Obra de Christian Georg Schütz (1718-1791), pintor alemany (1)
- Recordatori de Johann Georg Leopold Mozart -
En el dia de la commemoració del seu 229è aniversari de decés
Parlem de Pintura...
Christian Georg Schütz (Flörsheim am Main, 24 de setembre de 1718 - Frankfurt am Main, 3 de desembre de 1791) va ser un pintor alemany. Es va iniciar en pintura al fresc als 13 anys amb Hugo Schlegel (fl.1720-1740). Poc després va treballar a les corts d'Hohenzollern-Hechingen i de Nassau-Saarbrücken abans d'establir-se, el 1843, a Frankfurt on va obrir un taller de pintura. A partir del 1750 va viatjar per Alemanya i Suissa on ràpidament es va especialitzar en temàtica paisatgística. Com a pintor va ser hàbil i prolífic i va gaudir de notable ressò treballant, sovint, en diverses produccions al mateix temps. Sota influència de l'holandès Herman Saftleven, el seu paisatge fou idealitzat en clara sintonia amb l'esperit neoclàssic del seu temps. El seu fill Johann Georg Schütz va heretar el seu taller quan va morir a Frankfurt el desembre de 1791.
Font: En català: No disponible - En castellano: No disponible - In english: Christian Georg Schütz (1718-1791) - Altres: Christian Georg Schütz (1718-1791)
Parlem de Música...
Johann Georg Leopold Mozart (Augsburg, 14 de novembre de 1719 - Salzburg, 28 de maig de 1787) va ser un violinista, teòric i compositor alemany. Fill de Johann Georg Mozart, un enquadernador sense formació musical, es va formar a l'Augsburg Gymnasium (1727-1735) i al Lyceum adjacent a l'escola jesuïta de Sant Salvador (1735-1736) on habitualment va actuar en obres de teatre com a cantant i actor i on va començar a tocar l'orgue i el violí. El 1737 es va independitzar de la seva família i va viatjar tot sol a Salzburg on va entrar a la Universitat Benedictina per estudiar filosofia i jurisprudència. El 1738 es va matricular si bé l'any següent va ser expulsat per la seva conducta d'indiferència i per la poca assistència a classes. Poc després es va convertir en ajudant del músic Johann Baptist, comte de Thurn-Valsassina i Taxis i per a qui Leopold va dedicar el seu primer opus, la Sonate sei da chiesa e da camera op.1 (1740). A partir d'aquells anys, va començar a compondre amb certa regularitat motivant el seu nomenament com a violinista de l'orquestra de l'arquebisbe Leopold Anton Freiherr von Firmian. Paral·lelament, es va convertir en professor de violí dels nens del cor de la Catedral de Salzburg. El 1747 es va casar amb Anna Maria Pertl amb qui va tenir set fills dels quals només dos van sobreviure, Maria Anna ‘Nannerl’ Mozart i Wolfgang Amadeus Mozart.
Aquell mateix any va publicar un dels seus escrits teòrics més importants per títol Versuch einer gründlichen Violinschule. I si bé el naixement dels seus fills va condicionar la resta de la vida professional de Leopold, no va deixar de banda la seva labor com a professor, teòric i compositor. No obstant, des del 1756 i fins el 1766 és probable que Leopold col·laborés i participés activament en la composició de les obres del seu fill, ben aviat considerat un geni a Salzburg. Aquest fet va motivar en Leopold una nova funció, la de representar el seu fill, tant com a professor i educador com a l'hora d'organitzar concerts, viatges i trobades amb personalitats de tota mena i condició. A partir del 1778 Leopold es va veure sotmès a les desgràcies personals amb la mort de la seva dona a París aquell mateix any i mentre acompanyava a Wolfgang en una gira. Poc després va haver d'intercedir entre l'arquebisbe Colloredo de Salzburg i el seu fill degut a les nefastes relacions que mantenien. El 1781 Wolfgang va viatjar a viure a Viena si bé Leopold va seguir a Salzburg des d'on va mantenir correspondència sistemàtica amb el seu fill. I si bé la relació de pare i fill es va deteriorar, Leopold va visitar Viena el 1785 observant, amb dissimulat orgull, l'èxit absolut de Wolfgang. Després d'aquesta visita Leopold va tornar a Salzburg on va viure els anys restants de vida amb la seva filla, el seu marit Johann Baptist von Berchtold zu Sonnenberg i el seu net Leopold. El maig de 1787, i lluny de Wolfgang, Leopold va morir a Salzburg.
