The Rediscovered Autograph of Mozart's Fantasy and Sonata ... · Upon seeing the manuscripts I knew at once that both the Mozart and Haydn were in fact autographs. After exactly seventy-five

The Rediscovered

Autograph of Mozart's

Fantasy and Sonata in C Minor, K. 475/457*

EUGENE K. WOLF

O n 31 July 199o, Judith DiBona, Accounting Manager at Eastern College in St. David's, Pennsylvania, was rum-

maging through an old safe at Eastern's sister institution, Eastern

Baptist Theological Seminary in Philadelphia. She had gone to look for deeds and other legal documents relating to Eastern College. As the safe in question was not the principal one at the seminary, it was

rarely opened, and its contents were miscellaneous and in some dis-

array. An amateur pianist, DiBona's attention was attracted by two manila envelopes with the notation "Sacred Music" on the outside, evidently a reference either to actual music or to documents relating to the seminary's former School of Sacred Music.

Upon opening the packets, DiBona found music and other ma- terials associated with William Howard Doane (1832-1915), a Cincin- nati industrialist and writer of gospel hymns. But the most interesting contents were five older music manuscripts: a chorus, "Scenda

propizio," by Haydn;' a song, Maria, by Louis Spohr (Op. 139, No.

Volume X * Number 1 * Winter 1992 The Journal of Musicology ? 1992 by the Regents of the University of California

* I should like at the outset to express my appreciation to Dr. Alan Tyson of All Souls College, Oxford, not only for supplying much of the information about watermarks found below, but also for his generous assistance at every stage in the preparation of this article. I am also indebted to Dr. Stephen Roe of Sotheby's, London, for his many insights concerning the autograph of K. 475/457.

I later identified this manuscript as the final chorus of Haydn's secular cantata Qual dubbio ormai, Hob. XXIVa:4, written for the name day of Prince Nikolaus Ester- hazy, 6 December 1764. The remainder of the autograph is in the Music Division of the

THE JOURNAL OF MUSICOLOGY

2/WoO 107);2 one leaf of an orchestral work by "Strauss" (no first name), which turned out to be the opening of Johann Strauss I's Mode-Quadrille, Op. 138;3 a pencil arrangement by Meyerbeer of the recitative and aria "Armida dispietata"/"Lascia chi'o pianga" from Handel's Rinaldo;4 and most intriguing of all, a bound manuscript labeled "Fantasia and Sonata in C minor" that DiBona immediately recognized as containing Mozart's great pair of piano works, K. 475 and 457.

She took the music to Gary D. Rindone, Treasurer and Vice- President for Finance at the seminary,5 who proceeded to make calls to several local institutions in an attempt to locate someone who might assist in identifying and authenticating the various works. One of these calls came to the University of Pennsylvania, and I telephoned Rindone to offer my services. However, as I was occupied with another project at the time and was initially skeptical that these could be authentic sources, I remember setting our appointment as late in the week as possible. This was a move I instantly regretted upon taking Kochel from the shelf and finding that the autograph of K. 475/457 had been missing since 1915, the year its owner, the American Baptist

4 hymn composer William Howard Doane, had died. (Ironically, the

seminary is close to my home, and I drive by it on the way to work.) Upon seeing the manuscripts I knew at once that both the Mozart and

Haydn were in fact autographs. After exactly seventy-five years, the works that many consider Mozart's greatest compositions for piano had again come to light.

History of the Autograph Mozart composed the Sonata in C Minor, K. 457,

in 1784. Though the autograph is not dated or signed by Mozart, the date of completion given in the little catalogue he kept of his works

Library of Congress. The Haydn autograph, as well as the Spohr and Strauss manuscripts found at the same time, were sold to private collectors in the sale at Sotheby's on 21 November 1990 (see fn. 3).

2 Folker G6thel, Thematisch-bibliographisches Verzeichnis der Werke von Louis Spohr (Tutzing, 1981), pp. 235, 471.

3 The identification was made by Stephen Roe of Sotheby's; see the catalogue of the auction held in London on 21 November 1990, Sotheby's: Fine Music Manuscripts, the Property of Eastern Baptist Theological Seminary, Philadelphia (hereafter referred to as "Sotheby's Catalogue"), p. [23].

4 This undated arrangement appears to be unknown within the literature on Meyerbeer; see Sotheby's Catalogue, pp. [6-7].

5 I extend warm thanks to Mr. Rindone and also to Dr. Manfred Brauch, Presi- dent of Eastern Baptist Theological Seminary, for their kindness in allowing me to study the autograph at length.

