Schott Musik

Three Essays beschreibt unterschiedliche Charakteristika von Pinselstrichen der Kalligraphie als musikalische Linien. Die drei Essays beschreiben eine glatte, gedehnte Linie, eine gepunktete Linie und...

I have composed Knots [Musubi] in celebration of the 80th birthday of Heinz Holliger for whom I have the greatest respect. The title was inspired by the Yin and Yang principle, the central concept of...

In this small three-movement symphony written by Mozart at the age of ten, the rondo form is used for the first time in the finale. Like the 'Lambacher Sinfonie' in G major, this work can also be play...

In this small three-movement symphony written by Mozart at the age of ten, the rondo form is used for the first time in the finale. Like the 'Lambacher Sinfonie' in G major, this work can also be play...

Mozart wrote this symphony in 1768 at the age of 12 dedicating it to the Benedictine monastery of Lambach. The structure of this score follows the rediscovered parts - the autograph has disappeared.

Mozart wrote this symphony in 1768 at the age of 12 dedicating it to the Benedictine monastery of Lambach. The structure of this score follows the rediscovered parts - the autograph has disappeared.

The important teacher of composition and church composer wrote this effective Neo-classical work as a tribute to the Renaissance composer Ludwig Senfl.

Stimmensatz - Flöte I; Flöte II; Fagott; Horn I; Horn II; 4 Violinen I; 4 Violinen II; 2 Violen; 4 Violoncelli/Kontrabässe - Orchester

Streicher-Ergänzungssatz - 2 Violinen I; 2 Violinen II; Viola; 2 Violoncelli/Kontrabässe - Orchester

Franz Anton Rössler-Rosetti was born in Mimoň, a town in Moravia, in 1746. He was employed in the orchestra of the Duke of Oettingen-Wallerstein, initially as a double bass player and later as directo...

The rediscovery of this concerto by the Bohemian composer is certainly a surprise for the violists particularly since there is only very little original literature from the classical epoch. As violist...

This work rewarding for soloist and orchestra is a revealing contribution to the development of the piano concerto at the end of the 18th century.

Stimmensatz - Flöte; 2 Oboen I/II; 2 Klarinetten I/II; 2 Fagotte I/II; 2 Hörner I/II; 4 Violinen I; 4 Violinen II; 4 Violoncelli/Kontrabässe

Stimmensatz - Flöte I; Flöte II; Klarinette I; Klarinette II; Fagott I; Fagott II; Horn I; Horn II; Trompete I; Trompete II; Pauke; 4 Violinen I; 4 Violinen II; 2 Violen; 4 Violoncelli/Kontrabässe

This concerto was rediscovered by the editor in Paris. Its style is late classical - virtuoso and very guitaristic. The orchestral accompaniment is rather simple and transparent. An effective piece pa...