W.A.Mozart
Serenade in c-minor
KV 388

Arranged for Wind-Nonet by Arne Dich 2013

Mozart Serenade

SCORE - PDF
1. Allegro - Mp3
2. Andante - Mp3
3. Menuetto - Mp3
4. Thema con variazioni - Mp3
Flute - Part
1.Clarinet in Bb - Part
1.Horn in Eb - Part
1.Bassoon - Part
 
Oboe - Part
2.Clarinet in Bb - Part
2.Horn in Eb - Part
2.Bassoon - Part
Double Bass - Part

Man skal ikke prøve at forbedre Mozarts musik.

Musikken er skrevet i en tid, hvor instrumenterne var anderledes. Og vil man som i dette tilfælde ændre instrumentationen fra parvise oboer, klarinetter, horn og fagotter til nonettens 1 fløjte og 1 obo samt tilføje kontrabas, må der ske nænsomme ændringer i instrumentationen.

Fløjten har sit bedste leje i et højt register og kan ikke umiddelbart overtage 1.obo-stemmen. Desuden lægger kontrabassen en ekstra oktav til i dybden. Dette vil give en fyldigere, mere symfonisk klang.

Jeg har foretaget følgende ændringer:

1. Fløjte og obo skiftes til at spille de to originale obo-stemmer. Fløjten oktaverer undertiden hele passager, undertiden kun enkelte toner.

2. Kontrabassen spiller enten i samme oktav som fagotterne, eller en oktav under - som fagot, forenklet eller pizzicato.

3. Den større vægt i dybden kræver en dobling af melodien i et dybere instrument (obo, klarinet eller fagot). De manglende akkordtoner i akkompagnementet spilles af en af fagotterne, eller ved nænsom omrokering mellem de andre stemmer

4. Enkelte forslag til dynamik og frasering er indføjet.

 
Don't try to improve the Music of Mozart.

The music is composet in a century, where the instruments wasn't like the instruments of today. If you want to play the music originally composed for pairs of oboes, clarinets, horns and bassoons with a wind-nonet, where a flute replace one of the oboes, and a doublebass is added, some carefull revisions are needed.

The flute sounds most appropriate in the higher registers and it does not make sense just letting it play the 1.oboe part. The double bass adds an octave to the lowest register. Changes according to these facts will result in a richer, more symphonic sound.

I have made the following changes:

1. Flute and oboe switch between the original oboe-parts. The flute sometimes plays phrases or single notes an octave higher.

2. The double bass plays the 2.bassoonpart in the written octave or plays phrases or single notes an octave lower, sometimes simplified and / or pizzicato.

3. The heavier bottom of the ensemble demands a doubling of the leading melody (sometimes) in e.g. oboe, clarinet or bassoon. The missing notes in the chords are played e.g. by one of the bassoons, or replaced with a delicate relocation of notes in the accompagnement.

4. A few suggestions for dynamics or phrasing are added.