OBRA:
Vocal secular:
Lieder:
Bey dem Abschiede (Du dauerst mich) (J.C. Günther) and Die Rangordnung (Den Schönen, die mit holden Blicken), D-DÜk*;
Der Mensch seufzt stets in Kreuz und Weh, 1 Jan 1761, H-Bn*;
Die grossmütige Gelassenheit (Ich hab’ es längst gesagt) (Günther), k149, A-LIm*, ed. in W vii/1;
Die Zufriedenheit im niedrigen Stande (Ich trachte nicht nach solchen Dingen) (F.R.L. von Canitz), k151, LIm*, ed. in W vii/1;
Geheime Liebe (Was ich in Gedanken küsse) (Günther), k150, H-Bn*, ed. in W vii/1;
15 Lieder (C.F. Gellert), kaC8.32–46, possibly by L. Mozart (see Plath, C1971–2);
cadenzas for arias by J.C. Bach, k293e (see Plath, C1971–2)
Vocal religiosa:
Sacred cants. (orats), applausus, school dramas:
Christus begraben (I.A. Weiser), Salzburg, 1741, rev. 1755, music lost, libs A-Sub, ed. in S; Antiquitas personata, Salzburg, 1742, pr. scenario Su, ed. in S;
Christus verurteilt (Weiser), Salzburg, 1743, music lost, lib Su (1743), Sca (1749);
Der Mensch ein Gottesmörder (Weiser), by 1753, parts I-BZf (see Tagliavini, C1963; Münster, A1965);
Geistliches Schäfergedicht, oder Der gute Hirte (J.A. Schachtner), after 1754, music lost, lib A-Su;
Oratorium pro Quadragesima, score CH-BEl (see Eisen, C1987);
other Passion cants., lost, presumably incl. 2 extant arias ?11 April 1755, D-Bsb*, s4.18, ed. in S;
Weicht, zweifelnde Klagen, s4.19, A-Wgm*;
So straft Herodes die Verräter, s4.20, Wn*, ed. in S; Applausus, 1753, comp. for St Peter’s, lost (see Martin, A1913, p.355)
Masses:
Missa solemnis, C, s4.1, by 1753, parts A-Wgm, D-Ahk, Asa;
Missa solemnis, C, s4.2, before c1760, parts A-Ssp, D-Mbs, ed. R. Kubik (Neuhausen, 1981), frag. draft OF* = k115, ed. in W xxiv/28 and by W. Schulze (Stuttgart, 1983) (see Pfannhauser, C1971–2);
Missa, A, parts A-Sd;
Missa brevis, F, k116 and k6417B and kaA18–19, frags. D-Bsb*, F-Pn*, US-STu*, ed. in W xxiv/33 (see Plath, C1971–2);
San-Ag, C, s4.11, formerly D-Ahk, lost;
Missa 1ma Ssmae Trinitatis, C, s4.4, score, A-Sca, doubtful;
Mass, C, kaC1.08, parts Wn, CZ-Pnm, doubtful, numerous other sources attrib. W.A. Mozart, pubd as Duae missae, no.1 (Munich, n.d.) and as Mozart’s Masses 8 (London, n.d.), ? by F. Gleissner (see Köchel);
Missa solemnis, C, s4.3, kaC1.20, doubtful, ? by C. Vogel;
Gl-Cr-San, A, s4.5, spurious, by J.E. Eberlin;
Missa pastoritia, C, spurious, by B. Grueber (see Plath, C1966, C1974)
Lits:
Litaniae de venerabili, C, s4.6, 1 movt D-Bsb*, parts formerly Ahk, ed. in S;
Litaniae Lauretanae de BVM, E , s4.7–8, before c1760, A-Sca*, rev. parts Sd with ob solo by W.A. Mozart (see Eisen, C1991), ed. in NMA, X:28, Abt.3–5/i (1973);
Litaniae Lauretanae, F, s4.9, parts A-Sd;
Litaniae Lauretanae, G, s4.10, before c1760, parts Sd;
Litaniae de venerabili sacramento, D, 1762, Sd* (see Senn, C1971–2), ed. in NMA, X:28, Abt.3–5/i (1973); Litanei, D, formerly LA
Other church music:
Dixit Dominus, Mag, C, 1750s, parts D-Asa;
Miserere, F, s4.12, formerly Ahk, lost;
Tantum ergo, C, s4.16, before c1760, parts A-Sd, Ssp;
Veni Sancte Spiritus, C, s4.17, parts Ssp, KR, ed. in Kurthen C1921;
Offertorium de tempore et sub exposito venerabili (Convertentur sedentes), D, s4.13, before c1760, kaC3.09, parts Ssp, D-FW, ed. in W iii/23;
Offertorium de Ssmo Sacramento (Parasti mensam), A, s4.14, score A-Wgm, parts Sd, ed. in S;
Off SS Trinitate (Omnes hodie coelestium), D, by 1757, parts D-Asa, TIT, A-Wgm;
Off (Rorate caeli), B , parts HR-Zh; Off (Jubilate Domino), C, before c1760, parts D-Asa, A-KR;
Off (Beata es virgo Maria), C, parts SEI;
Sequenza (Veni Sancte Spiritus), GÖ*, doubtful;
Ad sacram Communionem (Confitemini domino), F, s4.15, before c1760, parts SsP;
Cantata pro Communione (Pulcherrimus mortalium), A, before c1760, parts D-Asa;
Cantata ad Communionem (Surgite mortui), C, by 1756, parts TIT;
Aria de BVM (Helle Sonn der dürstren Sterne), D, parts Asa;
Aria (Trauere, o verwaiste Seele), F, ?c1750, parts A-Sn;
Aria pro adventu (Christen auf), E , parts Sn;
Aria pro Adventu (Nur im Paradeis), D, parts Sn
Instrumental:
Symphonies:
C:
no.1, s3.1, parts D-Bsb;
no.2, ‘Sinfonia da camera’, s3.2, by c1760, parts HR, ed. in Diletto musicale, no.938 (Vienna, 1989); no.3, s lost work no.1, kaC11.01, 1st vn part Mbs, movt i ed. H. Engel, MJb 1951, 22–33;
no.4, parts CH-Zz (as ‘Partia’)
D:
no.1 ‘De gustibus non est disputandum’, s3.3, parts D-HR, ed. in The Symphony 1720–1840, ser. B, vii (New York, 1984);
no.2 ‘De gustibus non est disputandum’, s3.4, parts HR;
no.3 ‘Non è bello quello che è bello mà quello che piace’, s3.5, parts HR;
no.4, s3.6, parts HR;
no.5 ‘Sinfonia da camera’, s3.7, parts HR, ed. in S;
no.6, s3.8 by c1760, parts HR;
no.7, s3.9, parts HR;
no.8, s3.10, parts HR;
no.9, s3.11, by c1760, parts HR;
no.10, s3.12, parts HR;
no.11, s3.13 by 1751, parts HR;
no.12, s3.14 by 1761, parts CH-Zz, D-HR, Rtt;
no.13 ‘Non è bello quello che è bello mà quello che piace’, s3.15, parts HR, ed. in The Symphony 1720–1840, ser. B, vii (New York, 1984)
