|
KV6 |
KV1 |
ENTRY TITLE |
WORK TITLE OR NICKNAME |
KEY |
# |
SHORT DESCRIPTION FROM K6 |
ADDITIONAL INFORMATION SINCE KV 6 |
|
626a |
624 |
Cadenzas & Eingange ("Lead-Ins") to Keyboard
Concerti |
-- |
-- |
-- |
-- |
-- |
|
626aI |
-- |
Part I - Mozart's Own Concerti |
-- |
-- |
-- |
64 Cadenzas of Mozart's to his own Kybd
Concertos; incipits, In K6 remarks and locations given under KV
number of Concerto each belongs to |
-- |
|
626aI/1 |
624/1 |
Cadenza to KV 175 1st Mvmt (version a) |
-- |
D |
-- |
Printed by Artaria in 1801 as Nr.I and André in
1804 as Nr.12. |
Wolff (MJb 1978/79) sees this as a direct
revision of Cadenza #1 and dates after below version b), perhaps
March 1783 in Vienna; Levin (18th Century Piano Music 1994)
states Cadenza goes up to f3, showing it was undoubtedly written
not at the time of Concerto, but for later use on five-octive
instrument. |
|
626aI/2 |
-- |
Cadenza to KV 175 1st Mvmt (version b) |
-- |
D |
-- |
-- |
This Cadenza with #4 and #25 below are three
Cadenzas for KV 175 Mozart sent to his sister in letter of
February 15, 1783--and written shortly before this (Wolff-MJb
1978/79). |
|
626aI/3 |
624/2 |
Cadenza to KV 175 2nd Mvmt (version a) |
-- |
G |
-- |
Printed by Artaria in 1801 as Nr.II and Andre in
1804 as Nr.13. |
Wolff (MJb 1978/79) dates this after below
version b), perhaps March 1783 in Vienna. |
|
626aI/4 |
-- |
Cadenza to KV 175 2nd Mvmt (version b) |
-- |
G |
-- |
This Cadenza with #2 and #25 below are three
Cadenzas for KV 175 Mozart sent to his sister in letter of
February 15, 1783--and written shortly before this (Wolff-MJb
1978/79). |
-- |
|
626aI/5 |
-- |
Cadenza to KV 238 1st Mvmt |
-- |
Bb |
-- |
Copy in Leopold Mozart's hand in St. Peters
Salzburg. |
Probably composed around 1777/78 for a student
(Wolff-MJb 1978/79). |
|
626aI/6 |
-- |
Cadenza to KV 238 2nd Mvmt |
-- |
C |
-- |
Copy in Leopold Mozart's hand in St. Peters
Salzburg. |
(See remarks #5 above.) |
|
626aI/7 |
-- |
Cadenza to KV 238 3rd Mvmt |
-- |
Bb |
-- |
Copy in Leopold Mozart's hand in St. Peters
Salzburg. |
(See remarks #5 above.) |
|
626aI/8 |
-- |
Cadenza to KV 246 1st Mvmt (version a) |
-- |
C |
-- |
Autograph on same page as #11 below; also
contains through bass notations of tutti to Concerto. |
Written for a student (Therese Pierron?) or
dilettant musician and used by Mozart for teaching purposes
during his Mannheim-Paris trip of 1777/78 (Wolff-Perspectives on
Mozart Performance 1991 and MJb 1978/79); however paper studies
put paper used by Mozart in time of end of 1771 to 1774
(Tyson-NMA 1992)--(also see #11 below). |
|
626aI/9 |
-- |
Cadenza to KV 246 1st Mvmt (version b) |
-- |
C |
-- |
Autograph on same page as #12 below. |
From same time period as #8 and #11, but
technically more demanding so probably written for use by
himself rather than student (Wolff-MJb 1978/79); Plath believed
originated from time of Concertos, thus April 1776 (Wolff-MJb
1975); paper studies show paper used by Mozart in Salzburg in
1776-77 or 1779-80 (Tyson-MJb 1992)--(also see #12 below). |
|
626aI/10 |
-- |
Cadenza to KV 246 1st Mvmt (version c) |
-- |
C |
-- |
Autograph on same page as #14 below. |
Mozart asked for Concerto KV 246 from his father
on April 2, 1782, and Cadenzas date from after this date (Wolff-MJb
1978/79); however paper studies show Mozart used paper in
Salzburg rom 1779 to beginning 1781 (Tyson-NMA 1992)--(also see
#14 below). |
|
626aI/11 |
-- |
Cadenza to KV 246 2nd Mvmt (version a) |
-- |
F |
-- |
Autograph on same page as #8 above. |
(See #8 above.) |
|
626aI/12 |
-- |
Cadenza to KV 246 2nd Mvmt (version b) |
-- |
F |
-- |
-- |
(See #9 above.) |
|
626aI/13 |
-- |
Cadenza to KV 246 2nd Mvmt (version c) |
-- |
F |
-- |
On autograph page with 3 incipits of Haydn
Symphonies (Anh A59). |
Written in 1784 as lead-in for 2nd movement of
KV 415/387b as seen by connections in music and 3 Haydn incipits
on page (Wolff-NMA 1975; Wolff-MJb 1978/79). |
|
626aI/14 |
-- |
Cadenza to KV 246 2nd Mvmt (version d) |
-- |
F |
-- |
Autograph on same page as #10 above. |
(See remarks to #10 above). |
|
626aI/15 |
624/3 |
Cadenza to KV 271 1st Mvmt (version a) |
-- |
Eb |
-- |
Autograph on same page as #17 below; issued by
André in 1804 as Nr.23. |
Composed in spring (March?) 1783 for performance
at Tonkünstler Society in April (Wolff-MJb 1978/79). |
|
626aI/16 |
-- |
Cadenza to KV 271 1st Mvmt (version b) |
-- |
Eb |
-- |
Autograph on same page as #18 below, the two
Cadenzas to KV 107 (see below KV 626aII/A and B), and fragment
Anh C15.11. |
Copy in hand of Leopold and Nannerl Mozart dates
from origin time of Concerto in 1777 (Wolff-MJb 1978/79). |
|
626aI/17 |
624/4 |
Cadenza to KV 271 2nd Mvmt (version a) |
-- |
c |
-- |
Autograph on same page as #15 above; issued by
André in 1804 as Nr.24. |
Composed in spring (March?) 1783 for performance
at Tonkünstler Society in April (Wolff-MJb 1978/79). |
|
626aI/18 |
-- |
Cadenza to KV 271 2nd Mvmt (version b) |
-- |
c |
-- |
(See #16 above.) |
Copy in hand of Leopold and Nannerl Mozart dates
from origin time of Concerto in 1777 (Wolff-MJb 1978/79). |
|
626aI/19 |
624/5 |
1st Eingang to KV 271 3rd Mvmt (version a) |
-- |
Eb |
-- |
Autograph on same page as #20 below. |
Stylistically seen to be later than #21 and #22,
thus possibly March 1783 (Wolff-MJb 1978/79). |
|
626aI/20 |
624/5 |
2nd Eingang to KV 271 3rd Mvmt (version a) |
-- |
Eb |
-- |
Autograph on same page as #19 above. |
(See remarks #19.) |
|
626aI/21 |
-- |
1st Eingang to KV 271 3rd Mvmt (version b) |
-- |
Eb |
-- |
Autograph on same page as #22 below; on February
15, 1783, Mozart sent these two (also #22) lead-ins to his
sister in Salzburg. |
These two lead-ins and #2,#4,#25 f/KV 175/382
Mozart sent to his sister in letter of February 15, 1783--and
written shortly before this (Wolff-MJb 1978/79). |
|
626aI/22 |
-- |
2nd Eingang to KV 271 3rd Mvmt (version b) |
-- |
Eb |
-- |
Autograph on same page as #21 above. |
(See remarks to #21 above.) |
|
626aI/23 |
-- |
Cadenza to KV 365/316a 1st Mvmt |
-- |
Eb |
-- |
Autograph in St. Peters Salzburg has only
Mozart's 1st piano part; another autograph in St. Peters has 1st
piano part in Leopold's hand and 2nd Piano part in Wolfgang's.
|
Wolff (MJb 1978/79 and Perspectives on Mozart
Performance 1991) dates Cadenza November 1781 from Mozart letter
passage; written for Mozart and Josephine von Auernhammer to
play (Wolff-NMA 1975). |
|
626aI/24 |
-- |
Cadenza to KV 365/316a 3rd Mvmt |
-- |
Eb |
-- |
(See #23 above); a copy in Kremsier Monastery of
entire Concerto has this movement's Cadenza in a slightly
shortened version written by Mozart. |
Wolff (MJb 1978/79 and Perspectives on Mozart
Performance 1991) dates Cadenza in St Peters November 1781 from
Mozart letter passage; Cadenza in Kremsier dates from before St.
