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henle g nter wolfgang amadeus

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Mozart’s only piano sonata in E-flat major was probably written during his stay in Munich in early 1775. Its first movement – an Adagio, unconventionally – is one of those pieces by the young genius that are immediately and profoundly touching. Two minuets follow, inspired by the timbre of woodwinds; and a quick finale in 2/4 with a striking opening motive concludes this masterwork of medium difficulty. Mozart’s clean manuscript copy is the only editorially relevant source, all the early print editions having proved flawed. More information

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henle g nter wolfgang amadeus

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"I would gladly have done some more fiddling, but I was accompanied so badly that it gave me the colic." Thus Mozart, writing to his father on 16 October 1777. He would probably have taken great pleasure in this new urtext edition, for the piano reduction is especially stylish and easy to play - unlike so many editions whose overloaded piano parts neglect the needs of the accompanist. The text of the solo part corresponds exactly to Mozart's own notation, and the cadenzas supplied by the Munich virtuoso Kurt Guntner are an authoritative and stylistically reliable bonus.

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henle g nter wolfgang amadeus

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Online-tutorial available at Henle Masterclass The genesis of one of Mozart’s best-loved piano works, his Fantasy in d minor, is still shrouded in darkness. Even Mozart’s sister, who came across the work in 1807 through the first edition, was astounded to have discovered a previously unknown composition of such quality. In its original form the Fantasy was in all probability a fragment. The closing bars that are most frequently performed today originated from an unauthorized print from 1806. We have also included these in our edition due to the lack of any others in Mozart’s own hand or any other authorized source. Our single edition was put together using the musical text from the revised complete volume “Mozart Piano Pieces” (HN 22 and 9022).

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henle g nter wolfgang amadeus

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From the late 1760s onwards Mozart repeatedly composed series of dance movements for orchestra. Demand for this occasional music, which really was intended for dancing, increased in the winter months, when the nobility and middle classes frequented balls during the carnival season. Mozart put together his own piano reduction of some of these dance series, as is also the case with the eight Minuets. Only this wonderful autograph version for piano has survived. Our single edition was put together using the musical text from the revised complete volume “Mozart Piano Pieces” (HN 22 and 9022).

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henle g nter wolfgang amadeus

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Curiously enough, only one of Mozart’s eighteen piano sonatas (and also only one of his 23 piano concerti) is in the pianistically rewarding key of G major: the sonata K. 283. It numbers among those six sonatas K. 279–284 that were probably written in Munich at the beginning of 1775, and is one of the favorites from this first set of sonatas among teachers and students alike. Played at the correct tempo, this sonata, although technically not too challenging, rarely fails to have its desired effect. That is especially true for its extended Presto (!) finale. More information

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henle g nter wolfgang amadeus

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– Flötenstimme: Die Edition besorgte einer der renommiertesten Flötisten unserer Zeit: András Adorján. Seine Edition gibt den Text der Quelle wieder, wohlwissend, dass die Quellenbasis – Mozarts Autograph ist verschollen – dürftig ist. Eindeutige Fehler und Flüchtigkeiten der Quelle werden verbessert und durch Fussnoten oder Klammerung kenntlich gemacht.– Kadenzen und Eingänge: Sie stammen von einem der arriviertesten Mozart-Kennern, dem Musikwissenschaftler und Pianisten Robert D. Levin. Die vorgeschlagenen Kadenzen und Eingänge zeichnen sich dadurch aus, dass sich der Musizierende dank eines ausgeklügelten Verweissystems aus dem angebotenen Material immer wieder neue, "eigene" Kadenzen zusammenstellen kann; damit kommen Levin’s Vorschläge dem Improvisationscharakter von Kadenzen und Eingängen sehr nahe. Achtung: Die Kadenzen und Eingänge unterliegen dem Urheberrecht und sind weltweit geschützt (GEMA); bitte melden Sie ihre Benutzung in Aufführungen und Aufnahmen dem Verlag bzw. der GEMA. – Klavierauszug: Ihn hat der profunde Mozart-Kenner und renommierte Generalbassspezialist Siegfried Petrenz geschrieben. Er strebt einen gut klingenden, technisch nicht allzu anspruchsvollen Klaviersatz an, der sich deutlich von den verbreiteten, am Orchestersatz orientierten Klavierauszügen abhebt. Dadurch wird auch der typischen Unterrichtssituation Rechnung getragen, in der nicht unbedingt immer ein professioneller Korrepetitor die Flöte begleitet.