no.14, s3.16, k81/73l, ?1770, probably by W.A. Mozart (see Seiffert, C1908, pp.xxxviii ff, Köchel, 6/1964 and Eisen, C1986), parts A-Wgm (attrib. W.A. Mozart), ed. in W 24/4, NMA, IV:11/ii;
no.15, s3.17, by 1772, frag. parts A-Sca, D-HR, Rtt;
no.16, frag. parts HR;
no.17, s lost work no.2, by 1761, parts RUh;
no.18, s lost work no.3, by 1753, parts A-Sca, ed. in E;
no.19, s lost work no.4, by 1766, lost;
no.20, parts Ik;
no.21, parts Ik;
no.22, ? by 1753, definitely by 1760, parts D-Asa;
no.23 ‘Jagd Parthia’, by 1768, formerly A-LA, lost;
no.24, by 1768, frag. parts D-Asa;
no.25, by 1771, parts DO dated 1771;
no.26, parts Rtt, ed. in E
E:
no.1, by 1768, formerly A-LA, lost
F:
no.1, s3.18, by c1760, parts D-HR, ed. in The Symphony 1720–1840, ser. B, vii (New York, 1984) and in Diletto musicale, no.939 (Vienna, 1989);
no.2, s3.19, by 1751, parts HR, ed. in E;
no.3, s3.20, ? by 1753, definitely by 1760, parts Mbs, Asa, version with 2 hn, ed. W. Höckner (Hamburg, 1959);
no.4, s lost work no.5, by 1761, parts MÜu;
no.5, by 1760, parts Tl dated 1760;
no.6, ? by 1748, definitely by 1768, parts Asa, ed. in E
G [nos. 1–9]:
no.1, s3.21, parts D-HR;
no.2 ‘Sinfonia burlesca’, s3.22, parts Asa, HR, ed. in S;
no.3 ‘Sinfonia pastorale’, s3.23, kaC11.13, by 1753, parts Asa, BAR, HR, MS copies in score A-Wgm, D-Bsb, ed. K. Janetzky (Zürich, 1979);
no.4, s3.24, parts HR;
no.5, s3.25, by 1768, parts Asa, HR, ed. in E;
no.6, s3.26, parts HR;
no.7, s3.27, by c1760, parts HR, ed. in E;
no.8, s3.28, kaC11.09, by 1775, attrib. L. Mozart in Breitkopf catalogue suppl.X (1775), 3, but cf Köchel (6/1964), edn (Leipzig, 1841);
no.9 ‘Sinfonia da caccia’, s3.29, parts HR, A-Wgm, ed. in S
G [nos. 10–20]:
no.10, s lost work no.6, by 1761, lost;
no.11, s lost work no.7, by 1766, lost;
no.12, s lost work no.8, by 1766, lost;
no.13, s lost work no.9, by 1766, parts Marburg, Hessisches Landesarchiv;
no.14, by 1768, parts D-Asa;
no.15, by 1768, formerly A-LA, lost;
no.16, ?1767, definitely by 1769, parts D-Asa, ed. in NM, no.217 (1965), attrib. W.A. Mozart by Abert (C1964, also MJb 1964);
no.17, by 1753, parts A-Gd, ed. in Diletto musicale, no.293 (Vienna, 1970);
no.18, by 1753, parts Gd, ed. H.C.R. Landon (London, 1956);
nos.19–20, both by 1768, formerly LA, lost
A:
no.1, s3.30, by 1766, parts D-Asa, ed. in E;
no.2, by 1751, inc. parts Mbs;
no.3, lost, listed in Karlsruhe catalogue (see Eisen, C1987)
B:
no.1, s lost work no.10, by 1753, parts D-Asa;
no.2, s lost work no.11, by 1761, formerly A-LA, lost;
no.3, s lost work no.12, by 1766, lost;
no.4, by 1768, formerly LA, lost;
no.5, by 1753, parts Gd, ed. in Diletto musicale, no.294 (Vienna, 1970);
no.6, kaC11.02, ? by 1756, definitely by 1768, formerly LA, also circulated in version with 2 ob, 2 hn, W viii/i (see Köchel, 6/1964, and Eisen, A1986);
no.7, formerly D-ZL, lost;
no.8, s1.12, by 1761, arr. kbd in Raccolta delle megliore sinfonie, iii (Leipzig, 1761)
2 syms., discovered by Riemann, see RiemannL11, 1218:
1 lost, 1 = D no.17;
3 pastoral syms., lost, described in letters of 15, 18 and 29 Dec 1755 to J.J. Lotter;
‘Post’ Sym., lost, see note in MS of G no.9, A-Wgm
W.A. Mozart: Sym. k45a, attrib. to Mozart by A.A Abert (C1964, also MJb 1964)
Serenades:
D, by 1762, parts A-SEI, movts iv and v = Tpt Conc. movts iv and v, trio of movt iii = Vn Sonata k6 trio of movt iii, ed. A. Weinmann (Zürich, 1977);
Serenade, Aug 1754, lost, mentioned in diary of Oddo Gutrath (see Klein, B1962, p.320);
2 serenades, lost, mentioned in letter of 10 April 1755 to J.J. Lotter
Divertimentos:
Divertimento militare, cioè Sinfonia, D, s3.31, parts D-HR, ed. in s;
Die musikalische Schlittenfahrt:
Divertimento, F, s1.11, 1755, parts A-Wgm (frag.), D-Mbs, Rtt [different work of same title by Wassmuth in Bsb (attrib. L. Mozart and Wassmuth), rev. in ZI (attrib. W.A. Mozart, numerous later edns as work of L. Mozart), cf Valentin, C1942–3, and Landon, C1956]
Partitas:
D, by 1765, s3.32, score GB-Lbl;
Die Bauernhochzeit, Divertimento, D, s3.33, 1755, score and parts D-Bsb, ed. in S and in Diletto musicale, no.259 (Vienna, 1972);
D, mentioned in Breitkopf catalogue V (1765), 13;
D, s lost work no.13, mentioned in Breitkopf Suppl.II (1767), 11;
D, by 1768, formerly A-LA, lost; 2 parthia, C, formerly A-LA, lost
Cassatio:
G, ?arr. L. Mozart from anon. ‘Berchtesgadener Musik’ (see Münster, C1969, and Gerlach, C1988), ed. in Diletto musicale, no.300 (Vienna, 1974) and in Denkmäler der Musik in Salzburg, ii (Munich, 1981)
Concs.:
Conc., 2 hn, E , s3.35, 3 Aug 1752, parts D-HR (partly autograph), ed. H. Pizka (Kirchhei, 1983);
Fl. Conc., G, before 24 Nov 1755, parts HR-Zh, ed. N. Delius (Milan, 1994);
Tpt Conc., D, s3.34, Aug 1762, D-Mbs*, ed. in S, in Organum, 3rd ser., xxix (Leipzig, 1930, 3/1960), in Concertino, no.98 (Mainz, 1967), cf Serenade, D;
Ob Conc., F, mentioned in Breitkopf catalogue III (1763), 29, lost;
Pf Conc., G, kaC15.02, only autograph sketches extant;
4 fl concs., lost, mentioned in letter of 24 Nov 1755 to J.J. Lotter (with incipits);
