Cendrillon (Suite, No.1. Le Sommeil de Cendrillon): Oboe 2
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Mozart’s expansion of the winds in K.385 may have been an effort to take full advantage of the Viennese orchestral forces at his disposal, but it was quite probably also an attempt to alter a work calculated for a hall to make it ideal for a theatre. 9 The woodwind instruments of Mozart’s day were, of course, somewhat different in construction and timbre from in ones in use by modern instrumentalists. Under Johann Stamitz’s leadership it became extremely expressive, developing characteristic performance practices of dramatic contrasts through carefully controlled crescendos and decrescendos and other musical devices.
Publisher: E.F.Kalmus (1933)
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