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Flute Concerto [No. 2] in D major K. 314 (285d)


By Wolfgang Amadeus Mozart

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Flute, piano (solo: fl - - - str)
Urtext. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Henrik Wiese. Arranged by Jan Philip Schulze. Solo concerto. Edition Breitkopf. Classical period. Piano reduction. Breitkopf and Haertel #EB 8047. Published by Breitkopf and Haertel (BR.EB-8047).

Item Number: BR.EB-8047

ISBN 9790004183427. 9 x 12 inches.

Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.

Ralf Wehner's thematic catalogue closes this gap.

It organizes the body of works into 26 groups and assigns each work its own MWV number. Within the groups the individual pieces are arranged chronologically. Also included in the MWV are all known collective manuscripts and prints information on works of dubious authenticity and on Mendelssohn's arrangements as well as his editions of works by other composers. Wehner's work is based on the examination of material and information from more than 1 500 libraries c. 15 000 auction catalogues and about 12 000 letters. The succinct account of the history of the work its publication and reception gives the MWV its profile as a compact study edition.

An overview on the MWV numbering system you will find on the webiste of the
Sachsische Akademie der Wissenschaften zu Leipzig.
Das Werk ist eine Auftragskomposition der IGNM Basel.

Nachdem ich mich in den vergangenen Jahren mit dem Ort von Klangen im Raum beschaftigt habe konzentriert sich diese Musik auf den inneren Raum von Klangen. In drei skizzenhaften Kompositionen wird ausgelotet wie weit ein einzelner Klang gefachert werden kann was seine innere Beschaffenheit und seine aussere Begrenzung ist. Unwillkurlich verschranken sich hier Harmonik und Zeit verbunden mit der Frage wie weit eine klangliche Facherung noch als Einheit wahrgenommen oder ab wann sie zu einem losgelosten Gebilde wird. So sind hier weniger die Innenraume eines Gebaudes imaginiert klar umgrenzt von Mauern sondern vielmehr jene Phanomene die uberall entstehen konnen wenn man innehalt und eine Beobachtung fixiert die aus einer anderen Perspektive unbeachtet verrauschen wurde. (Isabel Mundry)

Commissioned by Biennale Munich in co-production with the theater Kiel.

Marton Illes named a series of compositions sceni polidimensionali in which different textural events in the music act like characters in a drama. Music ensues as imaginary theatre. This aesthetic must lead the composer to music theatre. Illes took the decisive step with the seventeenth piece in the series. For the text he has chosen a dramatic poem by Rainer Maria Rilke: The White Princess scenes of yearning - tales of misery and secret intrigues become mere marginal notes in comparison. Illes does justice to the floating feeling of the poem by not assigning the singers and actors rigid roles. They take on roles and form themselves in a musical expanse. From here the perspectives unfold to create the scenes.
(Munich Biennale 2010)

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