2 concs., 2 hn, D, mentioned in SI thematic catalogue, lost, also attrib. G.A. Reluzzi;
vn concs., lost, mentioned in Stockhausen, 1771
Dances:
12 menuetti fatti per le nozze del Signore Francesco Spangler, s3.36, 1754, frag. parts A-Sca, nos.9 and 10 = minuet and trio no. 17 in Nannerl Notenbuch;
[?Minuet], k64, ? by L. Mozart (see Plath, C1971–2)
‘Chinese’ and ‘Turkish’ music, by 1757, lost (see Marpung)
Chbr.:
With kbd/bc:
Sonate 6 per chiesa e da camera, 2 vn, b, s2:Trios 7–12, parts (Salzburg, 1740), ed. G. Steinschaden (Salzburg, 1991), no.2, ed. in S, no.4 ed. in Hausmusik, no.177 (Vienna, 1955);
3 trios, hpd obbl, vn, vc, s2:Trios 13–15, parts D-MMm, from former set of 6 works, nos.1, 3 and 6 lost, no.5 ed. in S
With winds:
Divertimento, G, fl, vn, b, parts A-SB, ed. (Winterthur, 1976);
Divertimento, D, fl, vn, b, mentioned in ST thematic catalogue, lost
Str:
6 divertimentos, by 1762, s2:Trios 1–6, parts D-Mbs, Parthia di Rane, C, by 1768, parts A-LA, ed. in Diletto musicale, no.578 (Vienna, 1975);
nos.1, 2, 4 ed. in S, 3 ed. in Organum, 3rd ser., xxx (Leipzig, 1930), no.1, ed. in Concertino, no.99 (Mainz, 1959);
Divertimento, G, vn, vc, vle, parts HR;
Divertimento, G, 2 vc, vle, parts HR
Vn duos:
16 in 1st edn of violin method (1756), ed. in Thesaurus musicus, vi (Budapest, 1959, 2/1965);
12 in Fr. edn of violin method (1770), s2:Solos, Duos, nos.3 and 7 from sonatas nos.4 and 2 of G.P. Telemann: 18 canons mélodieux, ou 6 sonates en duo (Paris, 1738), remainder probably by V. Roeser, ed. in HM, no.78 (Kassel, 1951, 2/1963)
Vn solo:
Caprice, in Fr. edn of violin method (1770), s2:Solos, Duos
Solo keyboard:
Sonata, F, s1.1 (Nuremberg, 1759), ed. in S;
Sonata, B , s1.2 (Nuremberg, 1760), ed. in S;
Sonata, C, s1.3, by 1759 (Nuremberg, 1760), ed. in S;
Tempo di menuetto, 1 Jan 1761, H-Bn*;
Minuet and Trio, by 1756, and Trio, by 1762, A-Sm (Nannerl Notenbuch, no.17 = Hochzeitsmenuette s3.36 no.9–10 and Nannerl Notenbuch, no.48 = arr. of trio of movt iii of Serenade, D), ed. in NMA, IX:27/i; other unattrib. minuets in Nannerl Notenbuch, by Leopold;
Fugue and Andante, CH-E, MS, c1801;
Der Morgen und der Abend (for Salzburg Hornwerk), s1.4–10, ?1754 (Augsburg, 1759), ed. in Dankmäler der Musik in Salzburg, i (Munich, 1977);
[Polonoise], Arietto and Scherzo, D-Gms, facs. in Staehelin, C1989;
Variations, lost, ? never finished (see letter of 14 Nov 1772)
Pedagogical:
Nannerl Notenbuch, 1759-c1763, A-Sm, ed. in NMA, IX:27/i [incl. works by L. Mozart and others]; Notenbuch, seinem Sohn Wolfgang Amadeus … geschenkt, 1762, spurious (see Plath, A1971–2)
Arrs. and transcrs. of other composers’ works; sketches, drafts, frags.; figured bass exercises
Literatura:
Versuch einer gründlichen Violinschule (Augsburg, 1756/R, 2/1769-70, enlarged 3/1787/R, 4/1800; Dutch trans., 1766/R; Fr. trans., 1770; numerous other unauthorized reprintings and edns; Eng. trans., 1939 [?1948], 2/1951) [see also vn duos above]
[presumed author:] ‘Nachtricht von dem gegenwärtigen Zustande der Musik Sr. Hochfürstl. Gnaden des Erzbischoffs zu Salzburg im Jahre 1757’, in F.W. Marpurg: Historisch-kritische Beyträge zur Aufnahme der Musik, iii (Berlin, 1757/R), 185-98; Eng. trans. in N. Saslaw: Mozart’s Symphonies (Oxford, 1989), 50–57
Various letters, notebooks etc., ed. in Mozart: Briefe und Aufzeichnungen, ed. W. Bauer, O.E. Deutsch and J. Eibl (Kassel, 1962-75); see also bibliography
Aquell mateix any va publicar un dels seus escrits teòrics més importants per títol Versuch einer gründlichen Violinschule. I si bé el naixement dels seus fills va condicionar la resta de la vida professional de Leopold, no va deixar de banda la seva labor com a professor, teòric i compositor. No obstant, des del 1756 i fins el 1766 és probable que Leopold col·laborés i participés activament en la composició de les obres del seu fill, ben aviat considerat un geni a Salzburg. Aquest fet va motivar en Leopold una nova funció, la de representar el seu fill, tant com a professor i educador com a l'hora d'organitzar concerts, viatges i trobades amb personalitats de tota mena i condició. A partir del 1778 Leopold es va veure sotmès a les desgràcies personals amb la mort de la seva dona a París aquell mateix any i mentre acompanyava a Wolfgang en una gira. Poc després va haver d'intercedir entre l'arquebisbe Colloredo de Salzburg i el seu fill degut a les nefastes relacions que mantenien. El 1781 Wolfgang va viatjar a viure a Viena si bé Leopold va seguir a Salzburg des d'on va mantenir correspondència sistemàtica amb el seu fill. I si bé la relació de pare i fill es va deteriorar, Leopold va visitar Viena el 1785 observant, amb dissimulat orgull, l'èxit absolut de Wolfgang. Després d'aquesta visita Leopold va tornar a Salzburg on va viure els anys restants de vida amb la seva filla, el seu marit Johann Baptist von Berchtold zu Sonnenberg i el seu net Leopold. El maig de 1787, i lluny de Wolfgang, Leopold va morir a Salzburg.
