KEYBOARD MUSIC - DME Mozarteum

New Mozart Edition IX/25/1 Keyboard Sonatas

International Mozart Foundation, Online Publications IV

WOLFGANG AMADEUS MOZART

Series IX

KEYBOARD MUSIC

WORK GROUP 25: KEYBOARD SONATAS · VOLUME 1

PRESENTED BY WOLFGANG PLATH AND WOLFGANG REHM

1986


International Mozart Foundation, Online Publications V

Neue Mozart-Ausgabe (New Mozart Edition)*

WOLFGANG AMADEUS MOZART

The Complete Works

BÄRENREITER KASSEL � BASEL � LONDON

En coopération avec le Conseil international de la Musique

Editorial Board: Dietrich Berke � Wolfgang Plath � Wolfgang Rehm

Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London

BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel

As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available

The editing of the NMA is supported by City of Augsburg City of Salzburg

Administration Land Salzburg City of Vienna

Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by

Akademie der Wissenschaften und der Literatur Mainz, with funds from

Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus

Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna

* Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA.


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CONTENTS

Editorial Principles ……………..……………………………………...……………….. VII

Foreword………….…………………….……………………………………………… IX Facsimiles: Four pages from the autograph of the cycle KV 279 – 284 = Nos. 1 – 6 …... XVIII

Facsimile: Last page of the slow movement from Leopold Mozart’s copy of KV 309 (284b) = No. 7……………………………………………….................... XXII

Facsimile: Third page of the last movement from the autograph of KV 311 (284c) = No. 8…………………………………………………………… XXIII

Facsimile: First page of the opening thematic group from the autograph of KV 310 (300d) = No. 9…………………………………………………………… XXIV

Facsimile: First page of the last movement from the autograph of KV 310 (300d) = No. 9…………………………………………………………… XXV 1. Sonata in C KV 279 (189d)…………………………………………………………….. 2

2. Sonata in F KV 280 (189e)…………………………………………………………….. 14

3. Sonata in Bb KV 281 (189f)……………………………………………………………. 26

4. Sonata in Eb KV 282 (189g)……………………………………………………………. 40

5. Sonata in G KV 283 (189h)……………………………………………………………. 48

6. Sonata in D KV 284 (205b)……………………………………………………………. 60

7. Sonata in C KV 309 (284b)…………………………………………………………….. 84

8. Sonata in D KV 311 (284c)…………………………………………………………….. 104

9. Sonata in A minor KV 310 (300d)……………………………………………………... 122 Appendix

First, discontinued version of the first movement of KV 284 (205b)…………………….. 140


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EDITORIAL PRINCIPLES

The New Mozart Edition (NMA) provides for research purposes a music text based on impeccable scholarship applied to all available sources – principally Mozart’s autographs – while at the same time serving the needs of practising musicians. The NMA appears in 10 Series subdivided into 35 Work Groups:

I: Sacred Vocal Works (1–4) II: Theatrical Works (5–7) III: Songs, Part-Songs, Canons (8–10) IV: Orchestral Works (11–13) V: Concertos (14–15) VI: Church Sonatas (16) VII: Large Solo Instrument Ensembles (17–18) VIII: Chamber Music (19–23) IX: Keyboard Music (24–27) X: Supplement (28–35)

For every volume of music a Critical Commentary (Kritischer Bericht) in German is available, in which the source situation, variant readings or Mozart’s corrections are presented and all other special problems discussed. Within the volumes and Work Groups the completed works appear in their order of composition. Sketches, draughts and fragments are placed in an Appendix at the end of the relevant volume. Sketches etc. which cannot be assigned to a particular work, but only to a genre or group of works, generally appear in chronological order at the end of the final volume of the relevant Work Group. Where an identification regarding genre is not possible, the sketches etc. are published in Series X, Supplement (Work Group 30: Studies, Sketches, Draughts, Fragments, Various). Lost compositions are mentioned in the relevant Critical Commentary in German. Works of doubtful authenticity appear in Series X (Work Group 29). Works which are almost certainly spurious have not been included. Of the various versions of a work or part of a work, that version has generally been chosen as the basis for editing which is regarded as final and definitive. Previous or alternative forms are reproduced in the Appendix. The NMA uses the numbering of the Köchel Catalogue (KV); those numberings which differ in the third and expanded edition (KV3 or KV3a) are given in brackets; occasional differing numberings in the sixth edition (KV6) are indicated. With the exception of work titles, entries in the score margin, dates of composition and the footnotes, all additions and completions in the music volumes are indicated, for which the following scheme

applies: letters (words, dynamic markings, tr signs and numbers in italics; principal notes, accidentals before principal notes, dashes, dots, fermatas, ornaments and smaller rests (half notes, quarters, etc.) in small print; slurs and crescendo marks in broken lines; grace and ornamental notes in square brackets. An exception to the rule for numbers is the case of those grouping triplets, sextuplets, etc. together, which are always in italics, those added editorially in smaller print. Whole measure rests missing in the source have been completed tacitly. The title of each work as well as the specification in italics of the instruments and voices at the beginning of each piece have been normalised, the disposition of the score follows today’s practice. The wording of the original titles and score disposition are provided in the Critical Commentary in German. The original notation for transposing instruments has been retained. C-clefs used in the sources have been replaced by modern clefs. Mozart always notated singly occurring sixteenth, thirty-second notes etc. crossed-through, (i.e. instead of ); the notation therefore does not distinguish between long or short realisations. The NMA generally renders these in the

