mozart_concert nr 20_2 piane
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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
Kl (Ore
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1'\ Allegro .~J ,
KONZERT
11.224
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W A. Mozart) (1756-179
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