OBRA:
Vocal secular:
Lieder:
Bey dem Abschiede (Du dauerst mich) (J.C. Günther) and Die Rangordnung (Den Schönen, die mit holden Blicken), D-DÜk*;
Der Mensch seufzt stets in Kreuz und Weh, 1 Jan 1761, H-Bn*;
Die grossmütige Gelassenheit (Ich hab’ es längst gesagt) (Günther), k149, A-LIm*, ed. in W vii/1;
Die Zufriedenheit im niedrigen Stande (Ich trachte nicht nach solchen Dingen) (F.R.L. von Canitz), k151, LIm*, ed. in W vii/1;
Geheime Liebe (Was ich in Gedanken küsse) (Günther), k150, H-Bn*, ed. in W vii/1;
15 Lieder (C.F. Gellert), kaC8.32–46, possibly by L. Mozart (see Plath, C1971–2);
cadenzas for arias by J.C. Bach, k293e (see Plath, C1971–2)
Vocal religiosa:
Sacred cants. (orats), applausus, school dramas:
Christus begraben (I.A. Weiser), Salzburg, 1741, rev. 1755, music lost, libs A-Sub, ed. in S; Antiquitas personata, Salzburg, 1742, pr. scenario Su, ed. in S;
Christus verurteilt (Weiser), Salzburg, 1743, music lost, lib Su (1743), Sca (1749);
Der Mensch ein Gottesmörder (Weiser), by 1753, parts I-BZf (see Tagliavini, C1963; Münster, A1965);
Geistliches Schäfergedicht, oder Der gute Hirte (J.A. Schachtner), after 1754, music lost, lib A-Su;
Oratorium pro Quadragesima, score CH-BEl (see Eisen, C1987);
other Passion cants., lost, presumably incl. 2 extant arias ?11 April 1755, D-Bsb*, s4.18, ed. in S;
Weicht, zweifelnde Klagen, s4.19, A-Wgm*;
So straft Herodes die Verräter, s4.20, Wn*, ed. in S; Applausus, 1753, comp. for St Peter’s, lost (see Martin, A1913, p.355)
Masses:
Missa solemnis, C, s4.1, by 1753, parts A-Wgm, D-Ahk, Asa;
Missa solemnis, C, s4.2, before c1760, parts A-Ssp, D-Mbs, ed. R. Kubik (Neuhausen, 1981), frag. draft OF* = k115, ed. in W xxiv/28 and by W. Schulze (Stuttgart, 1983) (see Pfannhauser, C1971–2);
Missa, A, parts A-Sd;
Missa brevis, F, k116 and k6417B and kaA18–19, frags. D-Bsb*, F-Pn*, US-STu*, ed. in W xxiv/33 (see Plath, C1971–2);
San-Ag, C, s4.11, formerly D-Ahk, lost;
Missa 1ma Ssmae Trinitatis, C, s4.4, score, A-Sca, doubtful;
Mass, C, kaC1.08, parts Wn, CZ-Pnm, doubtful, numerous other sources attrib. W.A. Mozart, pubd as Duae missae, no.1 (Munich, n.d.) and as Mozart’s Masses 8 (London, n.d.), ? by F. Gleissner (see Köchel);
Missa solemnis, C, s4.3, kaC1.20, doubtful, ? by C. Vogel;
Gl-Cr-San, A, s4.5, spurious, by J.E. Eberlin;
Missa pastoritia, C, spurious, by B. Grueber (see Plath, C1966, C1974)
Lits:
Litaniae de venerabili, C, s4.6, 1 movt D-Bsb*, parts formerly Ahk, ed. in S;
Litaniae Lauretanae de BVM, E , s4.7–8, before c1760, A-Sca*, rev. parts Sd with ob solo by W.A. Mozart (see Eisen, C1991), ed. in NMA, X:28, Abt.3–5/i (1973);
Litaniae Lauretanae, F, s4.9, parts A-Sd;
Litaniae Lauretanae, G, s4.10, before c1760, parts Sd;
Litaniae de venerabili sacramento, D, 1762, Sd* (see Senn, C1971–2), ed. in NMA, X:28, Abt.3–5/i (1973); Litanei, D, formerly LA
Other church music:
Dixit Dominus, Mag, C, 1750s, parts D-Asa;
Miserere, F, s4.12, formerly Ahk, lost;
Tantum ergo, C, s4.16, before c1760, parts A-Sd, Ssp;
Veni Sancte Spiritus, C, s4.17, parts Ssp, KR, ed. in Kurthen C1921;
Offertorium de tempore et sub exposito venerabili (Convertentur sedentes), D, s4.13, before c1760, kaC3.09, parts Ssp, D-FW, ed. in W iii/23;
Offertorium de Ssmo Sacramento (Parasti mensam), A, s4.14, score A-Wgm, parts Sd, ed. in S;
Off SS Trinitate (Omnes hodie coelestium), D, by 1757, parts D-Asa, TIT, A-Wgm;
Off (Rorate caeli), B , parts HR-Zh; Off (Jubilate Domino), C, before c1760, parts D-Asa, A-KR;
Off (Beata es virgo Maria), C, parts SEI;
Sequenza (Veni Sancte Spiritus), GÖ*, doubtful;
Ad sacram Communionem (Confitemini domino), F, s4.15, before c1760, parts SsP;
Cantata pro Communione (Pulcherrimus mortalium), A, before c1760, parts D-Asa;
Cantata ad Communionem (Surgite mortui), C, by 1756, parts TIT;
Aria de BVM (Helle Sonn der dürstren Sterne), D, parts Asa;
Aria (Trauere, o verwaiste Seele), F, ?c1750, parts A-Sn;
Aria pro adventu (Christen auf), E , parts Sn;
Aria pro Adventu (Nur im Paradeis), D, parts Sn
Instrumental:
Symphonies:
C:
no.1, s3.1, parts D-Bsb;
no.2, ‘Sinfonia da camera’, s3.2, by c1760, parts HR, ed. in Diletto musicale, no.938 (Vienna, 1989); no.3, s lost work no.1, kaC11.01, 1st vn part Mbs, movt i ed. H. Engel, MJb 1951, 22–33;
