Wolfgang Amadeus Mozart
Komponist, 1756-1791
Mozarts umfangreiches Werk genießt weltweite Popularität und gehört zum Bedeutendsten im Repertoire klassischer Musik. Es ist eine nachweisbare Eigenheit Mozarts, dass er während all seiner Kompositionsperioden Musik der verschiedensten Stile in sich aufgenommen und hieraus mannigfaltige Anregungen geschöpft hat. Wesentlich geprägt ist sein Kompositionsstil von süddeutschen und italienischen Stilelementen der zweiten Hälfte des 18. Jahrhunderts. Alles in allem schuf Mozart aus den von ihm vorgefundenen Stilen und Kompositionstechniken dank seiner singulären kreativen Fähigkeiten Musik von großer Komplexität und bedeutender Stilhöhe. Daran konnten Beethoven und die Komponisten des 19. Jahrhunderts anknüpfen.
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Eigenhändiges Musikmanuskript.
Autograph ist nicht mehr verfügbar
The manuscript contains 4 complete canon compositions (each with theme and interpretation), as well as the theme of one other canon, all of them with autograph texts. -A three-part canon titled "Canon ad duodecimam: clama ne cesses" on the first page, with counterpart, set to "Confitebor tibi Domine […]", 8 bars. Below, titled "Canon ad diapente, Diapason et Diapason diapente", a 4-part canon, set to "Cano peana magnum Deu[m] appollinem", 5 bars. A 9-part canon on pages 2 and 3, set to "A musi[s] heliconiadibus incipiamus canere […]", 17 bars, with the voices following one bar at a time. A 3-part canon on page 4, set to the words "in cipe menalios mecum […]", 15 bars. Below, the theme of another canon, titled "Canon. Ter voce ciemus" with the addition "Voce ter insonuit", set to "Tebana bella cantus Troiana cantat alter", as well as their reversal "Troiana cantat alter Tebana bella cantus". - The Köchel catalogue (6th ed., 1964) lists the first canon at nr. 73r (3) in a differing version, the second canon isn't mentioned, the third and fourth appear at nr. 73x (13 and 14), the fifth canon is part of nr. 73r (4). - Regarding nr. 73x, the Köchel catalogue reports that "when Leopold and Wolfgang were in Bologna in summer 1770, Padre Martini presented them with the first two volumes of his three-volume history of music ["Storia della musica"], of volume two probably merely with the plates […] Wolfang was presumably more attracted to the artistic canonic structures than to the scholarly text. Dissolving them was likely part of his education with Padre Martini. Whether all of the manuscripts originate from that time remains unclear" [transl.]. It's possible that Mozart reengaged himself in the canons at a later point in his life as well. - The first canon appears to be modelled on Martini's canon I/67, canons two and three resembling canon II/1. The themes of the fifth canon exactly correspond to the vignette from the "Storia della Musica" II/41. - From the collection of Aloys Fuchs in Vienna, who combined the 14 canonic studies, mentioned in the Köchel catalogue at nr. 73x, to an anthology (the mansucript of the first 12 studies was sold in 1958 by J. A. Stargardt). - Last at J. A. Stargardt in 1970 (with reproductions of pages 2 and 3 in their original size on folding plates). - Edges sharply trimmed. Traces of stitching on the left edge. A few pencil notes in an unknown hand. A small, rebacked tear at the lower corner of page 4.
Autograph letter signed ("Mozart [manupropria]").
Autograph ist nicht mehr verfügbar
To the great Austrian botanist Nikolaus Joseph von Jacquin (1727-1817), asking him to send him three musical scores by way of the messenger: "Ich bitte sie, mir durch überbringer dieses das quartett in g minor, die Sonata in Eb und das Neue Terzett in g zu überschicken". The pieces in question are KV 478 (Piano Quartet No. 1 in G minor, 1785), KV 481 (Violin Sonata No. 33 in E-flat major, 1785), and KV 496 (Trio for Piano, Violin and Cello in G Major). This latter, "new" trio "in g" was completed on 8 July 1786, which fact provides the terminus post quem for dating the letter. KV 478 was published as early as December 1785, the other two would see publication in 1786. While the edition of Mozart's "Briefe und Aufzeichnungen" by Bauer and Deutsch hypothesizes that the composer required the latter two works so as to have them engraved by Hoffmann or to make final corrections before going to press (VI, 298), Wolfgang Rehm (Miscellanea, p. 154) has suggested a different reason why Mozart might have desired to have these pieces returned. In his letter to Sebastian Winter, valet de chambre to the Fürstenbergs (dated August 8th, 1786), in which he made the Prince of Fürstenberg an offer of a number of older as well as recent compositions, Mozart included these three works, clustered together at the end of his list: thus, Mozart's request to Jacquin for the "quartett", "Sonata", and "Terzett" would appear to be in connection with his plans of offering them to the Donaueschingen court. - Mozart knew the Jacquins well and dedicated a considerable number of his works to the family, notably the "Kegelstatt Trio", which was first performed at Jacquin's house in August 1786 with his daughter Franziska at the piano. Mozart gave piano lessons to Franziska and wrote two songs for his son Gottfried, one of the composer's closer friends in Vienna, which were published under Gottfried's name. - Slightly browned and wrinkled, edges irregular; numbered "I" in blue ballpoint at upper left. Overall in sound and attractive condition.