Peters version. |
|
626aI/25 |
624/6 |
Cadenza to KV 382 3rd Mvmt (version a) |
-- |
D |
-- |
Printed by Artaria in 1801 as Nr.III and André
in 1804 as Nr.14. |
Wolff (MJb 1978/79) dates this after below
version b), perhaps March 1783 in Vienna. |
|
626aI/26 |
-- |
Cadenza to KV 382 3rd Mvmt (version b) |
-- |
D |
-- |
Autograph in St. Peters in Salzburg. |
This Cadenza with #2 and #4 above are three
Cadenzas for KV 175/382 Mozart sent to his sister in letter of
February 15, 1783--and written shortly before this (Wolff-MJb
1978/79). |
|
626aI/27 |
624/7 |
Cadenza to KV 414/385p 1st Mvmt (version a) |
-- |
A |
-- |
Autograph on same page as #33 below; issued by
André in 1804 as Nr.1. |
Stylistically after #28, and probably from
1785/86--see #32 below (Wolff-MJb 1978/79). |
|
626aI/28 |
624/8 |
Cadenza to KV 414/385p 1st Mvmt (version b) |
-- |
A |
-- |
Autograph on same page as #31 below; issued by
André in 1804 as Nr.2. |
Probably dates from time of composition of
Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb 1978/79). |
|
626aI/29 |
624/11 |
Eingang to KV 414/385p 2nd Mvmt (version a) |
-- |
F |
-- |
Autograph on same page as ##32 #34 below and
several sketches to 1st movement of KV 488; issued by André in
1804 as Nr.5. |
Stylistically after #30, and probably from
1785/86--see #32 below (Wolff-MJb 1978/79). |
|
626aI/30 |
-- |
Eingang to KV 414/385p 2nd Mvmt (version b) |
-- |
F |
-- |
-- |
Autograph on same page as #28 and #31 to this
Concerto (Tyson-NMA 1992); probably date from time of
composition of Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb
1978/79). |
|
626aI/31 |
624/9 |
Cadenza to KV 414/385p 2nd Mvmt (version a) |
-- |
F |
-- |
Autograph on same page as #28 above; issued by
André in 1804 as Nr.3. |
Probably dates from time of composition of
Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb 1978/79). |
|
626aI/32 |
-- |
Cadenza to KV 414/385p 2nd Mvmt (version b) |
-- |
F |
-- |
Autograph on same page as #29 above and #34
below and several sketches to 1st movement of KV 488; issued by
André in 1804 as Nr.4. |
Sketches to KV 488 and paper studies point to
origin of wind 1785/86 for performance in one of December
Concerts put on by Mozart; possibly in some type of connection
with Artaria issue of Concerto in 1785 (Wolff-NMA 1975; Wolff-MJb
1978/79; Tyson-NMA 1992). |
|
626aI/33 |
624/10 |
Cadenza to KV 414/385p 2nd Mvmt (Sketch of
626aI/32) |
-- |
F |
-- |
5 measure sketch for #32 above; on same page as
#27 above. |
Surely written down before #32 above (Wolff-MJb
1978/79). |
|
626aI/34 |
624/12 |
Cadenza to KV 414/385p 3rd Mvmt (version a) |
-- |
A |
-- |
Autograph on same page as #29 and #32 above and
several sketches to 1st movement of KV 488; issued by André
in1804 as Nr.6. |
Stylistically after #35, and probably from
1785/86--see #32 above (Wolff-MJb 1978/79). |
|
626aI/35 |
624/13 |
Cadenza to KV 414/385p 3rd Mvmt (version b) |
-- |
A |
-- |
On autograph page with #36 below; issued by
André in 1804 as Nr.7. |
Probably dates from time of composition of
Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb 1978/79). |
|
626aI/36 |
624/14 |
Eingang to KV 414/385p 3rd Mvmt |
-- |
A |
-- |
On autograph page with #35 above; issued by
André in 1804 as Nr.8. |
Probably dates from time of composition of
Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb 1978/79). |
|
626aI/37 |
-- |
Cadenza to KV 413/387a 1st Mvmt |
-- |
F |
-- |
Copy in Leopold Mozart's hand in St. Peters in
Salzburg. |
The Salzburg copies made it appear its origin is
in connection with a performance of the Concerto during Mozart's
Salzburg trip of late summer 1783, if not prior in Vienna
(Wolff-MJb 1978/79). |
|
626aI/38 |
-- |
Cadenza to KV 413/387a 2nd Mvmt |
-- |
Bb |
-- |
Copy in Leopold Mozart's hand in St. Peters in
Salzburg. |
(See remarks #37 above.) |
|
626aI/39 |
624/15 |
Cadenza to KV 415/387b 1st Mvmt |
-- |
C |
-- |
Copy in unknown copyist hand--with tempo
indications by Leopold Mozart-- in St. Peters Salzburg; issued
by Artaria in 1801 as Nr.IV and André in 1804 as Nr.9. |
The Salzburg copies made it appear its origin is
in connection with a performance of the Concerto during Mozart's
Salzburg trip of late summer 1783, if not prior in Vienna
(Wolff-MJb 1978/79). |
|
626aI/40 |
624/16 |
Cadenza to KV 415/387b 2nd Mvmt |
-- |
Bb |
-- |
(See remarks to #39 above); issued by Artaria in
1801 as Nr.V and André in 1804 as Nr.10. |
(See remarks #39 above.) |
|
626aI/41 |
624/17 |
Cadenza to KV 415/387b 3rd Mvmt |
-- |
C |
-- |
(See remarks to #39 above); issued by Artaria in
1801 as Nr.VI and André in 1804 as Nr.11. |
(See remarks #39 above.) |
|
626aI/42 |
624/18 |
Cadenza to KV 449 1st Mvmt |
-- |
Eb |
-- |
Issued by André in 1804 as Nr.22. |
Probably belong to origin time of
Concerto--February 9, 1784 (Wolff-MJb 1978/79) |
|
626aI/43 |
624/19 |
Cadenza to KV 450 1st Mvmt |
-- |
Bb |
-- |
Issued by André in 1804 as Nr.29. |
Probably belong to origin time of
Concerto--March 15, 1784 (Wolff-MJb 1978/79) |
|
626aI/44 |
624/21 |
Eingang to KV 450 3rd Mvmt |
-- |
Bb |
-- |
Issued by André in 1804 as Nr.31. |
Probably belong to origin time of
Concerto--March 15, 1784 (Wolff-MJb 1978/79) |
|
626aI/45 |
624/20 |
Cadenza to KV 450 3rd Mvmt |
-- |
Bb |
-- |
Issued by André in 1804 as Nr.30. |
Probably belong to origin time of
Concerto--March 15, 1784 (Wolff-MJb 1978/79) |
|
626aI/46 |
624/32 |
Cadenza to KV 451 1st Mvmt |
-- |
Eb |
-- |
K1 originally placed as Cadenza to 1st movement
of KV 537; issued by Artaria in 1801 as Nr.XIV and André in 1804
as #27; copy of Cadenza is in Leopold Mozart's hand. |
Handwriting of copy is actually Nannerl's (Flothius-NMA
1975) |
|
626aI/47 |
624/33 |
Cadenza to KV 451 3rd Mvmt |
-- |
Eb |
-- |
Issued by Artaria in 1801 as Nr.XV and André in
1804 as Nr.28; also on this copy of Leopold Mozart is the
ornamentation of measures 56-63 of the 2nd movement (K3=626a/II
M) of this Concerto that Wolfgang sent to Nannerl on June 9,
1784. |
Handwriting of copy is actually Nannerl's (Flothius-NMA
1975); ornamentation on copy demonstrates Cadenza belongs to
origin time of Concerto--March 22, 1784, or even at time of June
9, 1784 letter (Wolff-MJb 1978/79; Wolff-Perspectives on Mozart
Performance 1991) |
|
626aI/48 |
624/22 |
Cadenza to KV 453 1st Mvmt (version a) |
-- |
G |
-- |
Issued by André in 1804 as Nr.15. |
Probably belongs to origin time of
Concerto--April 12, 1784 (Wolff-MJb 1978/79) |
|
626aI/49 |
624/23 |
Cadenza to KV 453 1st Mvmt (version b) |
-- |
G |
-- |
Issued by Artaria in 1801 as Nr.IX and André in
1804 as Nr.16. |
Badura-Skoda (NMA 1965) doubts authenticity on
faulty style, perhaps written down by pupil from memory, or most
likely not authentic; Wolff does not doubt authenticity but can
not determine if before or after #48 (Wolff-MJb 1978/79). |
|
626aI/50 |
624/24 |
