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E36F6976-EB91-4371-8E03-1CE6CA6E2FA3
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Update Title: E36F6976-EB91-4371-8E03-1CE6CA6E2FA3
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The concerti by Wolfgang Amadeus Mozart K 313 in G Major and K 314 in D Major represent two of the most important pieces for the flute. These Carol Wincenc publcations help students in their learning and preparation of these great works by utilizing a second flute part, an effective practice introduced by her teacher Marcel Moyse. The second part serves as a useful tool in lessons at which no pianist is present to accompany the soloist and reveals to the student musical subtleties and concepts which would otherwise not have been possible to impart. The arrangements have been carefully written to be playable on historical as well as modern flutes, and include Ms. Wincenc's own cadenzas that have been brilliantly honed by years of professional concertizing.
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Flute solo with flute 2 accompaniment
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The flute concerti by Wolfgang Amadeus Mozart K 313 in G Major and K 314 in D Major represent two of the most important pieces for the flute. They are standard performance repertoire for concert flutists and are required at virtually every audition and competition. The present edition serves to help students in their learning and preparation of these two great concerti. The second flute part serves as a useful tool in lessons at which no pianist is present to play the orchestral reduction. The second flute part, as we have arranged it from the original orchestral accompaniment, contains melodies, counter melodies, bass lines, and harmonic support which will allow the student to develop better intonation, stronger rhythm, sensitivity to phrase structure, and other skills which are required when playing the piece in its original orchestration. Rather than being taken from only one instrument or melodic line, our arrangement swaps between bass lines, counter melodies, haupt stimmen, strings, and winds as is required to create a satisfactory part free of awkward voice leading or doublings. In playing both flute parts, the use of a flute with a low B is preferable, as it offers excellent challenges, especially when playing low B and low C# in succession! We have notated an ossia 8va as an alternative. Note that our arrangements are also playable on historical flutes. Following in line with our previous publications, the idea for a second flute part came from Marcel Moyse. In his own lessons, which Professor Wincenc benefited from, Moyse would accompany the student by improvising on his own instrument, or more often by singing the accompaniment, thereby enlightening the student with musical subtleties and concepts which would otherwise not have been possible to impart. The G Major concerto holds special significance for Professor Wincenc as it has been an important part of her repertoire throughout her career. She performed it throughout the former Soviet Union and has referred to it as the "King of Concerti" in both popularity and difficulty. The challenges inherent in the piece do not diminish through frequent performance, but rather they increase, as one must retain clarity, a cantabile style, brilliance, and a sense of angelic purity and simplicity. > Professor Wincenc would like to thank her colleagues and students who spent countless hours in the proofreading stages of this edition. The many play-throughs and editing sessions were essential in determining the most practical way of arranging the second flute part. > We hope that this edition will inspire students and teachers to play these great works ever more beautifully, and will help carry the great tradition of flute playing as it has developed since Mozart's own time! Carol Wincenc Bryan Wagorn June 2015
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