modern notation etc.; if a grace note of this kind should be interpreted as ″short″ an additional indication ″ ″ is given over the relevant grace note. Missing slurs at grace notes or grace note groups as well as articulation signs on ornamental notes have generally been added without comment. Dynamic markings are rendered in the modern form, e.g. f and p instead of for: and pia: The texts of vocal works have been adjusted following modern orthography. The realisation of the bass continuo, in small print, is as a rule only provided for secco recitatives. For any editorial departures from these guidelines refer to the relevant Foreword and to the Critical Commentary in German. A comprehensive representation of the editorial guidelines for the NMA (3rd version, 1962) has been published in Editionsrichtlinien musikalischer Denkmäler und Gesamtausgaben [Editorial Guidelines for Musical Heritage and Complete Editions]. Commissioned by the Gesellschaft für Forschung and edited by Georg von Dadelsen, Kassel etc., 1963, pp. 99-129. Offprints of this as well as the Bericht über die Mitarbeitertagung und Kassel, 29. – 30. 1981, published privately in 1984, can be obtained from the Editorial Board of the NMA. The Editorial Board


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FOREWORD The Works collected in this Volume The two volumes of the New Mozart Edition (NMA) presented here publish all the known Piano Sonatas in their authentic instrumentation. Each volume contains nine numbers in its main musical text;1 in addition, the Appendix to Volume 1 prints the first, discontinued version of the first movement of KV 284 (205b), while the Appendix to Volume 2 contains not only the first version of the Rondo KV 494, later re-worked by Mozart and combined with the two movements KV 533 to form a Piano Sonata (No. 15), but also seven fragmentary sonata-form movements. In the second volume, a work is encountered which may not be familiar as a Piano Sonata, namely the Sonata in Bb KV 570 (= No. 17), which, although entered in Mozart’s handwritten work catalogue as A Sonata for Piano alone, has been offered in many editions as a Sonata for Piano and Violin.2 It is possible that one further Sonata will be sought in vain in this series, the four movements grouped together in KV3 under the number 498a, but listed separately in KV6: in Appendix B to 450, 456, 595 (Andante and Rondo) and as Appendices C 25.04 and 25.05 (opening of a movement and Menuett). The editors of the Piano Sonatas presented in the NMA share with KV6 the belief that these sonata movements represent compositions (opening of a movement and Menuett) or arrangements (slow and final movements) from the pen of the former cantor of the Thomaskirche in Leipzig, August Eberhard Müller (1767–1817), as whose Opus 26 they were in fact published in a contemporary printed edition.3 Voices have been raised for the (partial) authenticity of this Sonata, however,

1 Vol. 1: KV 279–284 (189d–h and 205b), KV 309 (284b), KV 311 (284c) and KV 310 (300d); Vol. 2: KV 330–332 (300h–k), KV 333 (315c), KV 475 and 457, KV 533 + 494, KV 545, KV 570 and KV 576. 2 On this cf. NMA VIII/23: Sonatas and Variations for Piano and Violin • Volume 2 (Eduard Reeser), p. XVI (Foreword), and the Foreword to the second volume of Piano Sonatas (NMA IX/25/2). 3 Sonate pour le Clavecin ou Piano Forte comp. par A. E. Müller Œuvr. XXVI, Vienna and Leipzig, 1801 (Hoffmeister & Kühnel); the first impression of this edition (Leipzig, 1798: J. P. v. Thonus) names Mozart as the composer.

including Hermann Abert4, Théodore de Wyzewa and Georges de Saint-Foix5 and Alfred Einstein (in KV3), joined more recently by Karl Marguerre.6 For this reason, these four movements have been presented for renewed discussion in Work Group 29 of the NMA (Works of dubious Authenticity). A special case in this context is represented by the Piano Sonata KV1 Appendix 135, placed as a work in three movements (combined with KV1 54 = KV2 Appendix 138a) under the number 547a in the main text of the Köchel-Verzeichnis by Einstein. Opposing Einstein’s view, Karl Marguerre argued convincingly in 1959 that the supposed final movement of the Sonata, a Theme with Variations (= KV2 Appendix 138a) amounts to nothing more than the arrangement in a foreign hand of the piano part of the third movement of the Sonata for Piano and Violin in F KV 547, while the first two movements of the Sonata, Allegro and Rondo (= KV1 Appendix 135), must be considered arrangements, again in a foreign hand, of the second movement of the same Sonata and of the third movement of the C major Piano Sonata KV 545. The alleged Piano Sonata is thus a posthumous re-working and, in this form, has nothing to do with Mozart.7 The editors of KV6 reacted to Karl Marguerre’s criticism by restoring Einstein’s three-movement Sonata to a two-movement Sonata (KV6: 547a) and a separate set of Variations for Piano (KV6: 547b) without drawing the possibly far-reaching consequences from such doubts. The editors of the present volume accept Marguerre’s argumentation8 and have excluded KV Appendix 135 and Appendix 138a (= KV3: 547a) from the Work Group Piano Sonatas in the NMA.