Cadenza to KV 453 2nd Mvmt (version b) |
-- |
C |
-- |
Issued by André in 1804 as Nr.17. |
Probably belongs to origin time of
Concerto--April 12, 1784 (Wolff-MJb 1978/79) |
|
626aI/51 |
624/25 |
Cadenza to KV 453 2nd Mvmt (version a) |
-- |
C |
-- |
Issued by Artaria in 1801 as Nr.X and André in
1804 as Nr.18. |
Badura-Skoda (NMA 1965) doubts authenticity on
faulty style, perhaps written down by pupil from memory, or most
likely not authentic (Wolff does not doubt authenticity but can
not determine if before or after #51 above (Wolff-MJb 1978/79) |
|
626aI/52 |
-- |
Cadenza to KV 456 1st Mvmt (version a) |
-- |
Bb |
-- |
Copy found in Moscow with #55 and #56 below in
unknown copyist's hand; is an expanded and altered version of
#53 below. |
Cadenza is at end of copy of Concerto KV 456
with Mozart's own signature and dating "Vienna 784", both
Concerto and Cadenzas in hand of same unknown copyist (Badura-Skoda-NMA
1965); composed after #53 below, perhaps for one of
ascertainable performances of Concerto in February 1785 in
Vienna or May 1789 in Leipzig (Wolff-MJb 1978/79) |
|
626aI/53 |
624/26 |
Cadenza to KV 456 1st Mvmt (version b) |
-- |
Bb |
-- |
Issued by Artaria in 1801 as Nr.XI and André in
1804 as Nr.19. |
Stylistically composed sometime after #54 below
(Wolff-MJb 1978/79) |
|
626aI/54 |
624/27 |
Cadenza to KV 456 1st Mvmt (version c) |
-- |
Bb |
-- |
Issued by Artaria in 1801 as Nr.XVIII and André
in 1804 as Nr.34. |
Probably belong to origin time of Concerto--Sept
30, 1784 (Wolff-MJb 1978/79) |
|
626aI/55 |
-- |
Eingang to KV 456 3rd Mvmt |
-- |
Bb |
-- |
Copy found in Moscow with #52 above and #56
below in unknown hand. |
(See remarks to #52 above); Hess and
Badura-Skoda doubt authenticity of this Fermata on stylistic
grounds (Badura-Skoda 1965) |
|
626aI/56 |
-- |
Cadenza to KV 456 3rd Mvmt (version b) |
-- |
Bb |
-- |
Copy found in Moscow with #52 and #55 above in
unknown hand. |
(See remarks to #52 above) |
|
626aI/57 |
624/28 |
Cadenza to KV 456 3rd Mvmt (version a) |
-- |
Bb |
-- |
Autograph on page with #58 and #59 below; issued
by Artaria in 1801 as Nr.VII and André in 1804 as Nr.21. |
Probably belong to origin time of Concerto--Sept
30, 1784 (Wolff-MJb 1978/79) |
|
626aI/58 |
624/29 |
Cadenza to KV 459 1st Mvmt |
-- |
F |
-- |
Issued by Artaria in 1801 as Nr.XIII and André
in 1804 as Nr.25. |
Wolff dates at time of origin of
Concert--December 11, 1784, or 1790 when Concerto played at
Coronation festivities in Frankfurt in October (Wolff-MJb
1978/79) |
|
626aI/59 |
-- |
Eingang to KV 459 3rd Mvmt |
-- |
F |
-- |
Autograph on page with #57 above and #59 below. |
(See remarks #58 above) |
|
626aI/60 |
624/30 |
Cadenza to KV 459 3rd Mvmt |
-- |
F |
-- |
Autograph on page with #57 and #58 above; issued
by Artaria in 1801 as Nr.XII and André in 1804 as Nr.26. |
(See remarks #58 above) |
|
626aI/61 |
624/31 |
Cadenza to KV 488 1st Mvmt |
-- |
A |
-- |
Written directly into autograph of Concerto;
issued by André in 1804 as Nr.35. |
-- |
|
626aI/62 |
624/34 |
Cadenza to KV 595 1st Mvmt |
-- |
Bb |
-- |
Issued by Artaria in 1801 as Nr.XVI and André in
1804 as Nr.32. |
Cadenzas dates from origin of Concerto--January
5, 1791, as its performance on March 4, 1791 (Wolff-MJb 1978/79) |
|
626aI/63 |
624/35 |
Eingang to KV 595 3rd Mvmt |
-- |
Bb |
-- |
Issued by Artaria in 1801 as Nr.XVII and André
in 1804 as Nr.33; authenticity doubted on stylistic grounds. |
Autograph discovered and found to be authentic
Mozart (Rehm-MISM 1986) (also see remarks to #62 above) |
|
626aI/64 |
624/36 |
Cadenza to KV 595 3rd Mvmt |
-- |
Bb |
-- |
Issued by Artaria in 1801 as Nr.XVIII and André
in 1804 as Nr.34. |
(See remarks to #62 above) |
|
626aII |
-- |
Part II - Concerti by Others |
-- |
|
-- |
-- |
-- |
|
626aII/A |
-- |
Cadenza to KV 107/1 1st Mvmt by JC Bach |
-- |
D |
-- |
On same manuscript pages with Cadenzas KV
626aII/B and Cadenzas versions b) of KV 271 and fragment Anh
C15.11. |
A copy of the Cadenzas to made by Leopold and
Nannerl dates from 1777 (Wolff-MJb 1978/79); paper studies show
paper used in autograph (and Leopold copy) date from Salzburg
1776-77 (Tyson-MJb 1992). |
|
626aII/B |
-- |
Cadenza to KV 107/1 2nd Mvmt by JC Bach |
-- |
G |
-- |
(See KV 626aII/A.) |
See KV 626aII/A. |
|
626aII/C |
-- |
Cadenza to K040 1st Mvmt by L Honauer |
-- |
D |
-- |
Autograph headed "to the first mvmt of
Pastigio[sic] Concerto in D"; copy by Leopold Mozart also
exists. |
Handwriting shows origin time of 1775 in
Salzburg (Plath-MJb 1976/77), and paper used by Mozart from end
of 1774 until 1776 (Tyson-NMA 1992). |
|
626aII/D |
-- |
Cadenza to Op 3/4 1st Mvmt by JS Schroeter |
-- |
D |
-- |
Cadenza written on back of sketch to #6 of "Zaïde". |
Reeser (NMA 1964) believes Mozart acquired
Schroeter Concerto in Paris in 1778, and Cadenzas date from his
return to Salzburg in 1779/80. |
|
626aII/E |
-- |
Cadenzas to Concerto of Unknown Composer |
-- |
C |
-- |
Headed by Constanze "By W.A. Mozart", but, as
manuscript is neither in Wolfgang or Leopold Mozart's hand, was
moved to Anh C15.11 in KV6. |
Manuscript also contains 2 further Cadenzas in F
and Eb, all of unknown hand; not known what concerto intended
for, but has motif reminiscences to J Schobert's Op 4/2 (Berke-NMA
2000). |
|
626aII/F |
-- |
Cadenza to Op 3/6 1st Mvmt by JS Schroeter |
-- |
Eb |
-- |
Only incipit is known. |
In July 1991 the Internationalen Stiftung
Mozarteum obtained a manuscript page on which Leopold Mozart had
written 3 Cadenzas (KV 626aII/F,G,H)--(MISM 1992). |
|
626aII/G |
-- |
Cadenza to Op 3/6 2nd Mvmt by JS Schroeter |
-- |
Bb |
-- |
Only incipit is known. |
See KV 626aII/F. |
|
626aII/H |
-- |
Cadenza to Op 3/1 1st Mvmt by JS Schroeter |
-- |
F |
-- |
Only incipit is known. |
See KV 626aII/F. |
|
626aII/I |
-- |
"Ubergang" [?] |
-- |
C |
-- |
Placed by K6 in Anhang C section as C15.11. |
Autograph found in Jagiellonska Library in
Krakow shows this is actually a modulating Präludium in e, and
is an autograph of Mozart's, dating from probably Salzburg 1777
(Plath-NMA 1982). |
|
626aII/K |
-- |
Cadenzas to 2nd mvmt by I von Beecke |
-- |
D |
-- |
Autograph headed "zum Andante von Beecke"; on
page containing KV 168a and KV 626bII/C; a copy also exists in
Leopold Mozart's hand on other side of copy of Cadenza to KV 40,
(see KV 626aII/C); unknown what concerto of Beecke it was
intended for. |
Probably written during Munich stay of
1774/beginning 1775 (Plath-MJb 1976/77). |
|
626aII/L |
-- |
Two Cadenzas [to Unknown Concerto] |
-- |
D |
-- |
2 unidentified Cadenzas sold at auction in 1916,
nothing else known; possibly identical to page with Cadenzas
KV626aII/C and KV626aII/K. |
This supposed autograph actually Leopold
Mozart's copy of Cadenza KV 626aII/C and 626aII/K, (see remarks
to those entries) (Plath-Festschrift Otto Erich Deustch 1963). |
|
626aII/M |
-- |
