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2434958
2434958
2434958

The Magic Flute, K. 620

German opera in two acts

By Wolfgang Amadeus Mozart

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6 soprano voice solos, 3 boys' voices, 4 tenor voice solos, 5 bass voice solos, 4 speakers, mixed choir, piano (6 Soprano Voice Solo/3Knabenvoicemme/4 Tenor Voice Solo/5 Bass Voice Solo/4speaker/mixed choir/2Fl/Fl-Picc/2Ob/2clarinet/2BaHn/2bassoon/2Hn/2Trp/3trombone/timpani/Glsp/Str) - Difficulty: difficult
German opera in two acts. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Heinz Moehn. This edition: urtext edition. Paperback. Barenreiter Urtext. Classical Period. Vocal score. With choral notation, piano reduction and introductory text. K. 620. 221 pages. Duration 2 hours. Baerenreiter Verlag #BA04553-90. Published by Baerenreiter Verlag (BA.BA04553-90).

Item Number: BA.BA04553-90

ISBN 9790006450510. 7.5x10.5 inches. Language: German, Text Language: German. Text: Emanuel Schikaneder.

This new vocal score is based on the Urtext score from the"New Mozart Edition"(NMA II/5/19) edited by Gernot Gruber and Alfred Orel as well as on the latest scholarly research from the Critical Commentary by Rudolf Faber published in 2006.

The Magic Flute remains Mozart's most popular opera worldwide to this day. Schikaneder's Freihaustheater auf der Wieden was a theatre in the suburbs of Vienna . It was a kind of people's theatre with a corresponding repertoire and its attraction for the public was due not least to the use of spectacular stage effects. The concept 'machine-comedy' refers to the theatrical genre to which"The Magic Flute"owes its origins, and to which the work originally belonged. The premiere was given on 30 September 1791, conducted by Mozart.

With this new edition, Barenreiter has now published vocal scores to all Mozart's stage works in revised or new editions. These editions offer a historically grounded working basis and will be decisive for Mozart reception for the forthcoming decades.


- Vocal score based on the Urtext of the"New Mozart Edition"
- Incorporates latest scholarly findings from the Critical Commentary of 2006
- Clear and legible music layout, easy-to-play piano reduction
- Extensive foreword in two languages (Ger/Eng) by Dietrich Berke with notes on the work and performance practice

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