Horn Quintet in E-flat Major K. 407 (386c)

Piano Quintet E flat major op. 16-Les ?uvres pour instruments ? vent (autrefois appel?s harmonie) ou celles dont l?instrumentation en comportait constituaient ? l??poque du classicisme viennois un genre par-ticuli?rement appr?ci?. Beethoven laissa ?galement toute une s?rie d??uvres de ce genre parmi lesquelles son quintette avec piano op. 16 en Mi b?mol majeur compos? en 1796 lors de sa tourn?e de concerts ? Prague et Berlin. Le parall?le avec le quintette K. 452 de Mozart ne peut ?tre ignor? ? ? la fois du fait de leur tonalit? commune et de la succession des diff?rents mou-vements. Le caract?re gracieux et enjou? de l??uvre rappelle lui aussi le mod?le tant estim? par Beethoven. La valeur qu?il accordait? cette ?uvre transpara?t dans le fait qu?il le mit plusieurs fois au programme de ses propres concerts publics en tant que pianiste et qu?il en ?crivit ?ga-lement une version pour quatuor avec piano et trois instruments ? cordes.

Music Minus One Piano-This luscious quintet is scored for piano oboe clarinet horn and bassoon. Mozart's magnificent orchestration of the winds with piano creates a warm and glowing texture of sound and each instrument emerges at times for a prominent position. Cast in three movements: Largo/Allegro moderato Larghetto and Rondo/Allegretto. Truly one of the great works in this format and wonderful fun to practice and perform. Includes complete solo Piano part printed on high-quality ivory paper and a compact disc containing a complete performance of the quintet with soloist then performed again minus the soloist. Performed by Harriet Wingreen piano Accompaniment: New Art WindQuintet

Horn Quintet in Eb major K. 407 (386c)-We not only owe three of Mozart's horn concertos to his friendship with Ignaz Leutgeb; the solo part of this unusual chamber music work was also written especially for him. Instead of having two violins the accompanying stringquartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the 'Abduction from the Seraglio' allow us to suppose that it was composed around thesame time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondary sources affording important insights intoMozart's intentions.