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19260855
19260855
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19260855

Piano Concerto [No. 23] in A major K. 488

Urtext

By Wolfgang Amadeus Mozart

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Piano, orchestra (solo: pno - 1.0.2.2. - 2.0.0.0. - str)
Urtext. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Ernst-Gunter Heinemann. Solo concerto. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag EB 10767 is printed in score form; two copies are needed for performance. You will find the original cadenzas under Mozart, 36 Cadenzas for his own Piano Concertos. Our edition EB 8579 contains a Ferrucci Busoni cadenza. Classical. Basso (cello/double bass). Breitkopf and Haertel #OB 15107-26. Published by Breitkopf and Haertel (BR.OB-15107-26).

Item Number: BR.OB-15107-26

ISBN 979-0-004-33938-1. 10 x 12.5 in inches.

One of the most frequently performed concertos of all, it was written while Mozart was working on the opera Le nozze di Figaro. The source situation is clear: the autograph score has survived, and the first printed editions were not published until after Mozart's death.

The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Ernst-Gunter Heinemann to whom Henle has entrusted its urtext editions.

Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.

In diesem lyrischen Stuck spielen zwei groteske Instrumente ganz schlicht - keine aufgeblasenen Laufe und Sprunge nur sorgfaltig geplante Klange: verliebte Clowns. In diesem Orchesterstuck enthalten die Einzelstimmen nur wenige Noten. In einer der langen Pausen sollen die Spieler sogar bewegungslos wie Statuen verharren: ein gut gefulltes Stillleben.
Ein bestimmtes Prinzip kehrt in verschiedener Beleuchtung zwanghaft wieder. Ein Abschnitt wird leicht variiert wiederholt. Er wird Schritt fur Schritt weicher und dunner wahrend das Schweigen zwischen den Klangen wachst: versteckende Stille. (Martin Smolka 2008) In this lyrical piece the two grotesque instruments play soberly - no puffy runs and jumps just attentively designed sounds: Clowns in love. In this orchestral piece individual parts contain just few notes. During one of the long rests the players are even requested to stay motionless like statues: A crowded still life.
In various shades a certain principal reappears obsessively. A section is repeated in slight variations; step by step it becomes softer and thinner while silences between sounds rise: Silence Hiding. (Martin Smolka 2008).

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