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Music research has been increasingly focusing on the rediscovery of original executive practices, which is how listeners had the opportunity of enjoying the music in ancients periods. Until the invention of audio reproduction devices, the possibility of listening to music was, for obvious reasons, restricted to live performances. This aspect has limited the possiblity to listen to the orchestral compositions for the public, so innumerable transcriptions and arrangements of those compositions have been created in order to be peformed in small venues. Much of these transcriptions have been made by the composers themselves, thus demonstrating the intrinsic quality of the artwork but also attention to the realization of a valuable arrangement. Today, we can listen to Symphonies or Concerts at any time, even having the opportunity of choosing to listen to many interpretations by different artists, thanks to portable archives, online applications and more; but in this system there is an emotional distance given by virtuality. In this original project it is substantial the curiosity in discovering something new and looking for one's own point of view (judgment on the differences between original and transcribed, fun in projecting into the eighteenth / nineteenth-century listener). It becomes almost a personal psychological object for the listener, in which the "usual" experience of listening to a famous composition changes, by virtue of a different organic and perhaps of different executive choices. The proposal of these arrangements is an absolute first nowadays: for years I have worked on the concept of transcription and arrangement and I have also performed unpublished arrangements of the Mozart's Concerts transcribed by J.B. Cramer for flute, violin, cello and piano. Therefore I was lucky to find the forgotten arrangements made by Ignaz Moscheles of the Concerts of the Great Maestro in British Library in London. In these arrangements we find a great respect to the famous Czech pianist and composer in not changing the concerts, rather than transforming them in some way, in pure septet with the piano. Think about the famous Chopin Concerts, transcribed for quintet, where the power of music erodes apart from the choice of the organics: in my opinion even in these arrangements the concerts go strong, bright, even cooler and more responsive to a taste that has a mother seat in the 18th century. So I believe that the performance and recording of these Concertos and Ouvertures is of fundamental importance and that it can lead to new and original ways of music analysis and interpretation.

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