Carol Wincenc: A Performer's Note
CAROL WINCENC
I was curious, however, how Hoffmeister dealt with Mozart's original scores, and so began comparing. To my surprise, Hoffmeister had rewritten some eminently playable passages in Mozart's original, probably for what he considered a more technical display. I have restored some of these passages in our present version (affecting predominently the flute parts), as well as changing some doublings in the string parts.
The MHS Review 343 Vol. 9, No. 1 • 1985
My initial reaction to performing transcriptions of the beautifully pianistic works of Mozart was a mixture of enthusiasm and skepticism, but I soon became convinced of their validity in the arrangements by Hoffmeister. I was curious, however, how Hoffmeister dealt with Mozart's original scores, and so began comparing. To my surprise, Hoffmeister had rewritten some eminently playable passages in Mozart's original, probably for what he considered a more technical display. I have restored some of these passages in our present version (affecting predominently the flute parts), as well as changing some doublings in the string parts.
The point of departure was not to imitate the piano (an obvious temptation when dealing with choices of coloring, articulation, and dynamic variation), but rather to allow Mozart's music to be experienced in a setting for which he also wrote his ever-popular flute quartets: K. 285, K. 285a, K. 285b, and K. 298. We now have two pieces which stand independently and convincingly, not merely as transcriptions, but as "new" works of Mozart for flute and strings.
2023 note: this recording is scheduled for reissue in 2023.
My initial reaction to performing transcriptions of the beautifully pianistic works of Mozart was a mixture of enthusiasm and skepticism, but I soon became convinced of their validity in the arrangements by Hoffmeister. I was curious, however, how Hoffmeister dealt with Mozart's original scores, and so began comparing. To my surprise, Hoffmeister had rewritten some eminently playable passages in Mozart's original, probably for what he considered a more technical display. I have restored some of these passages in our present version (affecting predominently the flute parts), as well as changing some doublings in the string parts.
The point of departure was not to imitate the piano (an obvious temptation when dealing with choices of coloring, articulation, and dynamic variation), but rather to allow Mozart's music to be experienced in a setting for which he also wrote his ever-popular flute quartets: K. 285, K. 285a, K. 285b, and K. 298. We now have two pieces which stand independently and convincingly, not merely as transcriptions, but as "new" works of Mozart for flute and strings.
2023 note: this recording is scheduled for reissue in 2023.