no.4, parts CH-Zz (as ‘Partia’)
D:
no.1 ‘De gustibus non est disputandum’, s3.3, parts D-HR, ed. in The Symphony 1720–1840, ser. B, vii (New York, 1984);
no.2 ‘De gustibus non est disputandum’, s3.4, parts HR;
no.3 ‘Non è bello quello che è bello mà quello che piace’, s3.5, parts HR;
no.4, s3.6, parts HR;
no.5 ‘Sinfonia da camera’, s3.7, parts HR, ed. in S;
no.6, s3.8 by c1760, parts HR;
no.7, s3.9, parts HR;
no.8, s3.10, parts HR;
no.9, s3.11, by c1760, parts HR;
no.10, s3.12, parts HR;
no.11, s3.13 by 1751, parts HR;
no.12, s3.14 by 1761, parts CH-Zz, D-HR, Rtt;
no.13 ‘Non è bello quello che è bello mà quello che piace’, s3.15, parts HR, ed. in The Symphony 1720–1840, ser. B, vii (New York, 1984)
no.14, s3.16, k81/73l, ?1770, probably by W.A. Mozart (see Seiffert, C1908, pp.xxxviii ff, Köchel, 6/1964 and Eisen, C1986), parts A-Wgm (attrib. W.A. Mozart), ed. in W 24/4, NMA, IV:11/ii;
no.15, s3.17, by 1772, frag. parts A-Sca, D-HR, Rtt;
no.16, frag. parts HR;
no.17, s lost work no.2, by 1761, parts RUh;
no.18, s lost work no.3, by 1753, parts A-Sca, ed. in E;
no.19, s lost work no.4, by 1766, lost;
no.20, parts Ik;
no.21, parts Ik;
no.22, ? by 1753, definitely by 1760, parts D-Asa;
no.23 ‘Jagd Parthia’, by 1768, formerly A-LA, lost;
no.24, by 1768, frag. parts D-Asa;
no.25, by 1771, parts DO dated 1771;
no.26, parts Rtt, ed. in E
E:
no.1, by 1768, formerly A-LA, lost
F:
no.1, s3.18, by c1760, parts D-HR, ed. in The Symphony 1720–1840, ser. B, vii (New York, 1984) and in Diletto musicale, no.939 (Vienna, 1989);
no.2, s3.19, by 1751, parts HR, ed. in E;
no.3, s3.20, ? by 1753, definitely by 1760, parts Mbs, Asa, version with 2 hn, ed. W. Höckner (Hamburg, 1959);
no.4, s lost work no.5, by 1761, parts MÜu;
no.5, by 1760, parts Tl dated 1760;
no.6, ? by 1748, definitely by 1768, parts Asa, ed. in E
G [nos. 1–9]:
no.1, s3.21, parts D-HR;
no.2 ‘Sinfonia burlesca’, s3.22, parts Asa, HR, ed. in S;
no.3 ‘Sinfonia pastorale’, s3.23, kaC11.13, by 1753, parts Asa, BAR, HR, MS copies in score A-Wgm, D-Bsb, ed. K. Janetzky (Zürich, 1979);
no.4, s3.24, parts HR;
no.5, s3.25, by 1768, parts Asa, HR, ed. in E;
no.6, s3.26, parts HR;
no.7, s3.27, by c1760, parts HR, ed. in E;
no.8, s3.28, kaC11.09, by 1775, attrib. L. Mozart in Breitkopf catalogue suppl.X (1775), 3, but cf Köchel (6/1964), edn (Leipzig, 1841);
no.9 ‘Sinfonia da caccia’, s3.29, parts HR, A-Wgm, ed. in S
G [nos. 10–20]:
no.10, s lost work no.6, by 1761, lost;
no.11, s lost work no.7, by 1766, lost;
no.12, s lost work no.8, by 1766, lost;
no.13, s lost work no.9, by 1766, parts Marburg, Hessisches Landesarchiv;
no.14, by 1768, parts D-Asa;
no.15, by 1768, formerly A-LA, lost;
no.16, ?1767, definitely by 1769, parts D-Asa, ed. in NM, no.217 (1965), attrib. W.A. Mozart by Abert (C1964, also MJb 1964);
no.17, by 1753, parts A-Gd, ed. in Diletto musicale, no.293 (Vienna, 1970);
no.18, by 1753, parts Gd, ed. H.C.R. Landon (London, 1956);
nos.19–20, both by 1768, formerly LA, lost
A:
no.1, s3.30, by 1766, parts D-Asa, ed. in E;
no.2, by 1751, inc. parts Mbs;
no.3, lost, listed in Karlsruhe catalogue (see Eisen, C1987)
B:
no.1, s lost work no.10, by 1753, parts D-Asa;
no.2, s lost work no.11, by 1761, formerly A-LA, lost;
no.3, s lost work no.12, by 1766, lost;
no.4, by 1768, formerly LA, lost;
no.5, by 1753, parts Gd, ed. in Diletto musicale, no.294 (Vienna, 1970);
no.6, kaC11.02, ? by 1756, definitely by 1768, formerly LA, also circulated in version with 2 ob, 2 hn, W viii/i (see Köchel, 6/1964, and Eisen, A1986);
no.7, formerly D-ZL, lost;
no.8, s1.12, by 1761, arr. kbd in Raccolta delle megliore sinfonie, iii (Leipzig, 1761)
2 syms., discovered by Riemann, see RiemannL11, 1218:
1 lost, 1 = D no.17;
3 pastoral syms., lost, described in letters of 15, 18 and 29 Dec 1755 to J.J. Lotter;
‘Post’ Sym., lost, see note in MS of G no.9, A-Wgm
W.A. Mozart: Sym. k45a, attrib. to Mozart by A.A Abert (C1964, also MJb 1964)
Serenades:
D, by 1762, parts A-SEI, movts iv and v = Tpt Conc. movts iv and v, trio of movt iii = Vn Sonata k6 trio of movt iii, ed. A. Weinmann (Zürich, 1977);
Serenade, Aug 1754, lost, mentioned in diary of Oddo Gutrath (see Klein, B1962, p.320);
2 serenades, lost, mentioned in letter of 10 April 1755 to J.J. Lotter
