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Product number: UT50245
Edition: Urtext
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Product Type
Print edition
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Product Details

Description

This new edition indicates that Mozart’s popular composition is a mature work dating from his time in Vienna, contrary to previous assumptions, and that the traditional ending does not correspond to the original version. The well-known closing bars, which have of course been included in this edition, were not in fact written by Mozart himself, but probably by August Eberhard Müller, who thereby shaped the piece to stand on its own. Mozart’s manuscript version however, as documented in the first edition, ends ten bars earlier on a dominant seventh chord, leaving the way open for further development and making it conceivable that the Fantasie was originally written as an introduction to a sonata in D major (to another of the late sonatas, K 576, in fact). With this information, the edition adds a totally new dimension to the performance of this widely known piece.

Content

Sonate B-Dur KV 281
Sonate G-Dur KV 283
Sonate F-Dur KV 280
Sonate D-Dur KV 311
Sonate D-Dur KV 284
Sonate C-Dur KV 279
Sonate a-Moll KV 310
Sonate Es-Dur KV 282
Sonate C-Dur KV 309

More Information

Title:
Fantasy D minor
Urtext
Edition:
Urtext
Level of difficulty:
intermediate
Publisher/Label:
Wiener Urtext Edition
Year of composition:
1782
Directory:
KV 397
Key:
d-Moll
Series:

Technical Details

Media Type:
Sheet music
Product number:
UT50245
ISMN13:
979-0-50057-266-4
ISBN13:
978-3-85055-617-0
Weight:
0,05 kg
Manufacturer:
Universal Edition AG
1010 Wien
Austria

Preview/Media Contents

Video:
Fantasie

More from this series

Wiener Urtext Edition

Standard works of music literature in the original text

The Wiener Urtext Edition is a scientific critical edition for prac-tice and differs from other editions declared as "original text" in that it contains extensive textual informa-tion in German and English (partly French):

Its preface informs about the work, its genesis and significance for the history of music, about written records and problems of the wording of the text as well as about the respective method applied for editing. Despite their necessary briefness, the critical annotations clearly account for editorial decisions and mention textual divergence going back to the author himself. The music text itself was produced on the basis of an exact checking of all sources by experienced musico-logists. Autographs, first editions, copies and patterns for engravings were used.

In some cases, these materials were analysed completely for the first time. Editions for teaching, studies, concert practice, including comprehensive information about the works by detailed introductions and editorial notes and notes on interpretation. Prepared for practice by interpreters resp. educationalists of international repute.

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