MOZART AUTOGRAPH

beginning in February 1784, the Verzeichniss, is 14 October 1784.6 He seems immediately to have had a copy made for his piano student Maria Therese von Trattner (nee von Nagel, 1758-93), for which he himself provided a handwritten dedication page bearing the same date.7 This manuscript, containing Mozart's autograph corrections, survives in the Jewish National and University Library in Jerusalem; it was clearly copied directly from the autograph. Together with the first edition (see below), it had heretofore been the only authentic version to come down to us.

The Fantasy in C Minor, K. 475, was completed some seven months later, on 20 May 1785, as documented once again in the Verzeichniiss; this date also appears on page 1 of the autograph, but in the hand of Georg Nikolaus Nissen (Constanze Mozart's second husband; see Plate i, below), not Mozart. The two works were published together as Opus 1 by the Viennese publisher Artaria in late 1785.8 Until now, the first edition has been the only authentic source for the

Fantasy. Based on the separate listings in the Verzeichniiss and the existence of the dedication copy for Therese von Trattner, which contained the Sonata alone, it was already clear that the Sonata and

Fantasy had been composed separately from one another.9 As we 5 shall see, the newly discovered autographs establish this fact conclusively: despite the fact that they were bound together in the nineteenth century, they are entirely separate manuscripts. The most likely hypothesis is that Mozart composed the Fantasy with a view

6 Verzeichniiss aller meiner Werke vom Monath Febrario 1784 bis Monath ... 1 ... (British Library, Stefan Zweig MS 63). There are many editions of this catalogue, the most recent and authoritative being Mozart's Thematic Catalogue: A Facsimile, introduc- tion and transcription by Albi Rosenthal and Alan Tyson (London and Ithaca, NY, 1990). The pencil date of 1784 on the autograph (see Plate 3, below) is not original. 7 A reproduction of this page appears in Wolfgang Amadeus Mozart: Neue Ausgabe sdmtlicher Werke [NMA], Ser. IX/25: Klaviersonaten, ed. Wolfgang Plath and Wolfgang Rehm (Kassel, 1986), II, p. xxvii. This volume, the Kritischer Bericht of which has not yet appeared, will hereafter be cited simply as NMA. According to Constanze Mozart, her husband wrote two "interesting letters about music" to Therese von Trattner, who was the wife of the Mozarts' landlord and in December 1787 godmother to their daughter Theresia (d. June 1788); one of these letters may well have related to the Sonata (and/or Fantasy) and its performance. See Constanze's letter to Breitkopf & Hartel of 27 No- vember 1799, printed in Wilhelm Bauer and Otto Erich Deutsch, eds., Mozart: Briefe und Aufzeichnungen. Gesamtausgabe IV (Kassel, 1963), pp. 299-300. Constanze states that the letters were at the time supposedly in the possession of "Abbe Ghelinek" (i.e., Joseph Gelinek). They have since disappeared.

8 FANTAISIE et SONATE Pour le Forte-Piano composees pour MADAME THERESE de TRATTNERN par le Maitre [sic] de Chapelle W. A. MOZART. Oeuvre XI (RISM A/I, M 6810). A reproduction of the title page of this print appears in NMA, p. xxvii. See also Gertraut Haberkamp, Die Erstdrucke der Werke von Wolfgang Amadeus Mozart (Tutzing, 1986), I, 236-37; II, 199 (another reproduction of the title page). 9 See, e.g., the comments in NMA, p. xiv.


toward publishing it together with the Sonata, perhaps as a sort of

greatly extended prelude to it (though either work can stand alone

equally well). The subsequent history of the two manuscripts is not difficult to

trace. Mozart's widow Constanze sold the autograph manuscripts in her possession to the Offenbach publisher and musician Johann Andre in 1799, undoubtedly including the autographs of K. 475 and

457;10 his edition of the two works published three years later claims to have been "faite d'apres le manuscrit original de l'auteur."ll The next owner of the manuscripts was Johann Andreas Stumpff (1769- 1846), a harp manufacturer and collector in London whose name

appears as owner on both the Fantasy and Sonata. Stumpff seems to have bought them from Andre in either 1811 or 1815,12 and it was

probably he who had them bound in one volume (see below). The combined autograph next turns up in the possession of the London art and music collector Julian Marshall (1836-1903), who in turn sold it to W. H. Doane.