Ornamentation to KV 451, 2nd Mvmt |
-- |
G |
-- |
Discussed in K6 under Concerto KV 451. |
-- |
|
626aII/N |
-- |
Cadenza to Unknown Concerto 2nd Mvmt |
-- |
C |
-- |
Autograph discovered in Milan on same manuscript
page as KV 626aII/O; headed "Cadenza Ima". |
No doubt Cadenza to 1st mvmt of JS Schroeter's
Op 3/3 (Reeser-NMA 1964). |
|
626aII/O |
-- |
Cadenza to unknown Concerto 1st Mvmt |
-- |
G |
-- |
See KV 626aII/N; headed "Cadenza Iida"; perhaps
connected with 2nd mvmt of KV 107/2. |
No doubt Cadenza to 2nd mvmt of JS Schroeter's
Op 3/3 (Reeser-NMA 1964). |
|
626b |
-- |
Sketches and Fragments |
-- |
-- |
-- |
-- |
-- |
|
626b/1 |
-- |
4 Sketch Pages |
-- |
unkn |
-- |
On 2 sides completely written on, probably
preserved and cited in main part of catalogue, but not
established; autograph location not known. |
-- |
|
626b/2 |
-- |
Sketch Page |
-- |
var |
-- |
Contains 4 drafts, including one to an Overture,
one for Hn parts; draft to beginning of a Fugue points to 1782
dating; has authenticity remark of Aloys Fuchs; autograph in
private possession in Paris. |
Konrad (Schaffensweise 1992) dates sketch page
1788 or earlier, with 4 different drafts: a) Hn parts are to
Overture, which remains unknown; no Overture in B is known by
Mozart, perhaps to be part of arrangement of Overture of another
composer; b) 28 measures of exposition of 4-part Fugue in a; c)
full score sketch to Canon KV 561 "Bona nox" of 4 measures; d)
full score sketch to Canon KV 559 "Difficile lectu mihi Mars" of
7 measures. |
|
626b/3 |
-- |
Sketch Page |
-- |
unkn |
-- |
Fuchs wrote this is a composition study for
female student; Mozart wrote 1st Vn part and student added 2
accompanying parts plus bass; autograph location unknown. |
2 autograph sections discovered and when placed
together found to no doubt be this page. Handwriting that of
Leopold Mozart and Nannerl Mozart (Plath-Festschrift Arno
Forchert 1986). |
|
626b/4 |
-- |
"Alleluja" |
-- |
unkn |
-- |
Full 4-part voice score; the piece can not be
identified with any known Alleluja, (autograph lost). |
Possibly choral full score from about 1800 in
Stockholm of unidentified composer (Konrad-Schaffensweise 1992). |
|
626b/5 |
-- |
"Musique" |
-- |
unkn |
-- |
Contents unknown, but probably identical to
autograph of Music to Pantomime KV 416d in Paris Bibl Conserv de
Musique; autograph location not known. |
This affiliation is pure speculation; the size
of the manuscript (4 pages) points more to a fragment than a
sketch (Konrad-Schaffensweise 1992). |
|
626b/6 |
|
"Musique" |
-- |
unkn |
-- |
Contents unknown; autograph location unknown. |
Not a Mozart autograph, but a copy of Adagio and
Allegro for Clock Works KV 594, originating from beginning of
19th Century (Plath-Festschrift Otto Erich Deutsch 1963). |
|
626b/7 |
-- |
Pezzo di musica" |
-- |
C(?) |
-- |
Is in Leopold Mozart's hand and has nothing to
do with Wolfgang; autograph in Paris Conserv. De Musique. |
-- |
|
626b/8 |
-- |
"Voice Cadenzas with Text" |
-- |
unkn |
-- |
Most likely identical with cadenzas found in
Florence listed in KV 293e; autograph location unknown. |
If connection to cadenzas in Florence is
correct, these are by Leopold Mozart (Konrad-Schaffensweise
1992). |
|
626b/9 |
-- |
"Cadenza" |
-- |
unkn |
-- |
For a Soprano Aria; surely identical with KV
293e; autograph location unknown. |
-- |
|
626b/10 |
-- |
{Manuscript] |
-- |
unkn |
-- |
On page addressed to Leopold Mozart; possibly
one of Präludien for Nannerl?; autograph location unknown. |
Probably identical with Andante f/Kybd KV 5b (Konrad-Schaffensweise
1992). |
|
626b/11 |
-- |
"Chanson avec musique" |
-- |
unkn |
-- |
Autograph location unknown. |
Plath supposed it is the autograph of song, "Als
Luise die Briefe ihres" KV 520 (Ballin-NMA Crit. Rep 1963). |
|
626b/12 |
-- |
"Largo", "Chorus" |
-- |
unkn |
-- |
Autograph location unknown. |
Autograph in American private possession,
handwriting shows dating between 1777-79, although paper studies
show paper used by Mozart used in second 1782 and then later
(Tyson-NMA 1992); first entry is a 4-part choral full score of 3
measures with tempo indication Largo; second entry a 2-part
continuity draft with designation "Coro" of 6 measures in Kybd
score; unable to determine what choral work either belongs to (Konrad-Schaffensweise
1992, Skb 1777a). |
|
626b/13 |
-- |
""Music" & "Beginning of a Fugue" |
-- |
unkn |
-- |
Autograph location unknown. |
Beginning to a Fugue identical to KV 417B/1;
designation of other music may be a mix-up (Plath-Festschrift
Otto Erich Deutsch 1963). |
|
626b/14 |
-- |
"Sketches to a 3-part Fugue & counterpoint
sketches" |
-- |
unkn |
-- |
Probably identical with KV 375h and KV 417B/6;
autograph location unknown. |
Autograph found to be in private possession;
paper apparently purchased by Mozart in Salzburg during his
visit there in 1783 and used there or Vienna after return
(Tyson-NMA 1992); note by Nissen "Intended for his wife"; 10
entries including KV 375h, instrumental piece in d/F of 2 mm.,
Fugue in c of 2 mm., Fugue KV 417B/6 and other short notations (Konrad-Schaffensweise
1992). |
|
626b/15 |
-- |
"28 measures from large music piece" |
-- |
unkn |
-- |
Given by Mozart's sister to Clarinetist HJ
Bärmann; autograph location unknown. |
Description indicates one of the sections given
away as "Reliques" from unknown Mozart fragment (Konrad-Schaffensweise
1992). |
|
626b/16 |
-- |
"Probable sketch to an Orchestral or Chamber
Music Piece |
-- |
D |
-- |
Described as being a 3/4 Allegro; autograph
location unknown. |
Probably a first or final mvmt from Vienna years
(Konrad-Schaffensweise 1992). |
|
626b/17 |
-- |
"22 measures with latin text & 32 with German
text" |
-- |
unkn |
-- |
Autograph location unknown. |
Plath states supposedly this is autograph of two
Canons KV 559 and KV 559a (Konrad-Schaffensweise 1992). |
|
626b/18 |
-- |
"One of the first compositions of Mozart" |
-- |
unkn |
-- |
"[Cad?]enzen" written in upper corner; autograph
location unknown. |
Photocopy of autograph in possession of
Federhofer, and a copy of M Stadler in Mozarteum from 1780's
exists; contains 7 measures of textless 4-voice parts;
affiliation unknown but perhaps to a spiritual work, a mass? (Konrad-Schaffensweise
1992). |
|
626b/19 |
-- |
Parts to an Aria of CPE Bach |
-- |
unkn |
-- |
Listed in main section of K6 under KV 537d. |
-- |
|
626b/20 |
-- |
2nd Horn part to a Mass |
-- |
unkn |
-- |
Autograph location unknown. |
Autograph found in Stockholm; belongs to Hn
parts added by Mozart to Mass KV 186f (Konrad-Schaffensweise
1992). |
|
626b/21 |
-- |
"Piece de musique autographe" |
-- |
unkn |
-- |
Fragment for S, Vn, Fl, Ob, & Vc; autograph
location unknown. |
Autograph in American private possession, also
on 2 pages are sketches to Quartet f/St KV 464; date of fragment
