World's Largest Sheet Music Selection

19260808
19260808
19260808

Oboe Concerto in C major K. 314 (285d)

Urtext

By Wolfgang Amadeus Mozart

Be the first! Write a Review
https://www.sheetmusicplus.com/title/oboe-concerto-in-c-major-k-314-285d-sheet-music/19260808

Oboe, piano (solos: ob - 0.2.0.0. - 2.0.0.0. - str)
Urtext. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Henrik Wiese. Arranged by Jan Philip Schulze. Edition Breitkopf.

This handsome urtext edition from Breitkopf is edited by Henrik Wiese and comprises the complete suit of full score, orchestral parts, oboe copy and piano accompaniment. (Double Reed News)

Classical period. Solo part, piano reduction. Breitkopf and Haertel #EB-8048. Published by Breitkopf and Haertel (BR.EB-8048).

Item Number: BR.EB-8048

ISBN 979-0-004-18349-6. 9 x 12 in inches.

Mozart is believed to have written an oboe concerto for the Salzburg virtuoso Giuseppe Ferlendis in 1777. The work was considered lost until 1920, when Bernhard Paumgartner discovered a copy of the parts that must have been written shortly before Mozart's death. Nevertheless, this copy proved to be much more unreliable than the copy of the parts of the flute concerto. Every source-critical edition must take these parts into consideration, as there is otherwise no extant source material aside from a brief autograph sketch. Henrik Wiese's new edition consistently distinguishes between what can be regarded as Urtext and what the informed player must interpret himself. To this end, the edition for oboe and piano also contains a study part in which the solo parts for flute and oboe are placed synoptically opposite each other. 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)
Gedicht ,,Poltava zuruckgriff und dem Operntext zugrunde legte. Libretto: Pjotr Iljitsch Tschaikowsky nach Alexander Puschkins Gedicht ,,Poltava unter Verwendung eines Textbuchs von V. P. Burenin
Ort und Zeit: Ukraine Anfang des 18. Jahrhunderts
Personen:
MAZEPA (Bariton) - KOCUBEJ (Bass) - LJUBOV KOCUBEJ (Mezzosopran) -.

Close X

By signing up you consent with the terms in our Privacy Policy

I am a music teacher.