Piano Concerto [No. 9] in E flat major K. 271 Jenamy Concerto (formerly known as Jeunhomme Concerto) – Urtext by Wolfgang Amadeus Mozart Orchestra - Sheet Music

Name: Piano Concerto [No. 9] in E flat major K. 271
Brand: Breitkopf and Haertel
SKU: 6355752
Price: 9.95 USD
Availability: InStock

By Wolfgang Amadeus Mozart

Piano Concerto [No. 9] in E flat major K. 271 Orchestra scores gallery preview page 1

Piano Concerto [No. 9] in E flat major K. 271 Orchestra scores gallery preview page 2

Piano Concerto [No. 9] in E flat major K. 271 Orchestra scores gallery preview page 3

Piano Concerto [No. 9] in E flat major K. 271 Orchestra scores gallery preview page 4

Piano Concerto [No. 9] in E flat major K. 271 Orchestra scores gallery preview page 5

Piano Concerto [No. 9] in E flat major K. 271 by Wolfgang Amadeus Mozart Orchestra - Sheet Music

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Details

Instrument:

Piano

Genres:

Classical Period

Composers:

Wolfgang Amadeus Mozart

Artist:

Wolfgang Amadeus Mozart

Series:

Breitkopf Orchestral Library

Format:

Part

Item types:

Physical

Usages:

School and Community

Detailed Description

Violin (solo: pno – 0.2.0.0. – 2.0.0.0. – str)

SKU: BR.OB-5300-15

Jenamy Concerto (formerly known as Jeunhomme Concerto) – Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Robert Cliff u. Levin Eisen. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library).

You will find the original cadenzas under Mozart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Busoni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 5300-15. Published by Breitkopf and Haertel (BR.OB-5300-15).

ISBN 9790004335109. 10 x 12.5 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, "Urtext" signifies an eschewal of a "final version" that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: "Standardization is the greatest aesthetic threat in the performance of Mozarts concertos." To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.