Mozart, Wolfgang Amadeus: Concerto
for Horn and Orchestra
piano score
Franz Giegling's editorial work on the concertos in the New Mozart Edition is the definitive scholarly-critical publication and is based naturally on every known source. The Barenreiter piano reductions [BA 5311a, BA 5312a, BA 5313a] all have keyboard parts that are idiomatic and uncluttered. They are conceived for performances with keyboard as well as for rehearsal purposes for renditions with orchestra.
The publications reflect the needs of performers today. They contain clearly laid out solo horn parts in E-flat and F, a detailed historical preface commenting on the sources and a special brochure containing cadenzas and ' Eingange '. The cadenza and ' Eingange ' brochure offers for the first time in print the important cadenzas by Dennis Brain, Timothy Brown and Dominic Nunns . The cadenzas are presented in E-flat and then in a slightly altered version for the na tural horn. All of the material has also been transposed and presented for the valve horn.
As always, Barenreiter performing editions of the flute and horn concertos are available in full scores, orchestral parts, study scores and of course piano reductions.
In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.
During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.
When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.
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