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henle g nter wolfgang amadeus

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This piano concerto by Mozart presented here inaugurate an ambitious project at Henle Publishers: in the coming years many of the Salzburg master’s 23 piano concertos will be published in completely new Urtext editions. And none other than András Schiff is collaborating with us. His piano reductions are aimed at amateurs rather than professionals; his fingerings for Mozart’s solo part have been exquisitely fine-tuned and are inspiring; and where Mozart’s original cadenzas are missing, Schiff’s stylistically perfected ones have been included. In so doing we aspire to set a new precedent. The quality is not only guaranteed by András Schiff, but also by the Mozart scholars to whom Henle Publishers have entrusted their Urtext editions. Each work is edited by a specialist, according to predetermined editorial guidelines. First and foremost Mozart’s handwritten scores have been consulted, being the most important sources. In some cases these had not yet been available when preparing previous editions. 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. A co-production with Breitkopf & Härtel, Mozart’s piano concertos are not only available as attractive and affordable piano reductions, there are also an accompanying Urtext conductor’s score, orchestral parts and a study score. This will ensure that this lavish new edition can be used in many different contexts: whether studying the solo part in a definitive Urtext edition, which reflects the latest research findings; or playing together with a second pianist, providing a piano reduction which not only sounds superb but is also easy to play; or studying and reading the pocket score and finally performing with an orchestra, using newly-prepared material. This is a truly fitting project inauguration for the Mozart Year 2006.

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henle g nter wolfgang amadeus

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This Rondo was written around the same time as the Piano Concertos in A major (K. 488) and c minor (K. 491). In the course of the work, a theme from the third movement of the Piano Quartet in g minor (K. 478) is taken up and further developed. In spite of its considerable length and its musical depth the work was apparently not published during the composer’s lifetime. The dedication, “Pour Mad:selle Charlotte de W…” (the rest is indecipherable) is an enigma. No matter which lady Mozart had in mind, this rondo is today one of his best loved and most played piano works. Our single edition follows the musical text in the revised volume of his piano works (HN 22), published in Mozart Year 2006.

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henle g nter wolfgang amadeus

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A sensational finding provided the impetus for this new edition. In autumn 2014 a hitherto unknown Mozart autograph of the famous Piano Sonata in A major (with the enduring “Turkish March”) surfaced in Budapest. After a painstaking study of the manuscript and a meticulous comparison with all of the other sources, G. Henle Publishers is now issuing the first definitive Urtext edition of significant parts of this masterpiece (the new autograph does not contain the complete sonata). It must be said that there are serious deviations from the musical text as we know it. So we are proud to be able to say that it is not possible to seriously study this sonata without consulting our Urtext edition. More information Read more about this edition in the Henle Blog.

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henle g nter wolfgang amadeus

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It is hardly imaginable today, but the Viennese public of Mozart’s time was unable to appreciate the beauties of Mozart’s Piano Quartet K. 478. It was not accustomed to the dramatic g minor character – especially of the first movement – coming from this composer. And thus it came about that the publisher Hoffmeister refused to print any further quartets; after K. 478, Mozart wrote only the E flat major Quartet K. 493, although a series of six works had originally been planned. What a pity! Today the two piano quartets rank among the landmarks of Mozartian chamber music and continue to enjoy a great status.

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henle g nter wolfgang amadeus

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This is Mozart’s only piece of chamber music for the oboe – and no oboist would want to be without it! Like the Clarinet Quintet, the Oboe Quartet of 1781 was written for a friend: Friedrich Ramm, a member of the celebrated court orchestra in Mannheim. Since then it has become the most significant and best-known work in its genre. The playfully virtuoso outside movements frame a brief slow movement in the minor mode that brings out the instrument’s elegiac timbre. Unlike the Oboe Concerto, this work has come down to us in Mozart’s autograph score, which has served as the principal source of our edition.

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henle g nter wolfgang amadeus

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At the time, Mozart’s genius – recognised at an early age – could only be explained as being God-given. Wolfgang Amadeus and his sister Maria Anna, older by five years, were admired as being “Wunderkinder” (prodigies) on their travels through Western Europe between 1763 and 1766. The piano sonatas “with a violin accompaniment” K. 6–9 were composed in Paris. It is wonderfully fresh and varied music. The piano is joined by a violin that adds colour, but not as an equal partner unlike in the later, great violin sonatas (see HN 77–80). This music is not only ideally suitable for piano and violin teaching purposes but will also allow musicians who already know “everything” to discover some treasures. Audio example: Benjamin Schmid, Ariane Haering: KV 9, Menuett Oehms Classic OC 335

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henle g nter wolfgang amadeus

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There is no other chamber-music genre for which Mozart produced so many works – see the sonatas and variations – than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.

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Mozarts sauberes Autograph bietet eine sichere Basis für diese Urtextausgabe, die kleinere Feinheiten und Abweichungen Mozarts an Parallel- und Wiederholungsstellen bewusst nicht einebnet. Die Hornstimmen enthalten bequeme Wendestellen und bieten zweifache Kadenzvorschläge für den 1. Satz sowie Eingänge, ebenfalls alternativ, für Takt 22 und 196 im dritten Satz. Wie auch in seinen Kadenzen für Mozarts Flötenkonzerte (HN 673, 674, 675) der bekannte Mozart-Spezialist Robert D. Levin vielfach verknüpfbare Motiv- und Melodieteile, aus denen sich jeder Hornist seine eigene Kadenz zusammenstellen kann. Dabei werden die Möglichkeiten des Naturhorns beachtet. Die Kadenzen sind urheberrechtlich geschützt.