is no doubt around 1785; Cadenza is 35 measures in full score
(in D) to an unknown Aria on the words "con un la…?" (Konrad-MJb
1995). |
|
626b/22 |
-- |
"Fragment to a Duet in Itlaian, to a Pslam of
David with Bass" |
-- |
unkn |
-- |
Probably a copy; autograph location unknown. |
-- |
|
626b/23 |
-- |
"Motivi di Tarantell" |
-- |
unkn |
-- |
Listed in Anhang C section of K6 as Anh C29.40. |
-- |
|
626b/24 |
-- |
"Fragment of Orchestral full score" |
-- |
unkn |
-- |
Had been listed in K3 after remarks to Anh
109g/23; listed in Anhang C section of K6 as Anh C11.16. |
-- |
|
626b/25 |
-- |
Credo f/4 Voices & strings |
-- |
unkn, Bb, Eb |
-- |
15 measures; beginning with words "in
remissionem peccatorum"; on reverse side, 2 short Kybd pieces in
Bb & Eb, in hand of Leopold Mozart; from Salzburg time; copy in
Berlin State Library. |
Autograph in private possession; is later
version of Credo section, altered version of mm.182-195, of Mass
KV 47d (Senn-NMA 1967); 2 short Kybd pieces on back side are in
Wolfgang's hand; handwriting shows dating of 1768 to 1772 (Konrad-Schaffensweise
1992). |
|
626b/26 |
A024 |
Duet f/2 Sopranos |
-- |
unkn |
-- |
27 measures on text "Ich nenne dich, ohn' es zu
wissen"; listed by Nissen in his Mozart biography; autograph
location unknown. |
Autograph strip of 7 1/2 measures in private
possession for a voice line and Kybd accompaniment; this
portion, probably cut by Constanze or one of her sons and given
away, is of measures 20-27 with words "O welche Freude! Naide!
Sprich, was fehlet mir?" which are in poem "Alexis und Naide",
which begins "Alexis. Ich nenne dich, ohn' es zu wissen" by CH
Weisse; Fragment appears to break off exactly where second voice
would enter; paper of autograph strip dated 1785/87 (Konrad-MJb
1989/90). |
|
626b/27 |
-- |
Fugue f/Keyboard |
-- |
c |
-- |
Autograph in Spokane, Washington USA; 27
measures. |
Autograph now in Library of Congress,
Washington, DC is 23 measures fully executed, then 4 incomplete
measures; handwriting shows dating of end of 1780's (Konrad-Schaffensweise
1992); paper used by Mozart first in summer 1781 and until 1784
(Tyson-NMA 1992); Plath believes perhaps as instruction for
student (Plath-NMA 1982). |
|
626b/28 |
-- |
Ballo Gavotte of CW Gluck |
-- |
G |
-- |
Autograph in private possession in NY; 16
measures with Winds and Timpani added by Mozart; surely belonged
to arrangement, in Leopold Mozart's hand, of dances and Arias
from Gluck's "Paris und Helena"; Anh C17.12; carried the number
8, and no doubt originated from 1773. |
Unknown if handwriting belongs to Leopold,
Wolfgang, or a third person; manuscript is 17 measures (Konrad-Schaffensweise
1992); paper research shows paper used by Mozart from 1773-75
(Tyson-NMA 1992). |
|
626b/29 |
A070 |
Adagio f/Quartet f/Strings |
-- |
F |
-- |
Listed by Nissen in his Mozart biography; 8
measures; Otto Jahn listed key as A; autograph location unknown. |
-- |
|
626b/30 |
A084 |
Quartet f/Strings |
-- |
e |
-- |
Listed by Nissen in his Mozart biography as
having 74 measures, and only the first part is complete;
probably identical with KV 515c, which has approximately the
same number of measures, (72), but in a. |
-- |
|
626b/31 |
-- |
Canonic Studies & Fugue Beginnings |
-- |
G and d |
-- |
Mentioned in K2 and K3 in remarks to Anh 109;
autograph in Mozarteum; contains17-measure 4-part canonic study
in G, and a 10 measures beginning a fugue in d; are on reverse
side of page with fragment of planned finale to Musical Joke KV
522a. |
Paper studies show Mozart used paper in 1787 and
most likely not later than 1788 (Tyson-NMA 1992). |
|
626b/32 |
-- |
Sketch |
-- |
F |
-- |
Autograph in Mozarteum, contains sketches to
Kybd works; Hess presumed it was a sketch to Quartet f/Ob & St
KV 368b. |
Page contains: a) 1-part continuity draft in F
of 8 measures more likely to a Vn or similar; b) multi-voiced
sketch in F of 7 measures; c) 2-part continuity draft in Eb of 6
measures; paper used by Mozart in Vienna 1784-86, but probably
dates from second half of 1786 (Konrad-Schaffensweise 1992, Skb
1785b). |
|
626b/33 |
-- |
Sketch |
-- |
Bb |
-- |
Autograph in Mozarteum; is continuation of KV
626b/32; sketch to Terzett KV 480b |
On same page as KV 626b/33 so dating is same;
sketch of 91 measures (Konrad-Schaffensweise 1992, Skb 1785b). |
|
626b/34 |
-- |
Sketch |
-- |
D |
-- |
Autograph in Paris Bibl Conserv Musique;
contains beginning of overture to an opera buffa. |
Page actually contains 8 entries: a) draft of 30
measures to Gloria from Mass KV 257, b) draft of 64 measures to
Overture of opera buffa, c )melody sketch KV 626b/35, d) draft
of 13 measures to "Et incarnatus est" of Mass KV 257, e) draft
of 8 measures to "Crucifixus" from Mass KV 257, f) sketch of 4
measures of an unknown theme, g) sketch of 11 measures of "Sub
Pontio Pilato" from Mass KV 257, h) sketch of 4 measures to "cujus
regni" from Mass KV 257; planned Overture to serve as new
Overture to Piccini's "L'astratto ovvero Il giocatore fortunate"
(Plath-Festschrift Walter Gerstenberg 1964); page dates from
1776; Konrad believes Overture likely was completed and lost (Konrad-Schaffensweise
1992, Skb 1776a). |
|
626b/35 |
-- |
Sketch |
-- |
G |
-- |
Autograph in Paris Bibl Conserv Musique; on same
manuscript page as overture to same opera buffa as KV 626b/34;
at beginning of sketch "Buffo aria. Ritornell" is written. |
72 measures without text; Plath showed is sketch
to Aria KV 256, an insert in Piccini's opera buffa "L'astratto
ovvero Il giocatore fortunate" (Plath-Festschrift Walter
Gerstenberg 1964). |
|
626b/36 |
-- |
Sketch |
-- |
F |
-- |
Sketch for SATB is from 1773; stood in
connection with copies of works by Michael Haydn & Eberlin, Anh
A71-88; autograph location unknown. |
Autograph at Cornell University actually
contains 7 entries: a) 4-part full score for voices of 15
measures , b) 4-part double canon from Martini's "Storia II" of
5 measures, c) KV 626b/44, d) 4-part double canon of 2 measures,
e) 3-part counterpoint exercise of 3 measures, f) 4-part double
canon of 6 measures, g) 8-part circle canon of 8 measures; dated
variously from 1770/71 to 1774 (Zaslaw-MJb 1971/72; Plath-MJb
1976/77; Tyson-NMA 1992; Konrad-Schaffensweise 1992, Skb 1773b). |
|
626b/37 |
-- |
4-part Piece |
-- |
d |
-- |
Autograph in Newberry Library, Chicago;
handwriting of Leopold Mozart. |
Has nothing to do with Wolfgang, possibly for
one of his students (Plath-MJb 1960/61). |
|
626b/38 |
-- |
Counterpoint Exercise |
-- |
unkn |
-- |
Autograph in Prague University Library. |
Autograph contains a)14 measures in D for
principal part and String Quartet, b) 2 figured bass studies in
C and d, c) exercises in counterpoint, d) textless choral piece
with Obbligato Vn in C, e) sketch in G for S with text "Des
theorien ganze Kunst", f) sketch in C for Soprano without text