William Howard Doane, the pivotal figure in this story, was born in Preston, Connecticut, in 1832 and died in South Orange, New

6 Jersey in 1915.'3 He spent most of his adult life in Cincinnati, where he was a highly successful manufacturer of woodworking machinery. Well trained in music, he is principally known today as the composer of over 2,000 gospel hymns, many of them still in use. He was a

philanthropist and a major benefactor of Denison University, which awarded him an honorary degree of Doctor of Music in 1875. Doane also owned a large collection of musical instruments, which he left to the Cincinnati Museum of Art, and an extensive music library, both of which were housed in the study or music room of his home. A visitor of the time wrote,

The library is exceptionally fine, and one of the largest in the coun- try, containing ... original manuscript [sic] and autographs of nearly

'1 The contract between Constanze and Andre, dated 8 November 1799, is printed in Otto Erich Deutsch, Mozart: Die Dokumente seines Lebens (Kassel, 1961), pp. 528-31; Engl. trans. by Eric Blom, Peter Branscombe, and Jeremy Noble, Mozart: A Documentary Biography, 3d ed. (London, 1990; orig. ed., 1965), pp. 491-92.

' W. A. Mozart, La Fantaisie & Sonate pour le pianoforte (Offenbach: J. Andre, No. 1525 [1802]), RISM A/I, M 6820.

12 NMA, p. xiv. Stumpff owned numerous autographs by Mozart; see the listing under his name in the index to Ludwig von Kochel, Chronologisch-systematisches Ver- zeichnis sdmtlicher Tonwerke Wolfgang Amade Mozarts, 6th ed. by Franz Giegling et al. (hereafter K6; Wiesbaden, 1964), p. 1019, and also fn. 19, below.

13 On Doane see J. H. Hall, Biography of Gospel Song and Hymn Writers (New York, 1914), pp. 76-81; Mel R. Wilhoit, "Doane, William H(oward)," The New Grove Dictionary of American Music, ed. H. Wiley Hitchcock and Stanley Sadie (London, 1986), I, 636.

MOZART AUTOGRAPH

all the old masters, including Beethoven, Mendelssohn, Mozart, Handel, Meyerbeer, and also Dr. Lowell Mason ... and other Amer- ican composers.'4

The Mozart autograph mentioned in this description is, of course, that of K. 475/457. Doane bought it in 1889 for ?55, as indicated by an invoice of 30 July 1889 from the London firm of W. E. Hill & Sons, which handled the sale together with that of the Haydn, Spohr, and Strauss manuscripts owned by Eastern Baptist Theological Semi-

nary.l5 Hill & Sons were acting as agents for Julian Marshall, as appears from a letter of authentication sent by Marshall to Doane on 15 November 1889.16

From the time of W. H. Doane's death in 1915 the whereabouts of the autographs of K. 475 and 457 were unknown. The sixth edition of Kochel (1964) lists the autograph of K. 457 as lost and says that Doane's autograph collection "vanished after his death without a trace."'7 Likewise, the editors of the NMA edition state that "both

[manuscripts] are today [1986] lost; they were last traceable in the collection of William Howard Doane."1s

In fact, as could have been determined with relative ease at the 7 time, the Mozart and other manuscripts passed after Doane's death to the younger of his two daughters, Marguerite Treat Doane (Mrs.

14 Hall, Biography, p. 80. A description of the study appears on pp. 79-80. 15 The existence of this bill, as well as the letter of authentication from Julian

Marshall mentioned in the next footnote, was kindly pointed out to me by Max Rudolf, former conductor of the Cincinnati Symphony, who has carried out research on K. 475/457 for many years. I am very grateful to Dr. Rudolf for sharing the results of his research with me. (The editors of the NMA give the date of 1889 for the sale to Doane [p. xiv], but with no citation of either the bill or the source of their information, which was in fact a detailed letter from Dr. Rudolf of February 1979.) The bill and letter are now housed in the Doane Collection of the Rare Book Department of the Public Library of Cincinnati and Hamilton County (information kindly supplied by James R. Hunt, Director-Librarian).

16 On this letter see the previous footnote. The text of the letter to Doane reads, "I have pleasure in saying that the Mss. of Haydn, Mozart, Spohr, and Strauss, which you have bought from me, are to the best of my knowledge and belief autograph and genuine in every respect."

17 K6, p. 496. The editors of K6 were unaware that the manuscripts of K. 475 and 457 were bound together within a single cover; they merely repeat the information contained in the second and third editions of K6chel, by Paul Graf von Waldersee and Alfred Einstein, respectively (Leipzig, 1905 and 1937), who list the autograph of K. 457 as in the possession of W. H. Doane in Cincinnati but state that the autograph of K. 475, previously in the possession of Julian Marshall, was unknown. In his review of K6 in Notes XXI (1964), 538, Bernard E. Wilson states that "far from disappearing without a trace, Doane's autograph collection was given to the Cincinnati Museum of Art" ca. 1914 but that the Mozart autograph was not included. We now know the same to have been true of the other manuscripts of Doane's owned by the seminary. i8 NMA, p. xiv.


