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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.
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