Wolfgang Amadeus Mozart: Sinfonia Concertante: Chamber Ensemble: Score and Parts

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

Musikführer - Band 1: Instrumentalmusik. Par WERNER-JENSEN ARNOLD. Band 1 des Musikführers Mozart versammelt die Klavier- und Kammermusik (alle Besetzungen), die Sinfonien, Solokonzerte und freie Stücke (Divertimenti, Serenaden, Tänze, Märsche usw.). Dazu eine Einführung in das Leben des Komponisten und ferner ein Werkverzeichnis und weiterführende Literaturhinweise./ Accessoire / Livre

In late 1779 Mozart penned this delectable classic which stands as the only remaining Mozart composition in this form incorporating both symphonic and concerto styles. It features wonderful parts for both of the soloinstruments against Mozart's incomparably brilliant writing and orchestration. We have also included two wonderful Mozart bon-bons The E-major Adagio KV364; and the C-major Rondo KV373. A magical and exciting experienceto perform this alongside virtuoso Jürgen Klos at the viola and Les Orpheistes Chamber Orchestra under the baton of Joel Mathias Jenny. A classic not to be missed by any violinist! Includes slow-tempo practice accompanimentsof the faster outer movements.