Gran Partita, K. 361 ... A Facsimile of the Holograph in the Whittall Foundation Collection. With an Introduction by Alfred Einstein
No Image
- SIGNED Hardcover
- Washington: [Library of Congress], 1976
Washington: [Library of Congress], 1976. Hardcover. Very Good. Oblong folio. Original publisher's blue cloth boards with facsimile of Mozart's autograph signature gilt to upper and gilt titling gilt spine. 1f. (recto half-title, verso blank), 1f. (recto title, verso cataloguing data), 1f. (recto preface, verso blank), 3-11 pp. text, [i] (blank), 1f. (recto secondary title, verso blank), 91, [i] pp. facsimile of the autograph musical manuscript.
Binding very slightly rubbed. The "Gran Partita," or Serenade in B-flat major, is scored for 2 oboes, 2 clarinets, 2 basset horns, 4 horns, 2 bassoons and double bass. "Stylistic evidence suggests that the work was commissioned ... by Anton Stadler. ... On March 23, 1784, four movements of the B-flat Serenade were premiered by Stadler and twelve other musicians at the National-Hoftheater in Vienna. The performance was announced in the newspaper Wienerblättchen and was chronicled with great admiration by Johann Friedrich Schink, who attended the concert and described in his Memoirs his delight and admiration for Stadler's performance and Mozart's work.... The work's texture is of a roundness and fullness of sonority that can be breathtaking in an intimate concert hall. It is fitting that it closes Mozart's great period of wind writing." Zaslaw and Cowdery p. 248.
Binding very slightly rubbed. The "Gran Partita," or Serenade in B-flat major, is scored for 2 oboes, 2 clarinets, 2 basset horns, 4 horns, 2 bassoons and double bass. "Stylistic evidence suggests that the work was commissioned ... by Anton Stadler. ... On March 23, 1784, four movements of the B-flat Serenade were premiered by Stadler and twelve other musicians at the National-Hoftheater in Vienna. The performance was announced in the newspaper Wienerblättchen and was chronicled with great admiration by Johann Friedrich Schink, who attended the concert and described in his Memoirs his delight and admiration for Stadler's performance and Mozart's work.... The work's texture is of a roundness and fullness of sonority that can be breathtaking in an intimate concert hall. It is fitting that it closes Mozart's great period of wind writing." Zaslaw and Cowdery p. 248.