SKU: BR.EB-8736
ISBN 9790004181232. 9 x 12 inches.
One could say that Michael Kuhn's cadenzas to Mozart's beloved Double Concerto K. 299 went directly from the concert stage to the publisher, and from the publisher back to performers. Commissioned by the Concentus Musicus Wien, they were recorded on CD in 1998 under the direction of Nikolaus Harnoncourt. Although the musicians played on original instruments (transverse flute and single-action pedal harp), the cadenzas can be executed just as effectively on modern instruments. For his work, Kuhn took as his guideline the original cadenzas Mozart wrote for his Sinfonia concertante K. 364 and his Concerto for two pianos and orchestra K. 365, which date from about the same time. Kuhn's new edition should be seen as an alternative to Carl Reinecke's popular cadenzas (EB 6859), which continue to be available from Breitkopf & Hartel.Kuhn's new edition should be seen as an alternative to the popular cadenzas 3 Cadenzas for Mozart's Concerto in C major K. 299 (297c) by Carl Reinecke.
SKU: HL.48180856
UPC: 888680907662. 9.0x12.0 inches.
Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in G was written by the composer in 1778. The concerto remains widely studied and performed on the flute, making it one of the most important concerti in the instrument's repertoire. Paul Taffanel and Philippe Gaubert's composed cadenzas for the work are essential to all performers of the concerto. Concerto in G is in three movements; 1. Allegro maestoso, 2. Adagio ma non troppo, and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of D major. All three movements contain a cadenza which initially would have been left for the performer to improvise. However, cadenzas have since been written, including those of Taffanel and Gaubert. Both were prominent flautists of their time and their understanding of the flute concerto repertoire is second to none, making their cadenzas well-informed and essential to performers of the concerto.
SKU: BR.PB-15112-07
ISBN 9790004212691. 6.5 x 9 inches.
Mozart's Concerto K. 453 enjoyed great popularity during the composer's lifetime and was widely known through copies and a print. The state of the sources is thus multi-faceted yet unequivocal: the primary source is the rediscovered autograph, which was considered lost after 1945 and was not at the disposal of the Neue Mozart-Ausgabe. The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Stephan Horner to whom Henle has entrusted its urtext editions. Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.
SKU: BR.OB-5295-26
When and where did Mozart write his Flute Concerto, and for whom? Was it in 1777 or 1778? In Salzburg or in Mannheim? And how much did Ferdinand Dejean actually pay for it: 96 gulden or the promised 200 gulden?
ISBN 9790004338438. 10 x 12.5 inches.
When and where did Mozart write his Flute Concerto, and for whom? Was it in 1777 or 1778? In Salzburg or in Mannheim? And how much did Ferdinand Dejean actually pay for it: 96 gulden or the promised 200 gulden? Henrik Wiese sheds new light into the confusion wrought by Mozart himself. Wiese, solo flutist of the Bavarian State Orchestra, has made an outstanding name for himself as soloist and editor, and is viewed in professional circles as one of the best specialists of Mozart's wind works. He has focused on the work's genesis, but especially on the music text, having consulted all known scribal copies of the work and all available copies of the first edition. The version for flute and piano also contains a facsimile of the solo part from the first edition as well as cadenzas which stem from the earliest hand-written sources or which were composed by the editor in Mozart's style.When and where did Mozart write his Flute Concerto, and for whom? Was it in 1777 or 1778? In Salzburg or in Mannheim? And how much did Ferdinand Dejean actually pay for it: 96 gulden or the promised 200 gulden?
SKU: BR.OB-5295-19
ISBN 9790004338421. 10 x 12.5 inches.
SKU: BR.OB-5295-15
ISBN 9790004338407. 10 x 12.5 inches.
SKU: BR.OB-5295-16
ISBN 9790004338414. 10 x 12.5 inches.
SKU: BR.OB-5295-30
ISBN 9790004338445. 10 x 12.5 inches.
SKU: BR.PB-5525-07
ISBN 9790004212547. 6.5 x 9 inches.
Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.Gut ein Dutzend Ausgaben dieses Konzerts durfen derzeit erhaltlich sein, doch diese hier ist etwas besonderes. (Ursula Pesek, Das Orchester)2 in D major K. 314 (285d) by Joachim Andersen.
SKU: BR.OB-5308-26
ISBN 9790004339992. 10 x 12.5 inches.
Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.Gut ein Dutzend Ausgaben dieses Konzerts durfen derzeit erhaltlich sein, doch diese hier ist etwas besonderes. (Ursula Pesek, Das Orchester).
SKU: BR.OB-5308-16
ISBN 9790004339978. 10 x 12.5 inches.
SKU: BR.OB-5308-30
ISBN 9790004340004. 10 x 12.5 inches.
SKU: BR.OB-5308-19
ISBN 9790004339985. 10 x 12.5 inches.
SKU: BR.PB-15110-07
In Cooperation with G. Henle VerlagEB 10766 is printed in score form; two copies are needed for performance.Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C m. Solo concerto; Classical. Study Score. 72 pages. Duration 30'. Breitkopf and Haertel #PB 15110-07. Published by Breitkopf and Haertel (BR.PB-15110-07).
ISBN 9790004212677. 6.5 x 9 inches.
The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo).
