

Wolfgang Amadeus Mozart
Piano Concerto no. 24 c minor K. 491
According to Mozart’s own catalogue, K. 491 was completed on 24 March 1786 – it was Mozart’s only piano concerto aside from K. 466 that was in a minor key. It was probably first performed two weeks later as part of an “academy” at the Burgtheater in Vienna. Mozart was extremely pressed for time while composing this work, a fact that is shown both by the cursory way in which the autograph was written and by the repeated corrections. Unlike earlier publications, our edition contains the definitive version as in Mozart’s manuscript. The piano reduction of our edition was undertaken by the celebrated pianist András Schiff, to whom we also already owe our reductions of the concertos K. 453, 467, 488 and 503 (HN 765, 766, 767 and 825). He also supplied the fingerings for the solo part, the cadenzas and the lead-ins.
Content/Details
About the Composer

Wolfgang Amadeus Mozart
Mozart is one of the few composers to have produced masterpieces in all genres. On the concert tours he undertook in his early years (London, Mannheim, Italy, Paris) he gained many varied musical impressions that he assimilated in his youth and which formed the prerequisite for his later consummate musical language.
About the Authors

Ernst Herttrich (Editor)
From 1970 to 1990 he was an editor at G. Henle Publishers in Munich, after which he was Head of the Beethoven Complete Edition for over 15 years. In 1999 he took over as Head of the Beethoven-Haus Publishers, and from 2001 was made Head of the Beethoven-Archiv, the research centre at the Beethoven-Haus.
He has been a visiting professor at Meiji Gakuin University in Tokyo and has undertaken several lecture tours both there and to Kyoto. His research interests include source studies, editorial techniques and music history. Herttrich’s publicat

András Schiff (Piano reduction, Fingering, Cadenzas)
» Biography
Product Safety Informations (GPSR)

G. Henle Verlag
Here you can find the information about the manufacturer of the product.G. Henle Verlag e.K.
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Der Verlag hat damit im wörtlichsten Sinne ein gutes Händchen bewiesen: Der Orchesterpart im Klavierauszug ist auf raffinierte Art einfach gehalten, fast vom Blatt zu spielen und klingt dennoch farbig. Die Fingersätze sind auch für den Normalverbraucher durchaus zu empfehlen. (...) Und schließlich überzeugen auch Schiffs Kadenzen und Eingänge, die viel Stilgefühl und Praxis verraten. Besonders bemerkenswert: Am Ende der großen Kadenz im ersten Satz zitiert Schiff wörtlich das Ende der Durchführung und schafft so einen zwingenden Übergang ins Tutti. All diese Zusätze und auch einige Varianten aus Mozarts Feder sind unaufdringlich ins übersichtliche Notenbild integriert. Eine mustergülige Ausgabe!
SMZ, 2016Henle's nieuwe urtext baseert zich voornamelijk op Mozart's autograaf. De hoofdtekst gaat uit van de definitieve versie, de vroegere versie wordt als alternatief daarboven afgedrukt. Dit maakt deze urtext tot een zeer bijzonder document, omdat de verschillende stadia van het compositieproces helder in beeld worden gebracht. Bovendien is in de solopartij, op plaatsen waar de solist niet speelt, een baslijn genoteerd. (...) Die orkestreductie is zeer goed vertaald naar de piano en vermeldt bovendien de originele instrumentatie tussen de balken. Kortom, een modelpartituur!
Pianowereld, 2016The volume is useful for a solo performer who needs to rehearse to prepare for a performance. The comments section is well documented and can be used in discussion with a conductor preparing the piece, so for someone needing to work through the piece this is a useful addition to a score library.
Harpsichord & fortepiano, 2018recommendations
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Further editions of this title
Further editions of this title
Two copies needed for performance