had only the four original Mozart solo parts for reference so had composed the orchestral parts and cadenzas afresh. Levin wrote a book about the work and then went on to make a reconstruction of the supposed original Mozart work based on his research. Levin's reconstruction was recorded by the Academy of St Martin in the Fields under Neville Marriner. Mozart displayed affection and prominence for the wind instruments in his operas and concertos. Noteworthy wind passages are in the fifteenth and seventeenth piano concertos, with memorable dialogues with the soloist; flute, oboe and bassoon. In opera there are many arias with similar woodwind and French Horn passages, such as Fiordiligi's "Per pietà, ben mio, perdona" from Così fan tutte. The aria Se il padre perdei from Idomeneo uses the same four wind instruments as the lost Paris work, is in E-flat and was written for the same Mannheim soloists. A passage from the Mozart Oboe Quartet first movement (bars 85-87 and 88-90) appears to quote the Sinfonia Concertante. Both works were written for the same player Friedrich Ramm. The Sinfonia Concertante remains popular today, and is regularly performed. References Sources Further reading External links Concertos by Wolfgang Amadeus Mozart Mozart Mozart 1778 compositions Compositions in E-flat major Mozart: spurious and doubtful works