of 4 measures; all in Leopold Mozart's hand with exercises g)
also showing minor entries by an unidentified hand (Plath-MJb
1960/61;Konrad-Schaffensweise 1992). |
|
626b/39 |
-- |
Counterpoint Exercise |
-- |
unkn |
-- |
Autograph in British Museum, in Leopold Mozart's
hand. |
Manuscript contains figured bass study in d of
12 measures. Constanze Nissen gave it to Vincent Novello in
1829, however, page in Leopold Mozart's hand; it is the same
sketch in d written down in KV 626b/37 b); this entry is no
doubt identical to that of KV 626b/42 (King-Mozart in Retrospect
1955; Konrad-Schaffensweise 1992). |
|
626b/40 |
-- |
Exercises in Counterpoint |
-- |
unkn |
-- |
Autograph location unknown. |
Konrad believes possibly same as manuscript in
Stockholm Anh C9.07, an textless Terzett "Venerabilis barba
capucinorum" found to be in Mozart's hand (Plath-MJb 1971/72;
Konrad-Schaffensweise 1992) |
|
626b/41 |
-- |
Fragment of full score f/Voice & Orchestra
|
-- |
unkn |
-- |
Einstein believed it belonged to planned German
opera KV 416a; instrumentation indicated to be for Vn, Fl, Ob,
Vc; autograph location unknown. |
Same as KV 626b/41. |
|
626b/42 |
-- |
Bass study |
-- |
unkn |
-- |
Autograph in British Museum; presented by
Constanze to Novello. |
Same as KV 626b/39. |
|
626b/43 |
-- |
{Manuscript} |
-- |
var |
-- |
Contains 2 Minuets and 3 Trios for 2 Vns and
Bass; autograph location unknown. |
Manuscript in Swiss Royal Library; all 3-part
instrumental full scores in which the middle part has not been
entered; all in Nannerl Mozart's hand (Konrad-Schaffensweise
1992). |
|
626b/44 |
-- |
Sketch to a Contredance "le mottet" |
-- |
Bb |
-- |
On reverse side of KV 626b/36; NMA believes
originated in Bologna autumn 1773, writing appears to be later. |
Autograph at Cornell University, NY; 1-part
draft to a Contredance of 16 measures; fact that Contredance had
title suggests it was a tune Mozart heard somewhere and jotted
down; title can be read "mottet", "mollet", "moblet"; possibly
dates from 1773-75 (Zaslaw-MJb 1971/72; Konrad-Schaffensweise
1992, Skb 1773b; Lindmayr-Brandl-MJb 1995). |
|
626b/45 |
-- |
Missa solemnis |
-- |
C |
-- |
Consists of Kyrie, Gloria and Credo for 4 Voices
and Orchestra; incipit is from Gleissner catalogue. |
Senn (NMA 1967) believed this was Mass performed
in Salzburg on Feb 5, 1769; An André catalogue discovered in
Frankfurt remarked "Contained only Kyrie and Gloria and appeared
to be by Mozart's father" (Plath-MJb 1971/72); Carlson (Vocal
Music of Leopold Mozart PhD 1976) lists in doubtful works; from
description in Glister Catalogue, does not appear to be
fragment, but rather of a doubtful work (Konrad-Schaffensweise
1992). |
|
626b/46 |
-- |
Quartet f/Strings |
-- |
g |
-- |
Incipit of Allegro from Gleissner Catalogue,
where it is given year of 1783. |
André catalogue found in Frankfurt remarks "Not
of Mozart's hand" (Plath-MJb 1971/72). |
|
626b/47 |
-- |
Recitative & Aria f/Soprano |
-- |
Eb |
-- |
Incipit is from Gleissner Catalogue, with year
1782. |
Copy found in Hessischen Lib. Fulda is a
fragmentary preserved set of parts for Aria "Dove, ahai dove son
io/Mentre ti lascio, oh figlia" from Paisiello's opera 'La
disfatto di Dario'; Mozart used this text in his Aria for Bass
KV 513 (Plath-MJb 1971/72). |
|
626b/48 |
-- |
Keyboard Exercises |
-- |
C |
-- |
Autograph in Leningrad; on front page 6
bracketed staves with 5 measures, and on back 2 bracketed staves
with 5 measures. |
Handwriting studies date piece in second half of
1780's, possibly written for student J.H. Hummel (Plath-NMA
1982). |
|
Anh A |
-- |
Copies of Other Composers Works in Mozart's
Handwriting |
-- |
-- |
-- |
-- |
-- |
|
Anh A1 |
221 |
Kyrie of E Eberlin f/2 Voices & Basson continuo |
-- |
C |
-- |
Long thought to be work of Mozart, Pfannhauser
found to be work of Eberlin that Mozart had copied; Plath
presumed manuscript (not available to him) by Leopold Mozart. |
Manuscript found in Poland and handwriting is
Leopold's (Tyson-NMA 1992); is portion of Eberlin's Requiem in
C-major (Pfannhauser-Acta Mozartiana 1954) |
|
Abh A2 |
A021 |
Lacrimosa of E Eberlin f/4 Voices, Bass & Organ |
-- |
c |
-- |
Manuscript page originally together with that
which contains Anh A 1 and later detached; Pfannhauser found to
be work of Eberlin that Mozart had copied; Plath found
manuscript to be in Leopold Mozart's hand. |
From same Requiem in C which KV Anh A 1 derived
from, where it was 25 measures long--9 measure orchestral
prelude which Mozart did not copy (Pfannhauser-Acta Mozartiana
1954) |
|
Anh A3 |
(K3 = 93c) |
Requiem(?) von E Eberlin f/4 Voices & Basso
continuo |
-- |
C |
-- |
On same page as KV Anh A 2; see KV Anh A 2. |
From same Requiem in C which KV Anh A1 and A2
derived; |
|
Anh A4 |
326 |
Hymnus of E Eberlin f/4 Voices & Organ |
Justum deduxit and "O sancte" |
C |
-- |
Pfannhauser found to be work of Eberlin that
Mozart had copied; Plath assumed manuscript (not available to
him) to be in Leopold Mozart's hand, on same page as Church
Sonata KV 124A. |
In Eberlin's original Offertory is a Soprano
Aria "Exultate Filii Adae" that Mozart did not copy in his
continuo reduction (Pfannhauser-Acta Mozartiana 1954);
manuscript found in Poland and handwriting is Leopold's
(Tyson-NMA 1992) |
|
Anh A5 |
K3 = mentioned under A109vi |
Osanna of E Eberlin f/Voices |
-- |
C |
-- |
Manuscript unavailable, but from Jahn's remarks
in Leopold Mozart's hand; also on lost manuscript are text from
"Die Schuldigkeit des Ersten Gebots" KV 35 and violin part to
Missa brevis KV 61a in Leopold's hand. |
Autograph now in Augsburg State Archives shows
Osanna and violin parts to KV 61a from Leopold's hand, but other
entries in Wolfgang's; Osanna from an unidentified Mass of
Eberlin (Konrad-Schaffensweise 1992 Skb 1769a) |
|
Anh A10 |
327 |
Hymn of Q Gasparini f/4 Voices, Bass & Organ |
"Adoramus te" |
c |
-- |
Plath stated this copy (not available to him) of
Gasparini's motet from Jahn's remarks to be in Leopold Mozart's
hand. |
Manuscript found in Poland and handwriting is
Leopold's (Tyson-NMA 1992) |
|
Anh A11 |
A239 |
Pignus futurae gloriae of M Haydn f/4 Voices &
Orchestra |
-- |
d |
-- |
Believed copy made by Mozart as study for his
Litaniae KV 125 before March 1772 in Salzburg; from M Haydn's
Litaniae K. IV/14 [Sherman MH 66]. |
On a paper that appears to have been used by
Mozart in Salzburg during his visit in 1783 (Tyson-Auto Scores
1987) Haydn's work dated April 8, 1764 in Salzburg (Sherman-M
Haydn Thematic Catalogue 1993) |
|
Anh A12 |
A240 |
Pignus futurae gloriae of M Haydn f/4 Voices &
Orchestra |
-- |
g |
-- |
Mozart copied this portion of Litaniae de
venerabili sacramento K.IV/13 [Sherman MH 228] from Haydn's
manuscript or a copy. |
Paper studies show copied by Mozart most likely
while returning to Vienna after his 1783 visit to Salzburg,
