W. A.

Mozart - Arcadi Volodos

Concert Paraphrase
on "Turkish March"

Transcription by Arcadi Volodos (-1997)

Realization by Dr. Wilfried Lingenberg (2010)
Additional notation by Matthew Krell (2014)

Concert Paraphrase on "Turkish March"

Allegretto

2
& 4
mf

?2
4

n #
# n #

Staccatissimo
b

b
(Opt. rit.)

W. A. Mozart - Arcadi Volodos

5
1

4
2

3
1

j
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mp

4
2

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1

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1

1
2

4
2

3
1

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2

1
2

1
5

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1

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1

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2

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2

4
2

5
1

3
1

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2

5
1

2 1

4
3

5
1 2

5
1

2 3

2
3
5

simile

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3
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3 2

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14

Copyright 2014

2
3
5

simile

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18

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33

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(Opt. tie LH thirds)

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3
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11

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165
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R R R

169

accento
2

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cresc.

6
6

b
b
R R

6
nr nr
n n
R

About the transcript:

b
R

&

ff

r r r
b
b

With this score, I have tried to come as close as

possible to what Volodos is actually playing, although obviously some guesswork was inevitable.
The two versions of an anonymous transcript presently available in the web were a great help. I did,
however, change the nal chords since I feel the
piece should end on the rst, not last, beat of a
four-bar group.
Dr.Wilfried Lingenberg

N ote: N ot all the notations I have added are derived

from V olodos himself. S ome are from my own limited
experience with the piece as well as listening to others.
D on't bank on my suggestions. F ind your own way to
play it and hope people like it.
I don't re-write the ngering for sections which repeat
or use the same ngers (i.e. pages 6-7). I also don't put
ngering for big chords or octaves as everyone has a
dierent comfort zone for stretches. -M K

r 6r r


6

? ### r br r r r6 r

b nn nn

July 2010

171

R R R R R R

6
6
# b
j & R R R R R R R # R n # b 6r ?
R
R R R R
R
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6
6
6
6
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6
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&

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R
R
R
R
R
6

R R R R R R

5
1

n r
n

n
n
R

n
n
R

6
6

>

>
r

Opt. Ending

>>

After having learned this transcription realized by

Dr. Lingenberg, I thought back to when I began
studying it. In particular, the absence of ngering
made the early stages of mastery laborious. So I
decided to rework the transcription and add
notations.
Some general comments:
The original melody of the Turkish March should be
brought forth when present. I haven't added the articulation for the places with the melody because I
assume that any pianist tackling this piece would
instinctively bring out the melody line.
Pedal markings were omitted and left to the discretion
of the individual performer.
September 2014

Matthew Krell