Wolfgang Amadeus Mozart

Austrian composer, 1756-1791

"Mozart was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that ""posterity will not see such a talent again in 100 years"". His music, like Haydn's, stands as an archetype of the Classical style."

Source: Wikipedia

Mozart, Wolfgang Amadeus

österr. Komponist (1756-1791). Autograph musical manuscript. [Bologna, Juli/ August 1770, oder Salzburg, aus späterer Zeit.]. 4 pp. Querformat, 10-zeilig. Ränder scharf beschnitten. Heftspuren am linken Rand. Mit wenigen Anmerkungen in Blei von fremder Hand. Auf der vierten Seite kleiner Randeinriss an unterer Ecke (alt hinterlegt).
$ 394,695 / 350.000 € (78926)

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..

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(Mozart, Wolfgang Amadeus

composer [1756-1791], attributed). "Brief von Mozart an Baron E.". Handwritten copy of a letter. No place. 4to (ca. 165 x 215 mm). German cursive, ink on paper. 6½ pp. on 2 bifolia.
$ 2,819 / 2.500 € (77545/BN49988)

Contemporary copy of the notoriously spurious but influential letter supposedly written by Mozart to "Baron ...", the authenticity of which Otto Jahn had refuted compellingly as early as 1858, based on its numerous stylistic and factual discrepancies. The letter was first published in 1815 by Friedrich Rochlitz in the Allgemeine Musikalische Zeitung (no. 34, 23 August, cols. 561-566) and was widely reprinted and discussed. Perhaps more than anything else, the writer's self-reflexive statements about his creative method captured the fancy of Mozart scholars: "[...] Wie nehmlich meine Art ist beym Schreiben und Ausarbeiten von großen und derben Sachen? - Nehmlich, ich kann darüber wahrlich nicht mehr sagen als das, und ich weiß selbst nichts mehr, und kann auf weiter nichts kommen.

Wenn ich recht für mich binn, und guter Dinge, etwa auf Reisen im Wagen, oder nach guter Mahlzeit beym Spatzieren, und in der Nacht, wenn ich nicht schlafen kann, da kommen mir die Gedanken stromweis und am besten. Woher u. wie, das weiß ich nicht, kann auch nichts dazu. Die mir nun gefallen, die behalte ich im Kopf, u. summe sie wohl auch vor mich hin, wie mir andre wenigstens gesagt haben. Halt ich nun fest, so kömmt mir bald eins nach dem andern bey, wozu so ein Brocken zu brauchen wäre, um eine Pastete daraus zu machen, nach Contrapunct, nach Klang der verschiedenen Instrumente usw. Das erhitzt mir nun die Seele, wenn ich nehmlich nicht gestört werde; da wird es immer größer; und ich breite es immer breiter und heller aus, und das Ding wird im Kopf warlich fast fertig, wenn es auch lang ist, so daß ich's hernach mit einem Blick, gleichsam wie ein schönes Bild, oder einen hübschen Menschen, im Geiste übersehe, u. es auch gar nicht nach einander, wie es hernach kommen muß, in der Einbildung höre, sondern wie gleich alles zusammen. Das ist nun ein Schmaus! [...]". - Mozart's alleged reflections on his composing process were grist to the mill for the Romantic era's Cult of Genius: "Nothing less than calamitous [for the question of Mozart's creative method] was the dubious and in its published form unquestionably spurious 'letter by Mozart to Baron etc.', which seemed to establish once and for all that Mozart composed his works in his mind alone, without recourse to any musical or writing instrument, that a perfect work thus took shape rapidly, in an almost vegetal process, within the composer's imagination and was then stored away in his memory forever, and that, finally, the writing of the music on staff paper constituted merely a mechanical act entirely divorced from external circumstances" (cf. Ulrich Konrad, in MGG). Jahn wrote, "I would not go so far as to assert that the letter is an outright forgery; it was probably based on a letter of Mozart's which was revised and to which were added certain characteristic traits which were deemed authentic, so as to create a more richly suggestive document. It will be impossible to tell with any degree of certainty that which is real and original from that which is altered and added; yet it is undeniable that the letter, as it stands, cannot have been written by Mozart" (cf. Jahn, p. 505). - Noticeably browned; light waterstains along the upper edge and gutter. While the letter appears to be copied from one of the several published sources of the early 19th century, the internal evidence of paper, ink and script would be entirely consistent with a date before the first publication in 1815, and it is tantalizing to speculate that Rochlitz based his transcription on this very specimen..

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Mozart, Wolfgang Amadeus

Eigenhändiges Manuskript Magnificat, KV 321a.
Autograph ist nicht mehr verfügbar

Mozart, Wolfgang Amadeus

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.