ISBN 979-0-004-17815-7. 9 x 12 in inches.
Thanks to a detailed sketch, we know that Mozart originally wrote his famous Clarinet Concerto K. 622 for basset horn in G or A. It was only in the early editions dating from the 19th century that this work - considered as the Clarinet Concerto par excellence - became unproblematic to play an the A clarinet. However, source studies have revealed that this was made possible only at the price of considerable un-Mozartian alterations of the solo Part. Sabine Meyer, Wolfgang Meyer and Reiner Wehle, the members of the Trio di Clarone, haue eliminated some of these modifications in their new edition, restoring Mozart's original intentions. However, their critical revision in no way impedes the performance of the A-major Concerto. The original cadenzas can be found under Mozart 36 cadenzas for his own piano concertos. The edition EB 8577 Busoni Cadenzas to WA Mozart's Piano Concertos also contains cadenzas to the Piano Concerto in E flat major KV 271.
EB 8640 is printed in the score; two copies are required for performance.
The brilliant, inspired recording by Robert Levin (with Christopher Hogwood and the Academy of Ancient Music) and the Breitkopf new edition have two things in common: the historically sound approach and the editorial team of Robert Levin and Cliff Eisen. Urtext here means the renunciation of a final version that never existed and that Mozart himself never had in mind. Rather, Levin and Eisen follow an edition philosophy tailored to Mozart: Standardization represents the great aesthetic threat to performances of the Mozart concerts NMA addition.
You will find the original cadenzas under Mozart 36 Cadenzas for his own Piano Concertos . The edition EB 8577 Busoni Cadenzas for WA Mozart's Piano Concertos also contains cadenzas for the Piano Concerto in E flat major K. 271.
EB 8640 is printed in score form; two copies are needed for performance.
Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozart's concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time