MOZART Concerto No. 2 in E-flat major, KV417; Concerto No. 3 in E-flat major, KV447

SKU: BR.OB-5300-15

You will find the original cadenzas under Mo zart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Bu soni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 5300-15. Published by Breitkopf and Haertel (BR.OB-5300-15).

ISBN 9790004335109. 10 x 12.5 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.

SKU: BR.OB-5300-16

You will find the original cadenzas under Mo zart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Bu soni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 5300-16. Published by Breitkopf and Haertel (BR.OB-5300-16).

ISBN 9790004335116. 10 x 12.5 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.

SKU: BR.OB-5300-30

You will find the original cadenzas under Mo zart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Bu soni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Set of parts. 32 pages. Duration 35'. Breitkopf and Haertel #OB 5300-30. Published by Breitkopf and Haertel (BR.OB-5300-30).

ISBN 9790004335147. 9 x 12 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.

SKU: BR.OB-5300-19

You will find the original cadenzas under Mo zart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Bu soni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 8 pages. Duration 35'. Breitkopf and Haertel #OB 5300-19. Published by Breitkopf and Haertel (BR.OB-5300-19).

ISBN 9790004335123. 10 x 12.5 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.

SKU: BR.OB-15131-16

In Cooperation with G. Henle Verlag

ISBN 9790004342657. 10 x 12.5 inches.

Prank or Color Code?Mozart composed all of his horn concertos for Joseph Leutgeb, a long-standing friend of his family. In Salzburg Leutgeb was in the service of the court ensemble as horn player and violinist before departing for Vienna, where he became known as a performer of Mozart's horn concertos. In 1786 Mozart wrote his fourth horn concerto in E flat major, which, unfortunately, survives only as an incomplete fragment. For the present new edition in Breitkopf Urtext, a reliable early print for the missing sections is used. Nevertheless, this autograph is still a very valuable source, since it contains Mozart's notation of the work in colored ink! The question as to whether this was one of Mozart's typical jokes aimed at Leutgeb or whether he had something else in mind, remains inconclusive to this day. Whoever is curious can take a guess as well, since Breitkopf is printing (in its new edition and in autograph form) the sections in color that were originally transmitted as such.

SKU: BR.EB-10704

In Cooperation with G. Henle Verlag

ISBN 9790201807041. 9.5 x 12 inches.

Prank or Color Code? Mozart composed all of his horn concertos for Joseph Leutgeb, a long-standing friend of his family. In Salzburg Leutgeb was in the service of the court ensemble as horn player and violinist before departing for Vienna, where he became known as a performer of Mozart's horn concertos. In 1786 Mozart wrote his fourth horn concerto in E flat major, which, unfortunately, survives only as an incomplete fragment. For the present new edition in Breitkopf Urtext, a reliable early print for the missing sections is used. Nevertheless, this autograph is still a very valuable source, since it contains Mozart's notation of the work in colored ink! The question as to whether this was one of Mozart's typical jokes aimed at Leutgeb or whether he had something else in mind, remains inconclusive to this day. Whoever is curious can take a guess as well, since Breitkopf is printing (in its new edition and in autograph form) the sections in color that were originally transmitted as such.

In Cooperation with G. Henle Verlag.

SKU: BR.OB-15131-30

In Cooperation with G. Henle Verlag

ISBN 9790004342688. 10 x 12.5 inches.

Prank or Color Code?Mozart composed all of his horn concertos for Joseph Leutgeb, a long-standing friend of his family. In Salzburg Leutgeb was in the service of the court ensemble as horn player and violinist before departing for Vienna, where he became known as a performer of Mozart's horn concertos. In 1786 Mozart wrote his fourth horn concerto in E flat major, which, unfortunately, survives only as an incomplete fragment. For the present new edition in Breitkopf Urtext, a reliable early print for the missing sections is used. Nevertheless, this autograph is still a very valuable source, since it contains Mozart's notation of the work in colored ink! The question as to whether this was one of Mozart's typical jokes aimed at Leutgeb or whether he had something else in mind, remains inconclusive to this day. Whoever is curious can take a guess as well, since Breitkopf is printing (in its new edition and in autograph form) the sections in color that were originally transmitted as such.

SKU: BR.OB-15131-19

In Cooperation with G. Henle Verlag

ISBN 9790004342664. 10 x 12.5 inches.

Prank or Color Code?Mozart composed all of his horn concertos for Joseph Leutgeb, a long-standing friend of his family. In Salzburg Leutgeb was in the service of the court ensemble as horn player and violinist before departing for Vienna, where he became known as a performer of Mozart's horn concertos. In 1786 Mozart wrote his fourth horn concerto in E flat major, which, unfortunately, survives only as an incomplete fragment. For the present new edition in Breitkopf Urtext, a reliable early print for the missing sections is used. Nevertheless, this autograph is still a very valuable source, since it contains Mozart's notation of the work in colored ink! The question as to whether this was one of Mozart's typical jokes aimed at Leutgeb or whether he had something else in mind, remains inconclusive to this day. Whoever is curious can take a guess as well, since Breitkopf is printing (in its new edition and in autograph form) the sections in color that were originally transmitted as such.

SKU: BR.OB-15131-15

In Cooperation with G. Henle Verlag

ISBN 9790004342640. 10 x 12.5 inches.

Prank or Color Code?Mozart composed all of his horn concertos for Joseph Leutgeb, a long-standing friend of his family. In Salzburg Leutgeb was in the service of the court ensemble as horn player and violinist before departing for Vienna, where he became known as a performer of Mozart's horn concertos. In 1786 Mozart wrote his fourth horn concerto in E flat major, which, unfortunately, survives only as an incomplete fragment. For the present new edition in Breitkopf Urtext, a reliable early print for the missing sections is used. Nevertheless, this autograph is still a very valuable source, since it contains Mozart's notation of the work in colored ink! The question as to whether this was one of Mozart's typical jokes aimed at Leutgeb or whether he had something else in mind, remains inconclusive to this day. Whoever is curious can take a guess as well, since Breitkopf is printing (in its new edition and in autograph form) the sections in color that were originally transmitted as such.