|
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) |
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