perhaps on Oct 29 at Lambach monastery (Tyson-Auto Scores 1987);
Haydn's Litananie dated March 26, 1776 in Salzburg (Sherman-M
Haydn Thematic Catalogue 1993) |
|
Anh A13 |
K3 = mentioned under Anh109vi |
Tres sunt of M Haydn f/4 Voices, strings & Organ |
-- |
C |
-- |
Mozart asked for the tres sunt written in his
own hand in a letter from Vienna on March 12, 1783 and received
it days later; portion of M Haydn's Offertorium pro Festo SS
Trinitatis K.IIa/40 [Sherman MH 183]. |
Paper used by Mozart for the first time at the
end of 1771 and then 1774 (Tyson-NMA 1992); Offertory dated by
Haydn on June 7, 1772 in Salzburg (Sherman-M Haydn Thematic
Catalogue 1993) |
|
Anh A14 |
K3 = mentioned under Anh109vi, Nr.14 |
Ave Maria of M Haydn f/4 Voices & strings |
-- |
F |
-- |
In bundle with copies Anh A71-88, only one in
Wolfgang's hand; Haydn's original had an organ prelude K.III/21
[Sherman MH 72]. |
Both Haydn's authentic copy and Mozart's copy
consist of 163 measures, Haydn work from 1765 in Salzburg
(Sherman-M Haydn Thematic Catalogue 1993); on paper used by
Mozart first in 1773 after return from Milan and then through
middle of 1775 (Tyson-NMA 1992) |
|
Anh A15 |
K3 = mentioned under Anh109vi |
Lauda Sion of M Haydn |
-- |
-- |
-- |
Mozart asked his father in a letter of March 12,
1783 for a copy of Michael Haydn's Lauda Sion K.IIa/42 [Sherman
MH 215]. |
Haydn's Sequentia of 4 movements is from 1775 in
Salzburg (Sherman-M Haydn Thematic Catalogue 1993) |
|
Anh A17 |
A238 |
Stabat mater of Marchese E Ligniville f/3 Voices |
-- |
c |
-- |
Probably copied by Mozart in April 1770 in
Florence or Rome; Mozart copied music to Nr.1, Nr.2, Nr.4, Nr.8,
Nr.11, Nr.14, Nr.24, Nr.26, Nr.30 of the Stabat mater; text only
to Nr.2 and beginning of Nr.2. |
Mozart's copy sold at auction in 1996;
handwriting appears to date from ca.1772-73 and paper first used
by Mozart in 1773 after his return from Italy and then through
middle of 1775 (Sotheby London Auction Catalogue of Dec 6, 1996)
|
|
Anh A18 |
(K3) Anh 109ix |
Et in terra of L Mozart |
-- |
F |
-- |
Plath showed in Leopold Mozart's hand. |
Is portion of Missa brevis in F KV 90a, now
believed to be work of Leopold Mozart (Plath-MJb 1972/72 and
Carlson-Vocal Works of Leopold Mozart 1976) |
|
Anh A19 |
(K3) mentioned under Anh 109ix |
Cum sancto spiritu of L Mozart |
-- |
F |
-- |
Plath showed in Leopold Mozart's hand. |
Is portion of Missa brevis in F KV 90a, now
believed to be work of Leopold Mozart (Plath-MJb 1972/72 and
Carlson-Vocal Works of Leopold Mozart 1976) |
|
Anh A22 |
93 |
Psalm of Carl Georg Reutter |
"De profundis clamavi ad te Domine" |
C |
-- |
Long thought to be work of Mozart, Pfannhauser
found to be a continuo reduction of work of Reutter. |
Paper first used by Mozart after his return from
Prague in Dec 1787 and through 1791 (Tyson-NMA 1992); Reutter's
work dates from 1757 (Pfannhauser-Acta Mozartiana 1954) |
|
Anh A23 |
A022 |
Psalm of Carl Georg Reutter |
"Memento Domine David" |
F |
-- |
Pfannhauser established a copy (sketch study) of
Reutter's work. |
Mozart only sketched out 32 measures of
Reutter's 137 measures, which dated from 1757 (Pfannhauser-Acta
Mozartiana 1954); paper used by Mozart from Dec 1787 to Feb 1789
also contains sketch for the finale of the "Jupiter" Symphony
(Tyson-Auto Scores 1987); Konrad does not believe sketch is for
"Jupiter", but unknown identification, does not dispute dating
(Konrad-Schafensweise Sk 1787l) |
|
Anh A30 |
(K3) Anh 109x |
Canon of Johann Phillip Kirnberger |
-- |
G |
-- |
Mozart's solution of Kirnberger canon, which
originally had text "Wir irren alle samt", page also contains
exercises and two further notations of Canon in F-major. |
Mozart's copy dates from 1782
(Konrad-Schaffesnsweise 1992) |
|
Anh A31 |
227 |
3-part Canon of William Byrd |
["O wunder schön ist Gottes Erde"] |
C |
-- |
Textless canon printed by B&H with text "O
wunder schön ist Gottes Erde" in Oeuvres; canon known in England
with text "Non nobis, Domine, non nobis" attributed to Byrd and
printed prior to Mozart's lifetime. |
Original composition perhaps not by Byrd, true
author unknown (Brett-Musical Times 1972) |
|
Anh A32 |
K3a = Anh 109iia |
4-part Canon of Padre GB Martini |
["Psallite Domino Psallite Domino in cithera'] |
F |
-- |
Canon from Martini's "Storia della musica";
Mozart copied without text and resolved; Mozart's copy appeared
to originate from July or Aug 1700 in Bologna or later; on same
page with 4-part Canon A A33. |
Handwriting studies appear to date page 1772
(Plath-MJb 1976/77) |
|
Anh A33 |
K3a = Anh 109iia |
4-part Canon of Padre GB Martini |
["Cantemus Domino: gloriose enim magnificatus
est"] |
F |
-- |
Canon from Martini's "Storia della musica";
Mozart copied without text and resolved; Mozart's copy appeared
to originate from July or Aug 1700 in Bologna or later; on same
page with 4-part Canon A A33. |
Handwriting studies appear to date page 1772
(Plath-MJb 1976/77) |
|
Anh A50 |
K3 = Anh 223c |
Instrumental movement f/2 solo Violins &
Orchestra |
-- |
D |
-- |
Manuscript (in pencil) dates from sometime after
1770, if the handwriting is that of Mozart; it is not out of the
question Mozart had begun to copy out a composition of an older
composer. |
Manuscript is in Mozart's hand; it could be the
beginning of a Divertimento or perhaps of a Sinfonia Concertante
(for 2Violins?) (Füssl-NMA 1964); perhaps a study to the very
similar in setting Concertone KV 186E from May 1774 (Mahling-NMA
1974); Mahling also believes work's simplicity speaks against
being a copy of another composer's work (MISM 1975); paper first
used by Mozart after his return to Salzburg from Italy in 1773
until middle of 1775; |
|
Anh A51 |
018 |
Symphony of KF Abel |
-- |
Eb |
-- |
Mozart's copy of Abel Symphony Op.7/6 made in
London in 1764; Mozart substituted two Clarinets for 2 Oboes;
early thought to be authentic Mozart and numbered Symphony #3 in
AMA Series 8. |
-- |
|
Anh A52 |
291 |
Finale of a Symphony (Fugue) of M Haydn |
-- |
D |
-- |
Copy of beginning of finale of Haydn's Symphony
P.43 [Sherman 287]; without knowing manuscript of Mozart's
unable to state if from earlier Salzburg time or during 1783
visit; S. Sechter provided with introduction and added 253
measures to Mozart's (45 measure) beginning in a 4-hand
arrangement of work. |
Mozart's copy in British Museum on paper only
used by him toward the end of 1783 in Steyr and Linz after his
Salzburg visit and perhaps performed in Linz (Zaslaw-Mozart's
Symphonies 1989); M Haydn symphony composed ca. 1778-80
(Sherman-M Haydn Thematic Catalogue 1993) |
|
Anh A53 |
444 |
Symphony of M Haydn |
-- |
G |
37 |
Mozart composed new introduction 'Adagio
maestoso' KV 425a and copied out remainder of first movement of
M Haydn Symphony in G P.16 [Sherman 334] for same concert in
Linz that Symphony KV 425 was performed in early Nov 1783.
