ED1882. Choral Large Works. Classical Period. Difficulty: medium to medium-difficult. Vocal score. Choral notation and piano reduction. 80 pages. Published by G. Schirmer
(5)
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Wolfgang Amadeus Mozart: Works for two Pianos
2 Pianos, 4 hands
[Sheet music]
-
Advanced
G. Henle
By Wolfgang Amadeus Mozart. Edited by W.-D. Seiffert. 2 Pianos, 4-hands. Pages: ...
(+)
By Wolfgang Amadeus Mozart. Edited by W.-D. Seiffert. 2 Pianos, 4-hands. Pages: XIV and 89. Urtext edition-paper bound. Published by G. Henle.
(1)
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Wolfgang Amadeus Mozart: Mozart for Flute
Flute
[Book + CD]
De Haske Publications
By Wolfgang Amadeus Mozart (1756-1791), arranged by Terry Cathrine. Flute solo b...
(+)
By Wolfgang Amadeus Mozart (1756-1791), arranged by Terry Cathrine. Flute solo book and accompaniment CD for flute. Series: Fentone Play Along Books. 20 pages. Published by DeHaske Publications.
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Mozart Beginner to Intermediate
Piano solo
-
Easy
Santorella Publications
Mozart * Beginner to Intermediate Piano Solos composed by Wolfgang Amadeus Mozar...
(+)
Mozart * Beginner to Intermediate Piano Solos composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Erika Feuchtner Macris. For piano. This edition: Paperback. Collection. Classical Composer Series. Classical. Beginner to Intermediate. Book. Text Language: English. 64 pages. Published by Santorella Publications
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Mozart * Intermediate to Advanced Piano Solos * Book 2
Piano solo
[Book]
-
Intermediate/advanced
Santorella Publications
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Erika Feuchtner Macris. For ...
(+)
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Erika Feuchtner Macris. For piano. This edition: Paperback. Collection. Classical Composer Series. Classical. Intermediate to Advanced. Book. Text Language: English. 64 pages. Published by Santorella Pub Textbook Classical
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Mozart W.a. - Works For Violin And Orchestra Kv 2017, 211, 216, 218, 219, 261, 269 (261a), 373
Orchestra, Violin
Barenreiter
Mozart, Wolfgang Amadeus Works for Violin and Orchestra KV 2017, 211, 216, 218, ...
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Mozart, Wolfgang Amadeus Works for Violin and Orchestra KV 2017, 211, 216, 218, 219, 261, 269 (261a), 373 Based on the Urtext of the ?New Mozart Edition?, this new study score unites the five violin concertos and the 3 single movements for violin from the pen of Mozart in one thoroughly reliable study score. A new historical introduction by Gudula Schütz provides valuable additional information. Full scores, piano reductions and performance material to all works included in the study score are readily available. This new edition will replace the following study scores: Concerto for Violin and Orchestra no. 1 K. 207, TP 270 Concerto for Violin and Orchestra no. 2 K. 211, TP 271 These study scores will continue to be available: Concerto for Violin and Orchestra no. 3 K. 216, TP 272 Concerto for Violin and Orchestra no. 4 K. 218, TP 273 Concerto for Violin and Orchestra no. 5 K. 219, TP 20 Edition no.: TP 325 ISMN: 9790006205349 Editor: Mahling, Christoph-Hellmut Language(s) of text: German, English Product format: Study score, Anthology, Urtext edition Binding: Paperback Pages / Format: XXII, 303 S. - 22,5 x 16,5 cm
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Requiem (MOZART WOLFGANG AMADEUS)
Choeur Mixte SATB et Piano
Barenreiter
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Vocal...
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Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Vocal Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Choeur Mixte SATB et Piano
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Requiem (MOZART WOLFGANG AMADEUS)
[Score]
Barenreiter
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full ...
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Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Chœur Mixte SATB et Orchestre
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Works For Piano And Violin (MOZART WOLFGANG AMADEUS)
Violin and Piano
G. Henle
Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne sÂ’est adon...
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Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est adonné à aucun autre genre de musique de chambre autant qu’à celui des duos pour piano et violon, qu’il s’agisse de sonates ou de variations. Exploitant les possibilités d’interaction de ces deux instruments par des combinaisons et des croisements toujours renouvelés, en particulier dans les sonates, il composa ainsi des oeuvres d’une beauté pure et intemporelle alliant force dramatique, élégance et profondeur de sentiments. Cette édition de travail offre le texte complet et non modifié des partitions publiées dans les trois éditions pratiques «bleues» Henle Urtext HN 77, 78 et 79, respectivement l’édition sous reliure lin de l’ensemble des sonates pour violon deMozart HN 80. / Partition brochée / Répertoire / Violon et Piano
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Finale From Symphony No. 40 (MOZART WOLFGANG AMADEUS)
Concert band
[Score and Parts + CD]
-
Intermediate/advanced
Curnow Music
Excerpts from Movement 4. Par MOZART WOLFGANG AMADEUS. Developing an intimate un...
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Excerpts from Movement 4. Par MOZART WOLFGANG AMADEUS. Developing an intimate understanding of the world’s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart, and the G-minor Symphony (Number 40) is one of Mozart’s signature works, and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band won’t be playing a “band arrangement”- they’ll be playing MOZART! Don’t forget the opportunity for a music history lesson built into this piece. Masterful! / Niveau : 4 / Classique / Répertoire / Concert Band
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Postkarten-Serie 5: Wolfgang Amadeus Mozart - Geistliche Musik (MOZART WOLFGANG AMADEUS)
Carte Postale
[Sheet music]
Carus Verlag
Wolfgang Amadeus Mozart - Geistliche Musik. Par MOZART WOLFGANG AMADEUS. Through...
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Wolfgang Amadeus Mozart - Geistliche Musik. Par MOZART WOLFGANG AMADEUS. Throughout his entire career Wolfgang Amadeus Mozart concerned himself with church music. To no musical genre did he contribute more works than to musica sacra. This Postcard Series includes twelve portraits, illustrations and facsimiles related to Mozart's sacred music./ Répertoire / Livre
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Quis Te Comprehendat (MOZART WOLFGANG AMADEUS)
Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
[Sheet music]
Carus Verlag
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], b...
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Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, errone...
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Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, errone...
(+)
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2
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Horn Concerto [No. 2] In Eb Major K. 417 (MOZART WOLFGANG AMADEUS)
Conducteur
[Sheet music]
Breitkopf & Härtel
Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozar...
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Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a 'donkey” in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well. Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann André. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition./ Répertoire / Conducteur
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Horn Concerto [No. 2] In Eb Major K. 417 Ensemble A Vent (MOZART WOLFGANG AMADEUS)
Wind ensemble
[Sheet music]
Breitkopf & Härtel
Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozar...
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Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a 'donkey” in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well. Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann André. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition./ Répertoire / Ensemble à Vent
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, errone...
(+)
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2
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Quis Te Comprehendat (MOZART WOLFGANG AMADEUS)
Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
[Sheet music]
Carus Verlag
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], b...
(+)
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, errone...
(+)
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2
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Quis Te Comprehendat (MOZART WOLFGANG AMADEUS)
Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
SATB, Strings
[Sheet music]
Carus Verlag
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], b...
(+)
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Carus Verlag
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, errone...
(+)
Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2
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Quis Te Comprehendat (MOZART WOLFGANG AMADEUS)
Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
[Sheet music]
Carus Verlag
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], b...
(+)
Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,
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