4 W. A. Mozart II, 7/1956, p. 310, footnote 3. 5 W.-A. Mozart. Sa vie musicale et son œuvre II, Paris, 1936, p. 416 (No. 466), and IV, Paris, 1939, pp. 207f. (No. 499). 6 Die viersätzige B-Dur-Sonate von Mozart und A. E. Müller (KV3 498a), in: Mitteilungen der Internationalen Stiftung Mozarteum 26 (Salzburg, August 1978), double issue 3/4, pp. 1–4. 7 Karl Marguerre, Die Violinsonate KV. 547 und ihre Bearbeitung für Klavier allein, in: Mozart-Jahrbuch 1959, Salzburg, 1960, pp. 228–233. 8 Cf. also NMA VIII/23: Sonatas and Variations for Piano • Volume 2 (Eduard Reeser), pp. XVf. (Foreword).



Two further little works (KV 46d and 46e), also occasionally labelled Sonatas for Piano, are presented in the NMA not amongst the Piano Sonatas, but where they really belong: as Duos for two Stringed Instruments (or for one Stringed Instrument and Continuo) in the volume Duos and Trios for Strings and Wind Instruments.9

Finally, there is still a series of lost Piano Sonatas be discussed, for which we know at least the opening measures from either the correspondence of Mozart’s sister Maria Anna (Nannerl) or Breitkopf & Härtel’s old manuscript catalogue. In her letter of 8 February 1800 to Breitkopf & Härtel in Leipzig, Nannerl wrote as follows:

“Here follow the opening themes of 3 Sonatas of which I also have copies, and which I hesitated to send to you immediately, but if it pleases you to let me know if you do not have them, I will send them to you at once […]”10

Breitkopf & Härtel obviously requested these three Sonatas and subsequently listed in their catalogue the incipits, which are more extensive than those communicated in Nannerl’s letter quoted above. According to Breitkopf & Härtel’s manuscript catalogue these are:

Allegro [= KV Appendix 199/33d; Nannerl: Sonata III]

Molto allegro [= KV Appendix 200/33e; Nannerl: Sonata II]

Allegro [= KV Appendix 201/33f; Nannerl: Sonata I]

9 NMA VIII/21 (Dietrich Berke and Marius Flothuis); cf. also the Foreword to this volume (p. VII). 10 The quotations from letters, always indicated simply by the date, are in all cases taken from: Mozart. Briefe und Aufzeichnungen. Gesamtausgabe, compiled (and elucidated) by Wilhelm A. Bauer and Otto Erich Deutsch (4 text volumes = Bauer–Deutsch I–IV, Kassel etc., 1962/63), with commentary on the basis of their previous work by Joseph Heinz Eibl (2 commentary volumes = Eibl V and VI, Kassel etc., 1971), Register, compiled by Joseph Heinz Eibl (= Eibl VII, Kassel etc., 1975).

There can hardly be any doubt about the authenticity of these Sonatas KV Appendix 199–201 (33d-f), passed on to the publishers Breitkopf & Härtel by Nannerl, even if the date of composition must remain obscure (according to KV6, these Sonatas were supposedly composed in 1766). The situation is a little less clear for a further Piano Sonata (KV Appendix 202/33g), whose incipit likewise appears in Breitkopf’s catalogue, where it is placed immediately after the three Sonatas communicated by Nannerl. It is appropriate to reproduce this incipit here as well: Andante amoroso [= KV Appendix 202/33g]

As source or informant for this work, the Breitkopf & Härtel catalogue gives the name “Durniz”, doubtless a reference to Baron Thaddäus von Dürniz, whom Mozart met during his stay in Munich in 1774/75 and for whom he wrote at the time the so-called “Dürniz Sonata” KV 284/205b (= No. 6).11 Under such circumstances, doubts can hardly be cast on this Sonata either, which is likewise lost. We thus have the incipits of four Piano Sonatas which must certainly have been written before 1775.12 It can therefore not be ruled out that a complete set of six Piano Sonatas may possibly have been lost, and it is worth at least keeping in mind that we have only very imperfect information about Mozart’s piano compositions, particularly Piano Sonatas, from the first half of the 1770s.13 Sonatas KV 279–284 = Nos. 1–6 The autograph of this set of Sonatas (Biblioteka Jagiellońska, Kraków) starts immediately with the second movement (Andante) of the Sonata in C KV 279 (189d); the movement missing here seems to have been lost during the late 19th century.14

11 Cf. also below, especially footnote 16. 12 Cf. also below, especially footnote 17. 13 An impression of the characteristics and quality of the lost Piano Sonatas may perhaps be conveyed by the sonata movement fragment in C KV deest printed as No. 1 in Appendix II to the second volume of Piano Sonatas along with other fragments; it must in any case be considered to date from the period in question. 14 There is no support for this account, nor for the fact of the loss itself, in the information in KV6 (p. 214); it


