|
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). |
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626aII/L |
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Two Cadenzas [to Unknown Concerto] |
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D |
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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). |
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626aII/M |
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Ornamentation to KV 451, 2nd Mvmt |
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G |
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Discussed in K6 under Concerto KV 451. |
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626aII/N |
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Cadenza to Unknown Concerto 2nd Mvmt |
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C |
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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). |
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626aII/O |
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Cadenza to unknown Concerto 1st Mvmt |
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G |
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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). |
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626b |
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Sketches and Fragments |
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626b/1 |
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4 Sketch Pages |
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unkn |
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On 2 sides completely written on, probably preserved and cited in main part of catalogue, but not established; autograph location not known. |
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626b/2 |
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Sketch Page |
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var |
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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. |
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626b/3 |
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Sketch Page |
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unkn |
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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). |
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626b/4 |
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"Alleluja" |
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unkn |
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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). |
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626b/5 |
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"Musique" |
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unkn |
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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). |
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626b/6 |
"Musique" |
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unkn |
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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). |
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626b/7 |
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Pezzo di musica" |
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C(?) |
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Is in Leopold Mozart's hand and has nothing to do with Wolfgang; autograph in Paris Conserv. De Musique. |
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626b/8 |
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"Voice Cadenzas with Text" |
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unkn |
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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). |
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626b/9 |
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"Cadenza" |
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unkn |
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For a Soprano Aria; surely identical with KV 293e; autograph location unknown. |
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626b/10 |
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{Manuscript] |
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unkn |
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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). |
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626b/11 |
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"Chanson avec musique" |
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unkn |
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Autograph location unknown. |
Plath supposed it is the autograph of song, "Als Luise die Briefe ihres" KV 520 (Ballin-NMA Crit. Rep 1963). |
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626b/12 |
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"Largo", "Chorus" |
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unkn |
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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). |
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626b/13 |
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""Music" & "Beginning of a Fugue" |
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unkn |
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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). |
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626b/14 |
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"Sketches to a 3-part Fugue & counterpoint sketches" |
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unkn |
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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). |
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626b/15 |
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"28 measures from large music piece" |
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unkn |
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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). |
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626b/16 |
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"Probable sketch to an Orchestral or Chamber Music Piece |
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D |
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Described as being a 3/4 Allegro; autograph location unknown. |
Probably a first or final mvmt from Vienna years (Konrad-Schaffensweise 1992). |
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626b/17 |
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"22 measures with latin text & 32 with German text" |
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unkn |
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Autograph location unknown. |
Plath states supposedly this is autograph of two Canons KV 559 and KV 559a (Konrad-Schaffensweise 1992). |
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626b/18 |
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"One of the first compositions of Mozart" |
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unkn |