Konzert C

The Cello Concerto in C major, Op. 26 (1788 - 89), number 104 in Rita benton's catalogue, met with great success during the composer's lifetime both with performers and publishers. In less than thirty years from the date of its composition nine editions appeared in the original version for cello and orchestra as well as several arranged for other instruments. Pleyel's Cello Concerto Op. 26 is one of two by that composer written in the key of C major. It displays all the features characteristic of the classical style, such as a threemovement structure with sonata form at the beginning, symmetrical phrase structures, a typical division of parts into those providing the melody and those accompanying as well as the orchestration requiring few instruments (2vn, 2vl, bassi, 2ob, 2 cr). In structure it resembles one of the concertos by Haydn in the same key. At the same time its charming subjects and interesting harmony contribute to its original beauty and undeniable artistic value.

Lista utworów:
Koncert wiolonczelowy C-dur op. 26 (Pleyel Ignace Joseph)

This piano reduction of Mozart's Concert KV 299 is the outcome of an attemp to bring the work within the reach of flute enthusiasts, teachers and students, even though a harp may not be available. In condensing the harp and orchestral parts, a balance has been struck in order to maintain clarity in the layout and tonal texture of the score.

Lista utworów:
Koncert C-dur KV 299 (Mozart W. A.)

This arrangement of the Oboe Concerto in C Major by Francesco Antonio Rosetti is based on the copy preserved in the Library of the Gesellschaft der Musikfreunde Wien (Viennese Society of Fiends of Music) to whom gratitude is owed for their kind courtesy in allowing the version to be used.

Lista utworów:
Konzert C-dur (Rosetti Francesco Antonio)

Lista utworów:
Kadenz zu Beethoven, Konzert c-moll op. 37 (Schumann Clara)
Kadenz zu Beethoven Konzert G-dur; erster Satz op. 58 (Schumann Clara)
Kadenz zu Beethoven Konzert G-dur; dritter Satz op. 58 (Schumann Clara)
Kadenz zu Mozart Konzert d-moll; erster Satz KV 466 (Schumann Clara)
Kadenz zu Mozart, Konzert d-moll; dritter Satz KV 466 (Schumann Clara)

The usual familiar cadenzas to Mozart's piano concertos are by no means entirely satisfactory. The original cadenzas written by the composer did not take full advantage of the possibilities of the instrument as they were intended for his pupils rather than himself. The other cadenzas are not in the correct Mozart style. The present work contains valuable old cadenzas that are pianistically grateful and fully in accord with the style of Mozart's originals.

Lista utworów:
Konzert B-dur KV 456 (Müller A. E.)
Konzert F-dur KV 459 (Müller A. E.)
Konzert d-moll KV 466 (Müller A. E.)
Konzert Es-dur KV 482 (Müller A. E.)
Konzert A-dur KV 488 (Müller A. E.)
Konzert c-moll KV 491 (Müller A. E.)
Konzert C-dur KV 503 (Müller A. E.)
Konzert D-dur KV 537 (Müller A. E.)

As in generally known, Haydn's authorship of this concerto for oboe cannot actualy be verified. Is it mainly on account of the concinnity displayed in the second movement that the question arises at all of attributing the work to Haydn, especially in the absence of any reference to another composer to whom it might possibly be ascribed. Even then, it can only have been one of Haydn's early woks as may be concluded from certain shortcomings that occur here to there. On examining the two scores preserved in manuscript from in the libraries of Dresden and Vienna, one encounters numerous cases of tonal and harmonic maladroitness, tatuphony in the oboe part, and dragging passages in the tutti section.

Lista utworów:
Concerto in C major for Oboe and Chamber Orchestra, Hob. VII g: C1 (Haydn Franz Joseph)

Mozart's Concerto in C major, K. 415, was written in spring of 1783. Together with the concertos in A major (K. 414) and F major (K. 413) it forms a self-contained group. Mozart first offered this set o the public in 1783 in manuscript copies for subscription; later, in 1785, he had them issued in print. The present edition has been revised on the basis of the autograph score formely located in the holdings of Prussian State Library in Berlin but now in the Bibilioteka Jagiellońska in Crocow. The solo piano part is identical in all respects to the text of the original sources. Orchestral accompaniament (Piano II) has been made as consisted as possibile with the original score as regards dynamics and articulation.

Lista utworów:
Concerto in C major for Piano and Orchestra KV 415 nr 13 (Mozart Wolfgang Amadeus)

Mozart's Piano Concerto in C minor (K 491), dated 24 March 1786 in his autograph catalogue of works, ends the series of subscription concerts for the Lenten season of 1785-6. Mozart played the piece twice in short succession: first on 3 April 1786, and again at his academy of 9 April i the Burg Theatre. K 491 combines the timbral features of its two predecessors K 482 and 488 by emphasizing minor keys in its opening and closing movements and by expanding the wind band. The present edition has been revised on the basis of the autograph score located in the British Library in London and published i facsimile.

Lista utworów:
Concerto in C minor for Piano and Orchestra KV 491 nr 24 (Mozart Wolfgang Amadeus)

Koncert C-dur został napisany przez Mozarta dla żony jednego z salzburskich magnatów, hr. Lützowa. Rękopis partytury zaginął podczas ostatniej wojny światowej, zachowała się jedynie ręcznie przepisana kopia partii solowej fortepianu, którą Mozart poprawiał i gdzie zanotował krótkie kadencje do cz. I i II. Odczytując tę kopię, E. Mandyczewski zwrócił uwagę na wypisaną w niektórych miejscach realizację basu cyfrowanego. W wieku XVIII w ówczesnych koncertach klawesynowych, a także i późniejszych fortepianowych, w miejscach tutti instrument solowy brał czynny udział, potęgując tym samym brzmienie całości. W partyturach z tego okresu partia fortepianu była notowana jako bas cyfrowany. Zachowana autentyczna realizacja basu cyfrowanego pokazuje nam, jak ją sobie Mozart wyobrażał, dlatego w niniejszym wydaniu umieszczamy fotokopię zachowanych fragmentów z części I i II Koncertu.