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The other Sonatas have been numbered in the autograph itself by Mozart (partly in Arabic, partly in Roman numerals), but no original title for the cycle has come down to us. Regarding the genesis of the six Sonatas, more or less nothing is known, but, as today’s pianists may be interested to hear, they are referred to in the family correspondence as the “difficult Sonatas”. In the entire autograph, no date is marked, which has led to various subsequent attempted datings: KV1 (borrowing from Otto Jahn) gives “1777” as probable date of composition, Wyzewa and Saint-Foix differentiate between the datings of the compositions, placing Nos. 1 and 4 in 1773/74, Nos. 2, 3 and 5 in Autumn 1774 and No. 6 in Munich in February or March 1775.15 This sequence was then broadly adopted by Alfred Einstein (KV3) and later by the editors of KV6 as well. While the dating of the so-called “Dürniz Sonata” KV 284/205b (= No. 6) is provided by the family correspondence (Mozart calls it, in his letter of 9/12 June 1784 to his father, the Sonata “which I made for Dürnitz in Munich” 16), the traditional dating of Nos. 1–5 (Salzburg: Summer or Autumn or end of 1774) remains hypothetical, for a letter passage drawn on as evidence (from Leopold Mozart in Munich to his wife, 21 December 1774) is so vague that it is requires interpretation. Leopold Mozart writes: “[…] Nannerl can also take Wolfgang’s written Sonatas and Variationen and other Sonatas with her, whatever she wishes, for the Sonatas do not take up much space.” At the moment, this letter passage only permits the conclusion that a series of still unpublished is at least possible to conclude from the corresponding remarks in KV1 that the autograph was still entire in 1860 (cf. also the Kritischer Bericht [Critical Report, available in German only]). 15 Wyzewa/Saint-Foix, op. cit. II, pp. 166ff. (No. 209), 185ff. (No. 211), 188ff. (No. 212), 191ff. (No. 213), 194ff. (No. 215) and 213ff. (No. 221). 16 Cf. also Mozart’s letter of 23–25 October 1777 to his father, where the report on his musical evening in Augsburg 22 October reads as follows: “then I played alone, the last Sonata in D for Dürnitz:” – Thaddäus, Baron von Dürniz (1756–1807), Major à la suite [without active position] and amateur musician; Mozart made his acquaintance in Munich in 1774/1775. Cf. Eibl V, p. 383 (on No. 340/25), and August Scharnagl, Freiherr Thaddäus von Dürniz. Ein Mozart-Verehrer, in: Acta Mozartiana 21 (1974), Issue 1, pp. 13–16.

Piano Sonatas and Variations must have existed in Salzburg at the end of 1774; a recent attempt to answer the still open question of their identity focused on the lost Sonatas KV Appendix 199–202 (33d–g).17 This interpretation of the passage quoted from Leopold Mozart’s letter of 21 December 1774 appears to us all the more plausible in that an analysis of the handwriting in the autograph of the set of Sonatas KV 279–284 suggests that all six Sonatas were written in one sweep, probably in Munich at the beginning of 1775.18 The NMA adopts this new dating without reserve. Later mentions of this set of Sonatas in the family correspondence are of no significance for the dating.19 Regarding the individual Sonatas in the cycle, the following special remarks are relevant: Sonata in C KV 279 (189d) = No. 1 1st Movement: This movement – as already mentioned – is missing in the autograph. As substitute sources, the first printed edition in the Œuvres Complettes of Breitkopf & Härtel (Cahier III, Leipzig, 1799: Sonata III) and the early printing by Johann André (Offenbach, 1841) were consulted; in cases of divergence, the André edition, which is certainly based on the autograph, was accorded priority. The ossia readings in

17 Wolfgang Plath, Zur Datierung der Klaviersonaten KV 279–284, in: Acta Mozartiana 21 (1974), Issue 2, pp. 26–30. 18 See footnote 17. 19 Cf. the letters of 17 October 1777 (Mozart to his father), 23–25 October 1777 (Mozart to his father), 4 November 1777 (Mozart to his father), 13 November 1777 (Mozart to his father), 17 January 1778 (Mozart’s postscript to his mother’s letter to her husband), 4 February 1778 (Mozart to his father), 11 September 1778 (Mozart to his father), 3 April 1784 (Leopold Mozart to Sebastian Winter). – Eibl VI (p. 178: on No. 782/3) considers (following Erich H. Müller von Asow) the “6 Clavier-Sonaten” in Leopold Mozart’s letter of 3 April 1784 to be KV 310, 311 and 330–333, an identification which we cannot second. – A “magnificent Sonata in C major”, which is mentioned in Mozart’s letter of 23–25 October 1777 to his father and which he played “from memory with a Rondeau at the end” in Augsburg, is probably not identical with KV 279 (189d); whether this “magnificent sonata” may nevertheless be the “predecessor (original form)” of the C major Sonata KV 309 (284b) composed somewhat later in Mannheim, as conjectured in e.g. Eibl V (p. 409: on No. 355/105), must be left open.


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measures 63 and 84 are taken from the first printed edition. In measure 51 (left hand), both prints give the 3rd and 7th sixteenth-notes as c' – a reading which the NMA has adopted, although d' would appear more satisfactory c' (in analogy to m. 49). The placing of the forte in measure 77, quite unambiguous in the sources, is not beyond all doubt: it would be better, in analogy with measure 80, to have the forte beginning already in the previous measure. 3rd movement: The ossia in measure 157 corresponds to the reading in the André print. Sonata in Bb KV 281 (189f) = No. 3 3rd movement: Mozart’s notation for the ornament measures 30 and 126 is a cross between trill and inverted turn (cf. the facsimile on p. XIX), a form that cannot be rendered in modern print; the NMA therefore renders it as an inverted turn. Besides our suggested interpretation as a normal turn, it would be quite possible to imagine a performance as a long trill with closing turn. Sonata in Eb KV 282 (189g) = No. 4 1st Movement: Contrary to the established tradition in printed editions, in which piano applies right at the beginning of measure 16, the NMA follows the unquestionable and clear notation of the autograph. Mozart’s placing of the direction is also thoroughly sensible from a musical point of view because it presents the dotted figure opening the second section as the logical close and aim of the thirty-second-note run which leads into it. Sonata in G KV 283 (189h) = No. 5 2nd Movement: In measures 14a and 14b, the NMA may appear inconsistent in accepting the notation in the autograph, which has a unison g' + g' at the beginning of the measure in the first case, but not in the second. On the question of the notation of unisons of this and similar kinds cf. the section Remarks on Editorial Practice below. Sonata in D KV 284 (205b) = No. 6

