Throughout his career Mozart had a special feeling for the wind instruments. Not only did he add a distinctive flavour to the wind band in his orchestral music - indeed, his writing for winds became a defining and inimitable feature of his music - he also wrote compositions for wind players in his circle of friends.
The autograph score has disappeared, and all that has come down to us is a set of printed parts published by André in Offenbach for the first time.
The relation between the soloist and the orchestra is not so much one of opposition as of complementarity, the bassoon embroidering the bass line in "leaps and runs" in much the same manner as, say, figured basses were once treated by the viola da gamba. The solo part, rather than being virtuoso and domineering, enters into a dialogue with the "lively participation of the orchestra".
Our bassoon and piano reduction has a straight-forward piano reduction, a solo bassoon part with the Urtext of the New Mozart Edition and an extra cadenza and lead-in brochure by Jane Gower.
The preface (Ger/Eng) by F. Giegling has been expanded with performance practice comments by Jane Gower.
Included in the piano reduction:
- Urtext bassoon part
- Brochure with cadenzas and “Eingänge” by Jane Gower
- Performance practice comments by Jane Gower