![]() 488 and during composition of The Marriage of Figaro. Written in 1786 during a period of almost feverish activity, it was completed only 22 days after the A major concerto K. It also has the largest orchestra he ever used in a piano concerto and the only piano concerto to use both oboes and clarinets. 491 is one of Mozart’s greatest piano concertos not least because of the dramatic character of its minor key (it is one of only two piano concertos composed in minor keys). In his fascinating preface to Bärenreiter’s facsimile, Professor Colin Lawson, Director of the Royal College of Music, describes the journey made by Mozart’s autograph following its sale in 1800 by Constanze, Mozart’s widow, to its eventual resting place in London where it is the jewel in the RCM’s extensive collection of historic manuscripts. “The fact that it’s all over town does not alter anything in the quality of this occasional piece written with ease but skillfully refined.” (Wolfgang Hildesheimer) ![]() This is accompanied by a booklet with an introductory text by Wolfgang Rehm including information on the genesis of the composition and the various aspects of the autograph manuscript. These pages – in high-quality colour printing, each trimmed individually – are presented in a handsome box. The edition reproduces the facsimile pages as individual sheets and leaves, reflecting the way the original copy has survived. The manuscript was inaccessible to the public for almost half a century, but now Bärenreiter has received exclusive permission to produce a new facsimile of Mozart’s original. Similarly, the autograph manuscript of this perfect masterpiece is captivating because of its balanced clarity and beautiful handwriting. The work is one of the jewels of Mozart’s output, combining bright radiance and a natural simplicity with brilliant refinement. It was written without any known incentive or commission during the time that Mozart was composing “Don Giovanni”, a time when he was celebrating his greatest success as an opera composer. written with ease, but skillfully refined” “Eine kleine NachtMusick” is how Mozart entered the Serenade in G major in his personal catalogue of works on 10 August 1787. PLEASE ALLOW 4-6 WEEKS FOR NOTIFICATION OF SHIPMENT.“Eine kleine Nachtmusik” “. NOTE : ALL OF OUR FACSIMILES ARE MADE TO ORDER. WE ALSO ADD A THICK MULL CLOTH TO THE OUTSIDE OF THE BINDING, DRYING IN BETWEEN EACH LAYER, A TRADITIONAL WAY TO MAKE THE BINDING STIFF, STRONG, AND RESILIENT FOR GENERATIONS TO COME. THE SEWN BOOK IS BOUND WITH A STRONG ADHESIVE GLUE THAT MAKES THE BINDINGS LAST, ESPECIALLY FOR THE LARGER BOOKS. THE SIGNATURES/PAGES ARE HANDSEWN USING A LIBRARY BINDING METHOD. THE LEATHER IS ADHERED TO THE COVERS WITH GLUE AND MOLDED INTO THE SHAPE AT THE HAND OF OUR LOCAL ARTISANS. THE LEATHER IS A 4 OZ COWHIDE, FROM A SMALL SUPPLIER IN NORTH CAROLINA. REPRODUCTION DETAILS : OUR HARDCOVER BOOKS ARE MADE WITH REAL WOOD FOR THE INTERIOR OF THE FRONT AND BACK COVERS AS WELL AS THE SPINE. IT CANNOT BE SHOWN TO WHAT EXTENT SUSSMAYR MAY HAVE DEPENDED ON NOW LOST “SCRAPS OF PAPER” FOR THE REMAINDER HE LATER CLAIMED THE SANCTUS AND AGNUS DEI AS HIS OWN. THE AUTOGRAPH MANUSCRIPT SHOWS THE FINISHED AND ORCHESTRATED INTROIT IN MOZART’S HAND, AND DETAILED DRAFTS OF THE KYRIE AND THE SEQUENCE DIES IRAE AS FAR AS THE FIRST EIGHT BARS OF THE LACRIMOSA MOVEMENT, AND THE OFFERTORY. ![]() A COMPLETED VERSION DATED 1792 BY FRANZ XAVER SUSSMAYR WAS DELIVERED TO COUNT FRANZ VON WALSEGG, WHO COMMISSIONED THE PIECE FOR A REQUIEM SERVICE TO COMMEMORATE THE ANNIVERSARY OF HIS WIFE’S DEATH ON 14 FEBRUARY. HISTORY/DESCRIPTION : MOZART COMPOSED PART OF THE REQUIEM IN VIENNA IN LATE 1791, BUT IT WAS UNFINISHED AT HIS DEATH ON 5 DECEMBER 1791. View this manuscript in the Digital Library ![]() AUTHOR: WOLFGANG MOZART LANGUAGE: MUSIC DATE: 1791 PAGE #: 138 REPRODUCTION DIMENSIONS: 8.75 X 11.75 IN ![]()
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