Compared to the autograph, Christoph Torricella’s first printed edition (Vienna, 1784) exhibits such an abundance of divergent readings that it is tempting to conclude that Mozart must have subjected the text of this “Dürniz Sonata”, written some ten years earlier, to extensive revision.20 The editors could not bring themselves, however, to accept all the consequences of this hypothesis: the main text of this Sonata is based on the readings in Mozart’s autograph; substantial divergences in the text of the first printed edition have been rendered as ossia or in straight small print (dynamics and ornamentation signs) with comments in footnotes. A special case is presented by the Adagio Variation (XI) in the final movement, in which the text of the first printed edition is given as a complete second version, but in small print. – Divergences from the autograph in the articulation in the first printed edition, especially in the Finale, could only be considered under exceptional circumstances, i.e. in the Variation XI already mentioned. Further information provided in the Kritischer Bericht [Critical Report, available in German only]. 1st Movement: The first version of this movement,21 extending as far as the end of the development section, is printed in the Appendix (pp. 140–142), while the form transmitted in the complete autograph of the cycle is reproduced in facsimile on pages XX and XXI. 2nd Movement: Regarding the turns indicated in measures 17, 74 and 75, cf. the special remarks on the third movement of KV 281 (189f); the same applies to measure 12 in the Adagio Variation (XI) of the third movement. Phrasing marks and placing of the ornament signs in measure 74 (right hand) correspond to the unambiguous notation in the autograph; a more satisfactory realisation, however, would be one in analogy with measure 75. 3rd movement: In Variation II, the first printed edition has, for the left hand on the first and

20 This print also contains the Piano Sonata in Bb KV 333 (315c) and the Sonata for Piano and Violin in Bb KV 454. 21 Cf. also Peter Epstein, Ein unbekannter Entwurf Mozarts zur D-Dur-Sonate (Köchel 284), in: Die Musik 18 (1925/26), Issue 12, pp. 869–873 (with music supplement: edition of the draft).


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second quarter-notes of measure 12, the successive thirds

instead of the autograph’s

The editors see the reading in the first printed edition more as an engraver’s error than as a serious alternative variant. In measures 24 and 33 of the Adagio Variation (XI), which sound on occasions strangely empty from the harmonic point of view, the NMA reproduces without retouching the text found in the left hand in both autograph and first printed edition. Sonata in C KV 309 (284b) = No. 7 For none of Mozart’s Piano Sonatas are we as well-informed concerning their genesis as in the case of this Sonata – assuming that it is identical with the so-called “Cannabich Sonata”. To discuss this question, it is necessary to refer copiously to, and to quote, the relevant family correspondence. On the way to Paris, Mozart stopped for some months in Mannheim, where he was the permanent guest of the court musician and composer Christian Cannabich (1731–1798). On 4 November 1777 Mozart wrote to his father that “He [Cannabich] has a daughter [Rosina (Rosa) Theresia Petronella Cannabich, b. 1764] who plays the piano very nicely, and, to win him as a real friend, I am now working on a sonata for his Mad:selle daughter, which is already finished apart from the Rondeau. When I had finished the first Allegro and the Andante, I brought it to him myself and played it; Papa cannot imagine what applause the sonata received.” As early as the 8 November 1777, a postscript added by Mozart to his mother’s letter to her husband informs us further: “I wrote the Rondeau to the Sonata for his Mad:selle daughter this morning at Mr. Cannabich’s, and as a result they would not let me go.”

In response to these communications, father Leopold asked on 10 November for a copy for Nannerl on small-format paper, which the son happily promised in the postscript to the his mother’s letter of 14 November; the relevant passage in the letter is so characteristic for the situation at the time that it is worth quoting in its entirety: “I will have the sonatas [!] which I have written for Mad:selle Cannabich copied on small paper as soon as possible, and send them to my sister. 3 days ago, I started to teach Mad:selle Rose [Cannabich] the sonata; today we finished the first Allegro. The Andante will present the most difficulties for us; for it is so full of expression, and must be played accurately with gusto, forte and piano, as is written. She is very able, and learns with great ease. The right hand is very good, but the left is unfortunately quite ruined. I can say that I often feel sorry for her, how much trouble she has to go to, so that she is completely out of breath, and this not because of lack of skill, but because she cannot do anything else, because she is already accustomed to this way, no-one having shown her anything else. I also said to her mother and to herself that, if I were really her teacher, I would lock her in with all the musical things she needed, hide the keyboard from her with a kerchief and have her practise so long with right and left hands, initially very slowly, loud passages, trills, mordents, etc., until the hand was completely trained, and then I would trust myself to make a real keyboard player of her. For it is a pity. She has so much genius, she reads quite passably, she has much natural facility, and plays with a great deal of feeling.” In the letter of 29 November 1777 to his father, Mozart then wrote: “Herewith I send my sister the Allegro and Andante from the Sonata for Mad:selle Cannabich. The Rondeau will follow shortly. It would have been too thick, sending everything together. You will have to be content with the original; you can have it copied more easily for 6x: per sheet than I can for 24x: per sheet: don’t you find that expensive? […] you will no doubt have heard a little bit of the Sonata, for at Cannabich’s, three times a day, it is sung, played, fiddled or whistled! – – Of course only sotto voce.”


