The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Mozart as a commissioned work for flute soloist and orchestra. This score presents the orchestral portion as a piano reduction. The separate flute score is included.

Mozart for Flute features a wide variety of enjoyable arrangements for flute and piano. This collection is enhanced by a sonata for flute and piano written by Mozart as a child prodigy. Excellent for use in recital and contest programming as well as the teaching studio. Audio available online.

Who better to write an authoritative yet fascinating introduction to flute-playing than James Galway whose glittering career extends from the principal flute in the Berlin Philharmonic to the top of the international pop charts? He starts with the history of the flute -- believed to be the first and in its simplest form, the most basic of man's many melodic instruments: only singers have less paraphernalia between them and their listeners. You just put your lips to the flute and blow. Galway entrances with his tale of the flute's evolution from the basic recorder to the complex, beautiful instrument we know today. The author's unique advice and experience is brought to bear on the problems and techniques of learning, practising and playing -- in solo, ensemble, at home, in concert and in the recording studio. The flautist will find the specific advice Galway gives invaluable, while the non-flute player will gain an insight into the way the lovely sounds of the flute are produced. Both will be enthralled by detailed analyses of the author's favourite pieces, while he gives due attention to the whole gamut of the flute repertoire.

Mozart's Adagio and Rondo (K. 617) was written for the armonica, or musical glasses (a set of tuned glass bowls) and a quartet consisting of flute, oboe, viola, and cello. The music is effective played as an organ solo. The Adagio may be registered "forte," in the style of Mozart's Fantasia (K. 608). The Rondo should be played on the flute stops. Arranged for organ by E. Power Briggs.

This book is a sequel to Frederick Neumann's Ornamentation in Baroque and Post-Baroque Music, With Special Emphasis on J.S. Bach (Princeton, 1978). In the present volume, the first work on this subject for Mozart's music, the author continues his important contributions to the search for historically correct performance practices, and to the liberation of the performer from improperly conceived and overly restrictive interpretation of musical scores. The first part of this book attempts to free ornamentation in Mozart from rigorism that has resulted from confusing the pure abstraction of ornament tables with concrete musical situations. The second part deals with pitches that were not written in the score yet often intended to be added when Mozart left "white spots" in his notation. These additions range from single notes to lengthy cadenzas. The problem addressed is the question of where such additions are possible or necessary and how they might best be designed. Professor Neumann draws on an immense knowledge of the literature written during Mozart's time and on his own comprehension of the subtleties of Mozart's music and musical styles. Refusing to interpret the sources dogmatically, he frees performers of Mozart from the rigid princples too often imposed by modern scholars. Frederick Neumann is Professor of Music Emeritus at the University of Richmond. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.