Entire symphony, with Adagio maestoso, published in AMA as
Symphony #37. |
Only Allegro and half of Andante in Mozart's
hand, remainder in another hand; paper used by Mozart only after
his return to Vienna from Salzburg in Linz, and mainly in months
of Feb to April 1784 (Zaslaw-Mozart's Symphonies 1989); Haydn's
symphony dated May 23, 1783 in Salzburg [Sherman-M Haydn
Thematic Catalogue 1993] |
|
Anh A59 |
K3 = 387d |
4 Incipits of Symphony Movements |
-- |
var |
-- |
Mozart jotted down opening measures to 3 Franz
Haydn symphonies (Nr.75 in D, Nr.47 in G, Nr.62 in D) and
another to an unknown symphony in C, on back of page with
cadenza to Andante of a Piano Concerto; associated with letter
of May 15, 1784 in which Mozart writes he owned Haydn's last
three symphonies. |
Reference to 3 Haydn symphonies probably refers
to Michael Haydn symphonies; fourth symphony notation seems more
like middle of first movement exposition or a middle movement;
could be a memorandum of a work by another composer
(Zaslaw-Mozart's Symphonies 1989); paper used by Mozart
throughout 1784 (Tyson-NMA 1992) |
|
Anh A60 |
A292 |
4-part Fugue of JJ Froberger |
-- |
C |
-- |
Mozart made two copies of Fugue, one for piano
(32 mm.) another for string quartet (49 mm.); Froberger's
composition originally printed in 1650 as "Phantasia". |
Piano version stops after 32 measures, quartet
version arrives at premature but logical conclusion; some
notations in score possibly by M. Stadler; handwriting dates
from not before 1785/86 (Biba-Preface to Facsimile of String
Quartet version 1990); Plath believed this was 6th Fugue of
Mozart's arrangements for String Quartet KV 405
(Plath-Festschrift Gerhard Croll 1992) |
|
Anh A61/62 |
K2 = 154a |
2 Small Fugues (Versetten) f/Piano (or Organ) |
-- |
G & Eb |
-- |
Pieces very (No Suggestions), perhaps copies of
works of older Salzburg composers (Muffat or Eberlin?); both
works on same page. |
Handwriting studies show both compositions date
from 1772/73 (Plath-MJb 1976/77); Plath (NMA 1982) stated these
are original compositions of Mozart; Tyson believed possibly
derived from a now lost music book used by the Mozart family in
the 1760's and 1770's (Tyson-Auto Scores 1987) |
|
Anh A65 |
K3 = A206a |
Adagio f/Klavier(?) |
-- |
F |
-- |
Mozart's manuscript dates from between 1772 and
1774/75; likely the ornamented version of an Adagio of unknown
origin. |
Autograph auctioned at Sotheby London in 1990;
Zaslaw unable to determine original composer but does not rule
Mozart out; Mozart's version intended to be played second time
through each half of piece--original unornamented version played
first is now lost (Zaslaw-Essays in Honor of Alan Tyson 1998)
|
|
Anh A71 |
K3 = Anh 109vi |
Church Work of M Haydn |
"In te Domine speravi" |
C |
-- |
79 pages with 153 written on sides of various
church works of M Haydn and Eberlin all in Leopold Mozart's hand
(with exception of Nr.14--see KV Anh A14).G48 |
Leopold Mozart put together as study book in
1773 (Schmid-Mozart and Salzburg Tradition 1976 1976); finale
movement of Te Deum" K.V/2, MH 72, composed in Salzburg Dec 9,
1770 (Sherman-M Haydn Thematic Catalogue 1993) |
|
Anh A72 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Missa" |
C |
-- |
(See Anh A71.) |
Listed in Herbort catalogue of Eberlin'sMasses
(1961) as "Herbort II" (Schmid-Mozart und Salzburg Tradition
1976) |
|
Anh A73 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Missa" |
C |
-- |
(See Anh A71.) |
Listed in Herbort catalogue of Eberlin'sMasses
(1961) as "Herbort I" (Schmid-Mozart und Salzburg Tradition 1976
1976) |
|
Anh A74 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Missa" |
e |
-- |
(See Anh A71.) |
Listed in Herbort catalogue of Eberlin'sMasses
(1961) as "Herbort III" (Schmid-Mozart und Salzburg Tradition
1976) |
|
Anh A75 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Recessit pastor" |
d |
-- |
(See Anh A71.) |
-- |
|
Anh A76 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Tenebrae" |
F |
-- |
(See Anh A71.) |
-- |
|
Anh A77 |
K3 = Anh 109vi |
Church Work of E Eberlin |
Graduale pro Dominica in Palmis "Tenuisti manum" |
C |
-- |
(See Anh A71.) |
Written by Eberlin as gradual for Palm Sunday,
dated 1740 (Pauly-Journal American Music Society 1962) |
|
Anh A78 |
K3 = Anh 109vi |
Church Work of E Eberlin |
Offertorium "Improperium expectavit" |
Eb |
-- |
(See Anh A71.) |
Written by Eberlin as offertory for Palm Sunday,
dated 1740 (Pauly-Journal American Music Society 1962) |
|
Anh A79 |
K3 = Anh 109vi |
Church Work of E Eberlin |
Communio "Pater, Pater" |
c |
-- |
(See Anh A71.) |
Written by Eberlin as communio for Palm Sunday,
dated 1740 (Pauly-Journal American Music Society 1962) |
|
Anh A80 |
K3 = Anh 109vi |
Church Work of M Haydn |
"Tenebrae" |
Eb |
-- |
(See Anh A71.) |
Written by M Haydn in Salzburg ca.1770-72
(Sherman-M Haydn Thematic Catalogue 1993) |
|
Anh A81 |
K3 = Anh 109vi |
Church Work of E Eberlin |
Motett "In nomine Jesu" |
g |
-- |
(See Anh A71.) |
-- |
|
Anh A82 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Christus factus est pro nobis" |
g |
-- |
(See Anh A71.) |
-- |
|
Anh A83 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Dominus Jesus" |
g |
-- |
(See Anh A71.) |
-- |
|
Anh A84 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Benedixisti Domine" |
e |
-- |
(See Anh A71.) |
-- |
|
Anh A85 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Dextera Domine" |
Bb |
-- |
(See Anh A71.) |
-- |
|
Anh A86 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Cum Sancto Spiritu" |
C |
-- |
(See Anh A71.) |
From Mass Nr.24 in the Herbort catalogue of
Eberlin Masses (Schmid-Mozart und Salzburg Tradition 1976) |
|
Anh A87 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Kyrie" |
C |
-- |
(See Anh A71.) |
From Mass Nr.32 in the Herbort catalogue of
Eberlin Masses (Schmid-Mozart und Salzburg Tradition 1976) |
|
Anh A88 |
K3 = Anh 109vi |
Church Work of E Eberlin |
"Cum Sancto Spiritu" |
C |
-- |
(See Anh A71.) |
From Mass Nr.34 in the Herbort catalogue of
Eberlin Masses (Schmid-Mozart und Salzburg Tradition 1976) |