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With the letter to his father of 3 December in the same year, Mozart then enclosed the autograph of the 3rd movement (“here comes the Rondeau”). In the meantime, Rosa Cannabich had learned to play the Sonata: “Yesterday [Mozart to his father on 6 December 1777], she gave me indescribable pleasure once again, she played my Sonata complete – – excellently. She plays the Andante | which must not go fast | with all the feeling possible. But she also really enjoys playing it. You know that I had already completed the first Allegro on my 2nd day here, and therefore had only seen Madselle Cannabich once. Young Danner [Christian Franz Danner] then asked me how I intended the Andante to be; I will do it entirely according to the character of Mad:selle Rose. When I played it, it pleased everyone just extraordinarily. Young Danner told me this afterwards. And it is true. The way the Andante is, she is as well. I hope you will have received the Sonata intact? – –” With a measure of professional objectivity, Nannerl, after receiving the first part of the Sonata (Allegro and Andante) on 8 December 1777, made the following comments in a postscript added to a letter of Leopold Mozart’s to his son: “I thank you for the first piece and Andante of the Sonata, I have already played it through, the Andante needs strong concentration and sympathetic treatment. It pleases me very much; it is familiar, known as the one you composed in Mannheim. I am already looking forward to the Rondeau.” In stark contrast to this sober tone, her brother’s next letter, of 10 December 1777, is marked by strong sentiments: “She [Rosa Cannabich] is playing away very seriously at my Sonata; listen, I couldn’t hold back the tears. Finally, both mother and daughter […] had tears in their eyes, for she was playing precisely this Sonata, and it is the favourite of everyone in the house.” His father took up the subject again and wrote on 11 December 1777: “Nannerl is playing the whole of your Sonata very well and with full expression. If, as I currently believe is the case, you should move on from

Mannheim, I will have the same copied and from time to time send you a little leaf of it with every letter, so that you will get the Sonata back again; it could be of service to you somewhere else, otherwise you would have the appalling trouble of writing the same out again. I will however only send you a little leaf from time to time so that the letter does not become too thick; and, if one letter did happen to get lost, it is easier to write out a single little leaf again than the whole Sonata. The Sonata is idiosyncratic? It has something of the overly mannered Mannheim goût [taste] to it, but indeed so little that your good style is not spoiled as a result.” On 12 January 1778, Leopold Mozart sent a leaf (= a sheet?) of the autograph back to Wolfgang, with the remark “I will send it thus bit by bit”. On 5 February 1778, Leopold enquired whether the rest of the autograph, i.e. the Rondeau (along with other musical items) had arrived safely. In the meantime, Nannerl had played the Sonata in Salzburg as well, to great effect, as Leopold Mozart had promptly communicated to Mannheim on 26 January 1778. On the question of identifying this “Cannabich Sonata” with KV 309 (or another Mozart Piano Sonata?), the information regarding the technicalities of the dispatch by mail is important: 1. Leopold Mozart asks for a copy of the Sonata on paper in small format. 2. His son instead sends the original manuscript itself, because copying costs less in Salzburg. 3. (This step can only be deduced:) A copy is apparently made in Salzburg from the autograph. 4. Leopold Mozart initially sends the autograph back in leaves (i.e. probably in sheets), and finally the Rondeau in its entirety. From this procedure it can be concluded that the autograph of the Sonata concerned here must show traces of being sent by post, e.g. fold lines in cross form or similar. On the other hand, a copy made in Salzburg of this Sonata must exist or have existed. While the first point – fold lines in the original – cannot be verified for any of the extant Mozart Sonata manuscripts (the autograph of KV 309 has unfortunately not been preserved!), the


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second point speaks decisively in favour of KV 309 as the “Cannabich Sonata”, as it is only for this Sonata that we have a fair copy obviously made in Salzburg, in Leopold Mozart’s hand.22 In the absence of the autograph, the present edition draws first of all on the copy by Leopold Mozart23 already mentioned (privately owned in Switzerland), and also on the first printed edition of the Sonata,24 published by Heina in Paris around 1781 and possibly made from the autograph. As Leopold Mozart’s copy appears to be more exact than the first printed edition, it was taken as the primary source for the edition; it is however not completely beyond question, so it seemed advisable to communicate additionally some readings from the first printed edition and to offer some ossia interpretations; these are explained in the Kritischer Bericht and can be used as the performer pleases. 1st Movement: The tenuto suggested in the ossia staff in measures 63ff. in the lower voice in the left hand is taken from the original notation in measures 69ff. A corresponding realisation is therefore required for measures 105–107 as well. In measure 132, both main sources have in the right hand as second eighth-note a'' instead of the musically expected g''. This could be the result of carelessness or lack of clarity in the lost autograph. Our recommendation is to perform the text in the ossia staff. 2nd Movement: In order to rule out a possible and certainly unintended tone repetition in the left hand in measures 17f., the editors have supplied, additionally to the slur on the grace-note, a tie from the grace-note to the main note.

