Wolfgang Amadeus Mozart: Cadenzas by P.Houdy for Concerto for Flute & Harp:

KV 447-The Bärenreiter piano reduction of Mozart's Horn Concerto No.3 In E Flat K.447 (BA5312a) has an idiomatic and uncluttered keyboard part. The reduction is conceived for performances with keyboard as well as for rehearsal purposes for renditions with orchestra.Franz Giegling?s editorial work on the concertos in the New Mozart Edition is the definitive scholarly-critical publication and is based naturally on every known source.The publication reflect the needs of performers today. It contains clearly laid out solo horn parts in E-flat and F a detailed historical preface commenting on the sources and a special brochure containing cadenzasand ? Eingänge ?. The cadenza and ? Eingänge ? brochure offers for the first time in print the important cadenzas by Dennis Brain Timothy Brown and Dominic Nunns. The cadenzas are presented in E-flat and then in a slightly altered version for the natural horn. All of the material has also been transposed and presented for the valve horn.

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 threemovements 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.

In Full Score. With Mozart's cadenzas for Nos. 17-19-Republication from Wolfgang Amadeus Mozart's Werke (Breitkopf And Hartel 1878-79). With Mozart's cadenzas for Nos.17-19.

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart?s Piano concertos. His Piano reductions are aimed at amateurs rather than professionals; his fingerings forMozart?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 anew precedent. First and foremost Mozart?s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart?s own manuscripts early copies in parts andprints 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 alsoan accompanying Urtext conductor?s score orchestral parts and a study score.

Franz Beyer's new edition of Mozart's complete concert arias had a noticeable gap up to now: there were no arias for the bass voice! Four books had been issued by 2006 the Mozart year: three with soprano arias (EB 8671-73) and one with tenor arias (EB 8778). They were made with the collaboration of two outstanding experts Juliane Banse (soprano) and Christophe Prégardien (tenor) who provided suggestions for the execution of cadenzas 'Eingänge' and embellishments. Now Beyer presents the 'complete edition' for the lowest voice in collaboration with bass singer Robert Holl. The nine surviving bass arias are chiefly works from Mozart's last creative phase in which the composer offered little tidbits to the opera singers he was friends with. Deserving special attention are the arias 'Per questa bella mano' K. 612 (with obbligato double bass) and 'Männer suchen stets zu naschen' K. 433. While editing this aria Beyer completed the orchestral accompaniment that Mozart had only sketched which means that this piece is now available for the first time with an orchestral accompaniment in an authentic Mozartian style.

Concert Arias-Concert Arias For Soprano is a collection of 15 arias expertly composed by Mozart. Concert Arias For Soprano is free from practical references on performance aspects or suggestions on performance practice. Instead the piece contains a comprehensive supplement with detailed explanations on the execution of appoggiaturas and other performance practice phenomena which are relevant to every aria. In addition there is a choice of suggestions for the performance of cadenzas and lead-ins as well as a suggestion for the ornamentation of dal segno parts which are often found in the early Mozartarias.

Mozart?s concertos for Violin and Orchestra belong to that elite group of works determining a Violin players abilities; they are elegant and transparent with demanding passage-work. The Concerto In D Major K.2 271a the ?6th? Mozart Violin concerto has come down to us in two separate sources a French set of parts and score copy as well as a Berlin score. The editorial board of the New Mozart Edition considers this concerto to be of doubtful authenticity. There are however many musicologists who feel that the work has numerous Mozart attributes.This new publication takes both the above mentioned sources into account andincludes the cadenzas from the respective New Mozart Edition volume appendix although these are certainly not from Mozart's pen.- The ?6th? Mozart Violin concerto!- Cadenzas from the sources.- With an alternative ending.- Additional solo part with fingerings and bowings.- Straight-forward Piano reduction.- Full score and performance material (BA5769) and Violin and Piano reduction (BA5769-90) available for sale.