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henle g nter wolfgang amadeus

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No serious musician and no serious orchestra can ignore this new Urtext edition of a major work of concerto literature, since the music text frequently diverges from that of previous editions. All the sources were meticulously examined, text-critically evaluated and documented for the very first time. The editing and marking of the solo parts by Tabea Zimmermann and Frank Peter Zimmermann are a crowning point in this co-production with Breitkopf & Härtel.

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henle g nter wolfgang amadeus

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More than a few experts and aficionados count Mozart’s string trio in E-flat major K. 563 among his most magnificent compositions. This masterwork, entered into Mozart’s own catalogue of works on 27 September 1788 as a “Divertimento;” presents the Urtext editor with great challenges. The autograph manuscript has been lost since that time, and no other first-rate source texts exist. The most reliable, albeit clearly imprecise, source is the first edition, published two months after Mozart’s death. Many twentieth-century editions, however, unfortunately reprinted the musical text of Breitkopf & Härtel’s so-called “Alte Gesamtausgabe” (Old Collected Edition), which was edited by none other than the violinist Joseph Joachim on the basis of incorrect copies and is therefore completely corrupt. Even the “Neue Mozart-Ausgabe” (New Mozart Edition) is not error-free. The Henle edition essentially follows the first edition, though aided by numerous corrective interventions, described in the Critical Commentary. The edition’s Appendix presents the surviving fragment of the string trio movement in G major, K. Anh. 66 (562e). How unfortunate that Mozart never completed this equally wonderful music, which continues a little beyond the exposition and thus may quite aptly serve as a short encore. The three individual parts offer optimal flow for reading and playing thanks to the artful apportioning of notes in their layout, including, for instance, various foldout tables and individual pages left blank. The study edition (HN 9625), available separately, provides the full score to this edition of the parts.

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henle g nter wolfgang amadeus

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Mozart was neither a flautist nor a harpist, but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján, following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions; the lean and euphonious piano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the harp part in form of a performance score. This new volume completes Henle’s series of up-to-date urtext editions of Mozart’s surviving concertos and chamber music with flute.

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henle g nter wolfgang amadeus

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The great pianist Paul Badura-Skoda counts the first movement of this B-flat major sonata K. 333 as “among the most beautiful … in the piano literature.” And who would want to contradict him? What a pyrotechnic display of wonderful and freely vibrant melodies in the first movement, artfully coupled with pianistic runs and flourishes! The sublime slow movement (“Andante cantabile”) could pass as the piano reduction of a string quartet, while the concluding “Allegretto grazioso” is like the jaunty but subtle dance finale from an opera buffa. As we know today, Mozart composed this miraculous sonata in 1783 – previous Mozart scholarship missed the mark entirely with its much earlier date. It appeared in print a year later, interestingly in combination with the (relatively) early piano sonata K. 284 and the grandiose violin sonata K. 454. More information

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It is said that in a recital given on 23 March 1783 with the celebrated composer Christoph Willibald Gluck most likely in attendance, Mozart improvised variations on the song “Unser dummer Pöbel meint” from Gluck’s Singspiel Die Pilgrime von Mekka. He later put them to paper and had them printed three years later. It is quite possibly Christoph Willibald GlIn April and May 1789, Mozart, along with Prince Lichnowsky, undertook a journey via Dresden and Leipzig to Berlin, where he presumably played before the Prussian King Friedrich Wilhelm II. No doubt as a friendly homage to the royal chamber music director and cellist Jean-Pierre Duport, he anticipated his meeting by writing – during the journey – nine variations on a Minuet, also by Duport. Today they belong among Mozart’s most beloved variation cycles. uck’s celebrity that was responsible for K. 455 being one of Mozart’s musically most demanding variation cycles.

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Each of these four-movement works is a real jewel. Mozart worked hard on these six string quartets, and dedicated them to none other than the “inventor” of the genre himself: Joseph Haydn. They were first published in 1785, and have since then been reprinted innumerable times. Wolf-Dieter Seiffert, the editor of this new Henle Urtext edition, already penned the Critical Report for these Haydn Quartets in the New Mozart Edition, 25 years ago. He is now presenting this core repertoire in an edition of its own. This Urtext edition clarifies numerous inaccuracies in other editions, especially with regard to dynamics and articulation, and even corrects a few wrong notes that had gone unnoticed up to now. Special attention has here been paid to making the music as easy-to-read as possible, with ideally placed page turns. The Armida Quartet provided artistic input for this edition. Read more about this edition in the Henle Blog.

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