Divertimentos:
Divertimento militare, cioè Sinfonia, D, s3.31, parts D-HR, ed. in s;
Die musikalische Schlittenfahrt:
Divertimento, F, s1.11, 1755, parts A-Wgm (frag.), D-Mbs, Rtt [different work of same title by Wassmuth in Bsb (attrib. L. Mozart and Wassmuth), rev. in ZI (attrib. W.A. Mozart, numerous later edns as work of L. Mozart), cf Valentin, C1942–3, and Landon, C1956]
Partitas:
D, by 1765, s3.32, score GB-Lbl;
Die Bauernhochzeit, Divertimento, D, s3.33, 1755, score and parts D-Bsb, ed. in S and in Diletto musicale, no.259 (Vienna, 1972);
D, mentioned in Breitkopf catalogue V (1765), 13;
D, s lost work no.13, mentioned in Breitkopf Suppl.II (1767), 11;
D, by 1768, formerly A-LA, lost; 2 parthia, C, formerly A-LA, lost
Cassatio:
G, ?arr. L. Mozart from anon. ‘Berchtesgadener Musik’ (see Münster, C1969, and Gerlach, C1988), ed. in Diletto musicale, no.300 (Vienna, 1974) and in Denkmäler der Musik in Salzburg, ii (Munich, 1981)
Concs.:
Conc., 2 hn, E , s3.35, 3 Aug 1752, parts D-HR (partly autograph), ed. H. Pizka (Kirchhei, 1983);
Fl. Conc., G, before 24 Nov 1755, parts HR-Zh, ed. N. Delius (Milan, 1994);
Tpt Conc., D, s3.34, Aug 1762, D-Mbs*, ed. in S, in Organum, 3rd ser., xxix (Leipzig, 1930, 3/1960), in Concertino, no.98 (Mainz, 1967), cf Serenade, D;
Ob Conc., F, mentioned in Breitkopf catalogue III (1763), 29, lost;
Pf Conc., G, kaC15.02, only autograph sketches extant;
4 fl concs., lost, mentioned in letter of 24 Nov 1755 to J.J. Lotter (with incipits);
2 concs., 2 hn, D, mentioned in SI thematic catalogue, lost, also attrib. G.A. Reluzzi;
vn concs., lost, mentioned in Stockhausen, 1771
Dances:
12 menuetti fatti per le nozze del Signore Francesco Spangler, s3.36, 1754, frag. parts A-Sca, nos.9 and 10 = minuet and trio no. 17 in Nannerl Notenbuch;
[?Minuet], k64, ? by L. Mozart (see Plath, C1971–2)
‘Chinese’ and ‘Turkish’ music, by 1757, lost (see Marpung)
Chbr.:
With kbd/bc:
Sonate 6 per chiesa e da camera, 2 vn, b, s2:Trios 7–12, parts (Salzburg, 1740), ed. G. Steinschaden (Salzburg, 1991), no.2, ed. in S, no.4 ed. in Hausmusik, no.177 (Vienna, 1955);
3 trios, hpd obbl, vn, vc, s2:Trios 13–15, parts D-MMm, from former set of 6 works, nos.1, 3 and 6 lost, no.5 ed. in S
With winds:
Divertimento, G, fl, vn, b, parts A-SB, ed. (Winterthur, 1976);
Divertimento, D, fl, vn, b, mentioned in ST thematic catalogue, lost
Str:
6 divertimentos, by 1762, s2:Trios 1–6, parts D-Mbs, Parthia di Rane, C, by 1768, parts A-LA, ed. in Diletto musicale, no.578 (Vienna, 1975);
nos.1, 2, 4 ed. in S, 3 ed. in Organum, 3rd ser., xxx (Leipzig, 1930), no.1, ed. in Concertino, no.99 (Mainz, 1959);
Divertimento, G, vn, vc, vle, parts HR;
Divertimento, G, 2 vc, vle, parts HR
Vn duos:
16 in 1st edn of violin method (1756), ed. in Thesaurus musicus, vi (Budapest, 1959, 2/1965);
12 in Fr. edn of violin method (1770), s2:Solos, Duos, nos.3 and 7 from sonatas nos.4 and 2 of G.P. Telemann: 18 canons mélodieux, ou 6 sonates en duo (Paris, 1738), remainder probably by V. Roeser, ed. in HM, no.78 (Kassel, 1951, 2/1963)
Vn solo:
Caprice, in Fr. edn of violin method (1770), s2:Solos, Duos
Solo keyboard:
Sonata, F, s1.1 (Nuremberg, 1759), ed. in S;
Sonata, B , s1.2 (Nuremberg, 1760), ed. in S;
Sonata, C, s1.3, by 1759 (Nuremberg, 1760), ed. in S;
Tempo di menuetto, 1 Jan 1761, H-Bn*;
Minuet and Trio, by 1756, and Trio, by 1762, A-Sm (Nannerl Notenbuch, no.17 = Hochzeitsmenuette s3.36 no.9–10 and Nannerl Notenbuch, no.48 = arr. of trio of movt iii of Serenade, D), ed. in NMA, IX:27/i; other unattrib. minuets in Nannerl Notenbuch, by Leopold;
Fugue and Andante, CH-E, MS, c1801;
Der Morgen und der Abend (for Salzburg Hornwerk), s1.4–10, ?1754 (Augsburg, 1759), ed. in Dankmäler der Musik in Salzburg, i (Munich, 1977);
[Polonoise], Arietto and Scherzo, D-Gms, facs. in Staehelin, C1989;
Variations, lost, ? never finished (see letter of 14 Nov 1772)
Pedagogical:
Nannerl Notenbuch, 1759-c1763, A-Sm, ed. in NMA, IX:27/i [incl. works by L. Mozart and others]; Notenbuch, seinem Sohn Wolfgang Amadeus … geschenkt, 1762, spurious (see Plath, A1971–2)
Arrs. and transcrs. of other composers’ works; sketches, drafts, frags.; figured bass exercises
Literatura:
