Rondo in A for clavier and orchestra
sorted in:
The Rondo in A for Clavier and Orchestra, KV 386 is shrouded in misunderstandings and mysteries. The movement was long believed to be either an abandoned draft or a replacement for the final movement of the Piano Concerto in A, KV 414. However, the fact that Mozart signed and dated this individual movement suggests that he never regarded it as part of one of his concertos. The autograph came into the possession of Johann Anton André as a fragment, who sold it to London around 1840. It was not until 1980 that the missing leaves were identified in the estate of Johann Nepomuk Hummel. The composer William Sterndale Bennett, who had owned the main body of the autograph in the mid-19th century, had cut it up and passed on the individual parts to autographs collectors. Not all of these snippets have been preserved, so that the work is now a “fragment of transmission.”
Between 1773 and 1791, Mozart composed a total of 21 concertos for piano and orchestra, two concertos for two or three pianos (see Work Group 14b), and two standalone rondo movements. In addition, there is a considerable number of mostly short fragments of concerto movements that Mozart abandoned. The Salzburg concertos were not yet composed for the fortepiano, and the intended keyboard instrument is not specified; various types of instruments—organ, harpsichord, tangent piano—were available. Up until 1788, Mozart used the general term "harpsichord" (*Cembalo*) for the solo instrument. In Vienna, Mozart became acquainted with the technically advanced fortepianos made by Gabriel Anton Walter. In performances of the four concertos K. 413–415 and K. 449, woodwinds are not mandatory. In all other Viennese concertos, woodwinds are employed in many different configurations. By shortly after 1800, all of Mozart’s piano concertos (except for the Concerto in C, K. 246) had been published, which attests to their extraordinary popularity. Several concertos were specifically composed for Mozart’s female students, especially Barbara Ployer, or for virtuosas such as Louise-Victoire Jenamy and Maria Theresia Paradis. While Mozart usually improvised cadenzas and lead-ins, he wrote out a large number of them for his sister and for his students (see Appendix G).
Autograph, 1782
[kein Titel]
Partitur: 1 Bl.
Autograph, 1782
Partitur: 2 Bl.
Autograph, 1782
Partitur: 4 Bl.
Autograph, 1782
Partitur: 1 Bl. (2 beschr. S.)
Autograph, 1782
Partitur: 1 Bl.
Autograph, 1782
Partitur: 1 Bl. (2 beschr. S.)
Autograph, 1782
//Rondeaux// di Wolfgango Amadeo Mozartmpr. / Vienna gli 19 d'oct:bre 1782
Partitur: 1 Bl. (2 beschr. S.)
Autograph, 1782
Partitur: 1 Bl. (2 beschr. S.)
Autograph, 1782
Partitur
Autograph, 1782
Partitur: 1 Bl.