22 The discussion as to whether the so-called “Cannabich Sonata” could not perhaps instead be identical with KV 311 (284c) is thus practically superfluous. The autograph of this Sonata certainly shows no signs of having been sent by post, nor is there a Salzburg copy of it. 23 On this manuscript cf. Ewald Zimmermann, Eine neue Quelle zu Mozarts Klaviersonate KV 309 (284b), in: Die Musikforschung 11 (1958), pp. 490–493. 24 The Heina print, which also contains the two Piano Sonatas KV 311 (284c) and KV 310 (300d), appeared neither in “1778” (thus KV3) nor “probably 1782” (thus KV3a and KV6); our dating of “around 1781” reflects the most recent research (communicated by Dr. Gertraut Haberkamp, Munich).

The penultimate measure corresponds to the text in both main sources; a later reading for the right hand, seen for the first time in the Œuvres Complettes (Cahier III, Leipzig 1799: Sonata I), can be neither authentic nor intended, even if the musical result is good:

(on this cf. the facsimile on p. XXII.) 3rd movement: It is again to the Œuvres Complettes that another later reading is due, in which the major third in the left hand in 71 and 175 first appears on the second quarter-note instead of immediately at the beginning of the measure. A further, apparently arbitrary but musically thoroughly sensible emendation in Œuvres Complettes applies to the left hand in measures 117, 121, 124, 126 and 127:

Sonata in D KV 311 (284c) = No. 8 In complete contrast to the previous Sonata KV 309, we have no secure knowledge at all about the genesis of this Sonata, unless one chooses to link two passages from Mozart’s correspondence with his cousin, Maria Anna Thekla Mozart, with the work (letters of 5 November and 3 December 1777), a link which is described as purely hypothetical in the commentary to the edited collection of the letters (cf. footnote 10 above). According to these passages, the Sonata could have been composed in Mannheim for the two


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daughters of a Munich family by the name of Freysinger. Paper and handwriting in the autograph (Biblioteka Jagiellońska, Kraków) point with reasonable certainty to the time of the Mannheim–Paris journey, and there is no reason for not adopting the traditional dating of the Sonata. The NMA follows the autograph as the only source. 1st Movement: The ossia version in the left hand in measure 86 must be understood as a suggested interpretation for the not entirely unambiguous autograph notation in this passage (cf. Kritischer Bericht). 2nd Movement: The ossia in the right hand in measure 7 is again a possible interpretation of an unclear passage in the autograph (cf. Kritischer Bericht). The musically strange and harsh-sounding partial repetition of measures 1–11 is clearly notated in this form by Mozart. 3rd movement: The unusual and apparently inconsistent dynamic marks in measures 58/60 and 66/68 and in the parallel passages correspond exactly to the meticulous notation in the autograph (cf. the facsimile on p. XXIII) and require, in the editors’ opinion, neither emendation nor assimilation. Sonata in A minor KV 310 (300d) = No. 9 Apart from the date (Paris, 1778) on the autograph (in the Pierpont Morgan Library, New York), we know nothing about the genesis of this most important of Mozart’s early piano sonatas; Mozart at least did not consider it necessary, in his letters from Paris to Salzburg, to go into the occasion and circumstances of the composition.25 1st Movement: Amongst all the piano sonatas, this is the first autograph with definitely too few dynamic marks, at least in the opening movement. The editors have refrained from supplying further dynamics, apart from the obvious forte at the beginning of the movement (and in the reprise,

25 A facsimile edition of the autograph along with a modern edition has been published in the series Urtext-Edition + Faksimile erschienen (Vienna, no date, UT 51010); from the facsimile reproduction, however, it is hardly possible to see that the the autograph consists of two kinds of paper in quite different vertical formats (on this cf. the Kritischer Bericht and the facsimiles on pp. XXIVf.).

which is not written out), as this would have been outside their editorial competence. The performer must take the initiative here, according to his stylistic insight. 2nd Movement: It may be of interest to note that the repeat signs for the second section originally set in the autograph have been erased. Remarks on Editorial Practice Apart from the general remarks in the Foreword by the Editorial Board (Concerning the Editorial Technique, p. VII), the following applies to the present edition of the Piano Sonatas: Fundamentally, an attempt has been made, within the constraints of the existing editorial guidelines, to incorporate as many characteristics of the original notation into this edition as possible. This applies particularly to the distribution of the hands over the staves, but also, for example, to the placing of prolongation dots at chords (e.g.

instead of the usual ); this notational idiosyncrasy was surely more than a simple scribal convenience for Mozart, and has no doubt an interpretational significance. Likewise, we have retained the original notation of the, strictly speaking, unplayable unison passages (cf. page 11, measure 46, or the special remarks above concerning the 2nd movement of KV 282/189g). Double note stems and double phrasing marks (or the setting of phrasing marks contrary to the rules of engraving) have also been retained wherever this appeared sensible in terms of compositional structure and melodic voice-leading. The setting of phrasing marks over ornaments has been handled in such a way, going beyond the general editorial guidelines of the NMA, that, for single grace-notes, missing slurs have in general been supplied without typographical differentiation, while, for turns written out in grace-notes, they were either not supplied automatically or have been printed as dotted lines. Here Mozart may have wished to suggest with his choice of notation the kind of articulation desired for the ornament. A differentiation between staccato dots and dashes has been made wherever it appeared possible. Furthermore, in cases where the printed editions consulted as sources used either only dashes or only dots to indicate staccato, (cf. Kritischer Bericht), as is the case in the final movement of the Sonata KV 576 (= No. 18), a differentiation of


