Concerto for Oboe and Orchestra C Major, K. 314 for Oboe & Piano Reduction 莫札特 協奏曲雙簧管 管弦樂團 雙簧管(含鋼琴伴奏) 亨乐版

這本 Henle Urtext 版本在版面設計和精確度方面無與倫比。專業雜誌《Rohrblatt》在其出版後不久（2004 年）就寫道： "編輯上的天才之舉... 每一位嘗試演奏這首協奏曲的雙簧管演奏家都必須用這一版本來衡量自己的詮釋"。這樣的讚譽主要是對編輯、著名雙簧管演奏家英戈-戈裡茨基（Ingo Goritzki）的褒獎。他的想法是為經過編輯的器樂部分提供一個補充版本，將作品的兩種來源--每種來源都有不同的問題--與經過編輯的部分放在一起。由於採用了這種經過選擇的樂譜編排方式，人們可以一目了然地看到所有的變體，並做出自己合理的演奏決定。戈裡茨基教授還詳細討論了特別有問題和經常引起爭議的段落。莫札特專家、鋼琴家羅伯特-列文（Robert Levin）也獲得了上文提到的 "編輯天才之筆 "的讚譽，他特別為亨勒版莫札特雙簧管協奏曲創作了具有大師風格的獨特快板；由於採用了簡單的（數位）交叉參照系統，人們可以從範本中的一個地方跳到另一個地方，從而創作出 "自己的 "快板，這非常符合快板的即興精神。最後，我想說說這一版本備受讚譽的鋼琴縮寫，它來自莫札特專家和著名的連奏專家西格弗裡德-佩特倫茨（Siegfried Petrenz）。他的目標是使鍵盤部分音色優美，技術難度不大，明顯不同於那些經常出現的以管弦樂配樂為導向的鋼琴縮寫。在此過程中，他還考慮到了典型的教學情況，即雙簧管演奏者並不總能得到專業伴奏"

作曲家: Wolfgang Amadeus Mozart
校訂者: Ingo Goritzki
樂器: Oboe; Piano Accompaniment
出版社: Henle Urtext Edition

曲目:
Mozart: Concerto for Oboe and Orchestra C major KV 314

原文簡介:
This Henle Urtext edition is unrivalled in layout and precision. The professional journal “Rohrblatt” wrote shortly after its publication (in 2004): “An editorial stroke of genius... Every oboist who attempts this concerto must have his interpretation measured against this edition.” Such praise principally honors the editor, the famous oboist Ingo Goritzki. It was his idea to offer a supplement to the edited instrumental part that presents both sources of the work – each problematic in various ways – together with the edited part. Owing to this chosen arrangement of the score one can see all variants at a glance, and make one's own justified performance decisions. Particularly problematic and oft-debated passages are discussed in detail by Professor Goritzki. The above-cited praise for “an editorial stroke of genius” also applies to Mozart expert and pianist Robert Levin, who has composed idiosyncratic cadenzas in the master's style especially for Henle's edition of Mozart's oboe concerto; very much in the improvisatory spirit of a cadenza, one can jump from one place to another in the template thanks to a simple (numerical) cross-reference system, and thus craft one's “own” cadenzas. Finally, a word about the much-praised piano reduction for this edition, which comes from Mozart expert and renowned continuo specialist Siegfried Petrenz. He aims for a well-sounding and not too technically-challenging keyboard part that is clearly removed from those often-found piano reductions that orient themselves around an orchestral scoring. In so doing, he also takes account of the typical instructional situation in which a professional accompanist is not always available to the oboist.