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Symphonie g-moll KV 550, 1. und 2. Fassung

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COMPONIST: Wolfgang Amadeus Mozart
UITGEVERIJ: Breitkopf und Härtel
PRODUCTTYPE: Partij
INSTRUMENT GROEP: Orkest
With the new edition of the G-minor Symphony , a vital work group in Mozart’s oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions. As in his new edition of the "Hafner Symphony", Henrik Wiese uncovers in the present "Breitkopf Urtext" score three
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Specificaties
Componist Wolfgang Amadeus Mozart
Editor Henrik Wiese
Uitgeverij Breitkopf und Härtel
Instrumentatie Orkest
Producttype Partij
Instrument Groep Orkest
Jaar van Publicatie 2016
Genre Klassiek
ISMN 9790004341728
Series Breitkopf Urtext Edition
Pagina's 14
No. BRKOB5542-16
Release Datum 20-4-2016
Part {Instrument} Violin
Tiijdsduur 00:35:00
Omschrijving
With the new edition of the G-minor Symphony , a vital work group in Mozart’s oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions. As in his new edition of the "Hafner Symphony", Henrik Wiese uncovers in the present "Breitkopf Urtext" score three different stages in the genesis of the G-minor Symphony. Mozart initially wrote the work without clarinets (1st stage), and then he added the clarinets (2nd stage). Not until a final stage did he change the wind instrumentation in the Andante (3rd stage). Mozart thus returned to the 1st version again after completing the 2nd version (with clarinets). This advances the importance of the 1st version without clarinets as "Fassung letzter Hand." A compelling insight which sheds new light on the famous G-minor Symphony . Both versions are of equal value and can now be compared with one another, studied and, above all, performed for the first time ever thanks to the new score and parts. Another extremly practical aspect that should be noted: the orchestral parts offer solutions for all the problematic page turns for the first time ever (please see the sample pages of OB 5542 - Violin II.) „… the musical text is fine. This is a valuable improvement.“ (Clifford Bartlett, Early Music Review)
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