Mozart Overture: Full Orchestra, Conductor Score & Parts

$95.00 USD

Mozart Overture: Full Orchestra, Conductor Score & Parts

Name: Mozart Overture: Full Orchestra, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A929290
Price: 95.00 USD
Availability: InStock

By Reynaldo Hahn, ed./arr. R. Mark Rogers

Item: 36-A929290

$95.00

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Born in Venezuela, but raised in Paris, Reynaldo Hahn (1874-1947) was drawn early in life to fashionable salons, singing his own songs from the piano. There he mingled with such luminaries as Mallarme and Proust, the latter with whom he formed an amorous relationship. After the first world war, he accepted an appointment of voice teaching at the École normale de music de Paris. His colleagues included Nadia Boulanger, Pablo Casals, and Jacques Thibaud. One of many musical works he composed for the stage during this time, Mozart, a musical comedy (comédie musicale) in 3 Acts, IRH 52, premiered at the Theatre Edouard VII in Paris on December 2, 1925. The libretto was written by Sacha Guitry for their first of two collaborations. The Mozart Overture, here edited by R. Mark Rogers, serves as a vibrant introduction to this underrepresented work. Instrumentation: 2.1.1.1: 2.1.00: Pno: Str (9-8-7-6-5 in set).

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Series: Kalmus Masterworks Library

Publisher: Keiser Productions, Inc.

UPC: 735816238247

SKU: 36-A929290

Instrumentation: 2.1.1.1: 2.1.00: Pno: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Reynaldo Hahn

Reynaldo Hahn (1874-1947) was a composer and conductor whose career spanned two continents and multiple musical worlds. Born in Caracas but raised in Paris from early childhood, Hahn became a fixture in the city's artistic circles, performing his own songs in the salons where he encountered Mallarmé, Proust, and other cultural figures of the Belle Époque. His gift for melody and theatrical invention made him a natural choice for stage works.

After World War I, Hahn shifted toward teaching and conducting, serving as professor of voice at the École Normale de Musique de Paris alongside colleagues including Nadia Boulanger and Pablo Casals. His compositional output ranged across opera, operetta, and musical comedy, forms perfectly suited to his elegant, tuneful style. The Mozart overture represents his theatrical work at its most accessible and inventive, blending homage to the Classical master with the lighter forms that defined early twentieth-century French musical theater.

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Why we love this

This overture opens a genuine rarity in the concert repertoire. Hahn's 1925 musical comedy Mozart has faded from view, but the overture itself deserves regular programming: it sparkles with melodic wit, sits comfortably for orchestras of intermediate to advanced ability, and offers conductors a chance to explore French theatrical style beyond the obvious canonical choices. The Kalmus edition with parts makes it genuinely playable.

What to expect

Elegant, spirited, and flavored with the urbane wit of Parisian musical theater. The overture moves between moments of genuine melodic beauty and sparkling orchestral conversation, never heavy-handed, always aware of itself. It captures the grace of the Classical tradition without pretension and wears its reference to Mozart as a knowing nod rather than a bow.

Who it's for

Conductors seeking repertoire that bridges Classicism and twentieth-century French style will find a genuine gem here. Advanced high school orchestras and college ensembles have both the technical facility and the interpretive maturity to bring out Hahn's sophisticated orchestration and theatrical charm.

How to get the most out of it

Shape the main themes with balletic clarity rather than Germanic weight. Hahn's phrasing breathes in shorter, lighter phrases than a Beethoven overture would demand.
Watch tempo consistency between sections. The transitions between faster and slower material should feel inevitable rather than abrupt; a flexible but steady conductor's hand works better than rigid metronomic pulse.
Balance the woodwind solos generously in the first sections. Hahn writes charming counter-melodies for oboe and clarinet that should sing through without drowning the strings.
Let the strings articulate cleanly in rapid passages. Crisp bow changes in the violin parts create the lightness this piece needs to dance.

How to use it

Program this as an opener for a concert featuring French or early twentieth-century works, where it serves as an engaging welcome and a stylistic preparation for what follows. It also works beautifully as a curtain-raiser before a larger dramatic work, and its moderate length (roughly 5-7 minutes) makes it ideal for mixed repertoire concerts where you need something substantial yet not overwhelming.