Versuch einer gründlichen Violinschule (Augsburg, 1756/R, 2/1769-70, enlarged 3/1787/R, 4/1800; Dutch trans., 1766/R; Fr. trans., 1770; numerous other unauthorized reprintings and edns; Eng. trans., 1939 [?1948], 2/1951) [see also vn duos above]
[presumed author:] ‘Nachtricht von dem gegenwärtigen Zustande der Musik Sr. Hochfürstl. Gnaden des Erzbischoffs zu Salzburg im Jahre 1757’, in F.W. Marpurg: Historisch-kritische Beyträge zur Aufnahme der Musik, iii (Berlin, 1757/R), 185-98; Eng. trans. in N. Saslaw: Mozart’s Symphonies (Oxford, 1989), 50–57
Various letters, notebooks etc., ed. in Mozart: Briefe und Aufzeichnungen, ed. W. Bauer, O.E. Deutsch and J. Eibl (Kassel, 1962-75); see also bibliography
Parlem en veu pròpia o en veu d'altri...
Ja el 1739 fou batxiller en Lògica. El mateix any fou expulsat de la Universitat, sembla ser que per insuficient assistència a classe. Es va guanyar la vida fent d’ajuda de cambra i músic al servei del comte Thurn-Valsassina. El 1743 es va convertir, gràcies a la intercessió del seu paisà (i professor?) J.E. Eberlin, en el quart violí de la Capella de la Cort, el 1744 professor de música dels nois de la Capella i segon violí, el 1757 compositor de la Cort i el 1763 vice-mestre de Capella, amb la qual cosa arribà al final de la seva trajectòria professional. La seva altra “carrera” anava unida a l’educació dels seus fills: “Nannerl”, nascuda el 1751, i Wolfgang (1756), ambdós fruit del seu matrimoni amb Anna Maria, de soltera Pertl. A partir d’aquell moment tots els assumptes i accions de Leopold Mozart han de mesurar-se amb un patró diferent. Però només es podran comprendre si tenim en compte les condicions de vida que motivaren a l’alegre, jovial i fins i tot entranyable Leopold Mozart, a qui només se’l veu en el seu paper de pare, a defendre la seva pròpia pell. Les experiències adquirides, que l’havien tornat desconfiat, foren sense cap mena de dubte la causa del seu comportament pedagògic vers el seu fill, a qui desitjava protegir contra l’infortuni. Que aquest s’anés apartant del seu pare a partir de 1777 i, encara guardant-li tot el respecte li negués l’obediència, es degué a incomprensions mútues.
Malgrat les moltes monografies, malgrat el “Schwäbisches Mozartbuch” (Llibre suabi de Mozart) d’E.F. Schmid (Lorch, 1948) i de la “Leopold Mozart: Dokumentation” de Ludwig Wegele (Augsburg, 1969), encara manca molt a dir. Continua faltant encara un relat de la vida i obra de Leopold Mozart que ens mostri una mica de llum en una vida envoltada de misteri, fins a la seva mort en solitud (el 28 de maig de 1787). El document vàlid fins als nostres dies sobre les aptituds pedagògiques de Leopold Mozart és el “Versuch einer gründlichen Violinschule” (Assaig d’un mètode avançat de violí), (Augsburg, 1756, amb edicions i traduccions en holandès -1766-, francès -1770- i rus -1804-). Però no ens hauríem de deixar guiar només per això, sinó considerar la seva labor artística aïlladament (sense establir comparacions amb l’obra del seu fill): des de les “Sonate sei per chiesa e da camera a tre” (1740) fins les simfonies, concerts, peces descriptives i, sobre tot, de música religiosa (entre d’altres: ”Litaniae de venerabili sacramento”). Aquest home de cultura universal, que s’ocupava de Gottsched i Gellert i llegia les obres de Wieland, fou el millor, per més versat, interlocutor del seu fill (cartes relatives a l’”Idomeneo”) fins que anaren distanciant-se progressivament.
MOZART.CAT (source/font: aquí)
Gaudiu i compartiu!
Informació addicional...
INTERPRETS: NZSO Chamber Orchestra; Donald Armstrong
RECICLASSICAT: MOZART, Leopold (1719-1787)
PRESTOCLASSICAL: Mozart L - Divertimentos & Symphonies
PRESTOCLASSICAL: MOZART, L. - Sinfonia di Caccia & Sinfonia Pastorale
PRESTOCLASSICAL: MOZART, L. - Sinfonia di Caccia & Sinfonia Pastorale
IMSLP: Leopold Mozart (1719-1787)
SPOTIFY: Mozart L - Divertimentos & Symphonies
SPOTIFY: MOZART, L. - Sinfonia di Caccia & Sinfonia Pastorale
Tant si us ha agradat, com si no, opineu, és lliure i fàcil!
SPOTIFY: MOZART, L. - Sinfonia di Caccia & Sinfonia Pastorale
Tant si us ha agradat, com si no, opineu, és lliure i fàcil!
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ResponEliminaThanks for all your efforts, much appreciated.
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