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Even when working from a critical edition of the Mozart horn concertos, one should bear in mind that at least of some dynamics and articulations — and some cases, the actual notes — are editorial markings made by people other than Mozart. By the very nature of their fragmented condition, these concertos have had even the most informed scholars scratching their heads and making some educated guesses.
That being said, the G. Schirmer edition for horn and piano offers a good deal for the economy-conscious. In one bound volume are all the concertos plus the (“mutilated” version of the) Concert Rondo for under $20 (US).
Despite its inaccuracies and solo part transposed to Horn in F, the Schirmer edition is priced ideally for those under a tight budget.
Caveat emptor. You will get what you pay for — the Schirmer edition is not an urtext.
One positive about the Schirmer edition
There are without a doubt other editions that are more accurate and faithful to Mozart’s manuscript but many a pianist has expressed a preference for this edition. Bearing in mind that an orchestral reduction to piano can be very tricky and problematic, the playability of the piano part is something to very much consider.
Even in a concerto, it isn’t all about the soloist.
A panicked accompianist tripping over a clumsily transcribed piano part can throw off even the most calm resolve and most patient audience member.
Free editions are available at the IMSLP web site. I cannot give these the highest recommendation but for an impoverished student living on Ramen noodles and peanut butter sandwiches, this might be the only practical choice. It is better than nothing at all.
For the less cost-conscious musician, here is a list of some critical editions to consider:
- Birdalone
- Barenreiter
- Boosey & Hawkes
- Peters – includes a play-along CD
Any other edition suggestions are encouraged and are most welcome in the comments section below. Please include a few details as to why you might prefer one edition over another.
Other resources:
- Archived information on Mozart piano reductions at hornplayer.net
- “Historically Informed” Performance: Who Says and Why It Must Be So?
Next in this series – is learning a piece and using ideas from recordings a bad idea?
