mozart_concert nr 20_2 piane

I

1,:1(; I,NTlIM DES VERLFC;I,:RS . AUF R FU 1'1'1:, VORIlFlIAU'FN

ALL RI(;IITS RI'SI'RVU)

EDITION PETERS LONDON' FRANKFURT/M .. LE1PZ1G . NEW YORK

PRE

Zur Revision des vorliegenden Klavier

konzertes wurde die Photokopiedes im Besitz

der Gesellschaft der Musikfreunde in Wien

befindlimen Autographs benutzt, diese

freundlimerweisezur Verfugung stellte. Auf

Grund dieser Vorlage es

die urspriinglime usart wiederherzustellen

und zahlreime, von Mozart stammende

Veranderungen und Erganzungen in der

Artikulation, def Dynamik und den Tempo

angaben zu beseitigen. Das Solo .. Klavier

stimmt nunmehr voffkommen mit clem

Autograph Zusatze ;eder Art

sind streng vermieden worden. Aum sind

aile V orsmlage wiedergegeben, sie

Mozart selbsr gescbrieben hat, da fiber

ihre kein Zweifel

meh!' bcsteht.

Eigenartig ist dall Mozart das Kia-

vier nom als GeneralbaS-Instrument be-

handelt. 1m Gegensatz dem Es·dur

Konzcrt (K. V. 271), in dem die General-

baBsrimmc an den Stdlen. wo das Klavier

nimt solistism auf tritt, Note ffir Note

ausgescbrieben wurde, ist hier die General

ballbegleitung durchweg durch "col Basso"

gefordert, wahrend an Steffen, wo

diese nimt gewiinsmt wird, ausdriicklim

Pausen stehen. einer AllsS4~tzlJn~ des

Generalbasses wurde ;edom abgesehen.

VORWORT

ACE / PRE

A photographic copy of the autograph

which the possession the "Society

of the Friends of Music", Vienna, was very

kindly submitted this Society.

This has served as a basis for the re

vision of this pianoforte concerto.

It has, consequently, been possible to

restore the original version and to cancel

numerous alterations and emendations re-

fating to matters of articulation, express

ion and suggestions for hitherto

attributed to Mozart.

The pianoforte solo-parI is now an

exact of autograph and addit

ions of any type or form have been ri

gorously excluded,

All of Mozart's personal suggestions have

been reproduced are facsimiles

of his manuscript, the reason being that now

adays no reasonable doubts can possibly

be entertained regarding their execution.

It is singular that Mozart here continues

employ the piano as a

tion instrument.

fOlJnda-

In contrast to the E Concerto

<K. V. 271) where the general bass part

has been written note for note where-

ever the piano is employed as a

instrument, it is throughout demanded by the

use of the term "col basso" I on the other

hand definite pauses are marked

where the general bass part is not requir

or desirable.

The general bass part has, however,

incorporated this edidon.

English translation by J. Pauer, London

ACE

Pour (a revision du present Concerto

piano, nous avons utilise (a

photographique de I' autographe, qui fut

aimablement mise notre disposition

la section musicale de la bihliotheque

nationale Vienne. En se basant

ces documents, it fut possible de retablir

rexte et supprimer nombre

de modifications et complements ne prove-

pas Mozart. concernant rarti~

et Ie tempo. La

de solo mairitenant con-

forme a r autographe, nous avons stricte-

evite tout(. d' adjonction. Les

ornementssont egalement tous notescomme

Mozart les ecrits, if ne subsiste

;oura'hui plus aueun doute quant a leur

execution.

II est etrange que Mozart traite encore

piano com me rinstrument auquel

conftee la basse chiffree. En opposition avec

mi j,majeur <KV.Z71>,

la basse chiffree est indiquee note pour note

"'~"O~"6 Ie n' est pas instrument solo,

trouvons ici constamment mention

«col Basso:., qui implique la participation

piano basse chiffree, tandis que

les passages ou cette derniere n' est pas

sont nettement indiqu<es par des

pauses. Nous avons cependant renonot

une realisation de basse chiffree.

T raduction fran~aisc par R. Gayrhos, Lausanne

EDWIN FISCHER KURTSOLDAN

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