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the two staccato marks corresponding to Mozart’s normal usage has been attempted. Successive dynamic marks have been provided separately for both hands, as in the sources, a procedure also used occasionally for simultaneous accents (fp and the like) and wherever it added clarity. No general assimilation of parallel passages (e.g. exposition/reprise or recurring Rondo refrains) has been attempted; nevertheless,

double articulation (e.g. ) or footnotes draw attention to divergences of this kind. Wherever lower voices are printed in vertical alignment,

contrary to the rules of engraving ( ), the editors believe that a corresponding realisation is intended. In Mozart’s piano notation, not every detail is precisely fixed; it can often happen, for example, that Mozart leaves note values in this context undefined or makes their subject to availability of space:

or thus . The examination of corresponding parallel passages seems to lead to the rule that with both notational forms the same style of performance – tenuto in the notes of the lower voice – is called for (cf. also the special remarks on the first movement of KV 309/284d). Mutatis mutandis, this rule is also applicable in cases such as

. Our edition distinguishes such passages, although only by strict analogy, by the use of shorter note stems or by ossia versions. Obviously missing accidentals have of course been supplied in accordance with the rules of the NMA (in front of the notes). Yet there are situations in which doubt persists as to whether an accidental is missing through carelessness or whether it has been intentionally not notated or not engraved. Such doubtful cases are distinguished by accidentals set in square brackets above or below the note in question. It was decided not to provide a table for the realisation of the ornament signs used by Mozart. This was on the one hand because, even today, there are no generally accepted norms, with every suggestion automatically introducing a subjective

element, while, on the other hand, enough literature on this matter is otherwise available.26

* The editors’ gratitude is extended to all libraries and collections specified in the Kritischer Bericht which have made sources available in microfilm or copies or have permitted examination on the premises. In addition, thanks are due to Dr. Faye Ferguson (Salzburg), Ms. Leonore Haupt-Stummer (Salzburg) and Professors Dr. Marius Flothuis (Amsterdam) and Karl Heinz Füssl (Vienna) for their critical proof-reading and frequent advice on the layout of the text; our thanks go also to Dr. Gertraut Haberkamp (Munich), Dr. Ernst Herttrich (Munich) and Dr. Alan Tyson (London) for assistance in collecting and dating various sources, and likewise to Mr. William H. Scheide (Princeton, N. J.) and Professor Dr. Christoph Wolff (Cambridge, Mass.) for clarification of individual questions regarding the autographs of the Sonatas KV 332 (= No. 12) and KV 310 (= No. 9) kept in Princeton and New York respectively. Wolfgang Plath Wolfgang Rehm Augsburg and Salzburg, December, 1985 Translation: William Buchanan

26 E.g. Eva and Paul Badura-Skoda, Mozart- Interpretation, Vienna, 1957, and more recently Frederick Neumann, Ornamentation and Improvisation in Mozart, Princeton, 1986.



Facs. 1: From the autograph of the cycle KV 279–284 (Biblioteka Jagiellońska, Kraków), Sonata in C KV 279 (189d) = No. 1: first page of the slow movement (Andante). Cf. pages 7–8, measures 1–49, and Foreword.


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Facs. 2: From the autograph of the cycle KV 279–284, Sonata in Bb KV 281 (189f) = No. 3: a page from the third movement (Rondeau). Cf. pages 34–36, measures 20–64.


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Facs. 3, 4: From the autograph of the cycle KV 279–284, Sonata in D KV 284 (205b) = No. 6: the two pages with the crossed-out first version of the first movement (Allegro) and the beginning of the definitive version. Cf. pages 140–142 and pages 60–61, measures 1–20 and also the Foreword.


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Facs. 3, 4: From the autograph of the cycle KV 279–284, Sonata in D KV 284 (205b) = No. 6: the two pages with the crossed-out first version of the first movement (Allegro) and the beginning of the definitive version. Cf. pages 140–142 and pages 60–61, measures 1–20 and also the Foreword.


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Facs. 5: Sonata in C KV 309 (284b) = No. 7: last page of the slow movement (Andante un poco adagio) from Leopold Mozart’s copy (privately owned in Switzerland). Cf. pages 92–93, measures 60–79.


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Facs. 6: Sonata in D KV 311 (284c) = No. 8: third page of the last movement (Rondeau) from the autograph (Biblioteka Jagiellońska, Kraków). Cf. pages 114–116, measures 57ff.


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Facs. 7: Sonata in A minor KV 310 (300d) = No. 9: first page of the opening movement (Allegro maestoso) from the autograph (Pierpont Morgan Library New York). Cf. pages 122–123, measures 1–36, and Foreword.


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Facs. 8: Sonata in A minor KV 310 (300d) = No. 9: first page of the last movement (Presto) from the autograph. Cf. page 133, measures 1–62, and Foreword.

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