George White Doane [sic]; 1868-1954). Mrs. Doane in turn donated them to Eastern Baptist Theological Seminary in 1950, in conjunction with her gift of the Curtis Lee Laws Memorial Chapel and the William Howard Doane Hall of Sacred Music (dedicated 9 October 1951). The

manuscripts may, in fact, have been on public display there for a time:

typed cards were stored with them that appear to be labels for an exhibit. If they were indeed ever put on display, they were removed

shortly thereafter to the safe described earlier, because of dampness in the hall and for reasons of security. There they remained from the mid-195os until their rediscovery in 1990.

Physical Characteristics of the Autograph Binding. The manuscripts of the Fantasy and So-

nata, originally separate, were bound together in the nineteenth cen-

tury in a marbleized stiffened-paper cover. At the time of the redis-

covery of the autograph, the bifolio containing the Fantasy had come loose from the binding, though the string was still present. A red morocco label affixed to the cover gives the title in gilt: "Fantasia and

8 Sonata/in C minor." On the orange-brown flyleaf is written "Phan- tasia in C. Minor" and at the bottom right "J. A. Stumpff/ Great Port- land Street." Given the latter notation and the use of English on the label, it seems likely that Stumpff was the person responsible for the binding of the manuscript.

Foliation/pagination. The autograph contains two series of numbers, plus the beginning of a third. The most usable numbering for

codicological purposes is the foliation, which corresponds to the

present physical arrangement of the manuscript. The folio numbers are positioned halfway down the right margin of each recto (see, e.g., Plate 1, below); they run from 1 to 9 and were probably written by J. A. Stumpff.9l In addition, page numbers in Mozart's hand appear in the outer top corner of all pages containing music, running from 1 to 14 (see, e.g., Plates 1-2, below; blank pages are not given page numbers). These page numbers do not, however, reflect the physical arrangement of the manuscript but rather a coherent musical order in a manuscript that, as we shall see, is necessarily out of order. The relationship of the two series of numbers is shown in Table i, which

19 This identification was made by Alan Tyson. Similar numbers appear on other Mozart autographs owned by Stumpff, including the "Haydn" and "Prussian" quartets and the quintet K. 614. See the facsimiles in Alan Tyson, ed., Wolfgang Amadeus Mozart: The Six "Haydn" String Quartets and The Late Chamber Music for Strings, British Library Music Facsimiles, IV-V (London, 1985 and 1987). See also fn. 12, above.

MOZART AUTOGRAPH

TABLE 1

Present Structure of Autograph of K. 475/457

Contentsa Folio Pageb Paper-type Quadrant Total span

Fantasy 1-35 lr 1 I - 183.6-.8 36-90 lv 2 la 91-135 2r 3 4a 136-176 2v 4

Sonata i/1-68 3rc 5 II 3b 189-189.5d i/69-154 3v 6 i/155-185 4rc 7 iii/1-93 4v 12 2b

ii/1-34 5r 8 III 4a 189-189.5d

ii/35-57 5v 9 9 Varied Reprises I 6r |- 10

blank 6v - la

Varied Reprises II 7r' le IV - 188.5-.8 blank 7v - 2a

iii/94-226 8r 13 II 189-189.5 iii/227-319 8v 14 2b blank 9r - 3b

blank 9v -

Note: See Figs. 1-4 for information on Paper-types I-IV and the naming of the quadrants of the original (uncut) sheets of paper; see Table 2 for information on the total span (TS) and other parameters of the staving.

aArabic numerals in column i indicate measure numbers, lower-case ro- man numerals indicate movements (in the Sonata).

bThe page numbers, in Mozart's hand, follow the musical order of the works rather than the physical order of the manuscript. The two sets of varied reprises are numbered in sequence after the slow movement.

CFols. 3r and 4r (only) have small numbers 1 and 2 in the upper right corners, probably representing the start of Mozart's original foliation of the Sonata.

dPaper-types II and III were lined with the same rastrum. eThe original page number 4 (?) has been crossed out, the page number 11

written below it (see Plate 7).


summarizes the overall structure of the manuscript; as will be obvious, the page numbers must have been added after completion of the

Fantasy in May 1785.20 Finally, small folio numbers "1" and "2" appear in the upper right-hand corner of the first two folios of the Sonata, presumably the abortive start of Mozart's original foliation of the Sonata.21 No comparable numbers appear on any of the other leaves of either the Sonata or Fantasy.

Fantasy. The autograph of the Fantasy is generally straightfor- ward and unproblematic, consisting of one bifolio (fols. 1-2) on a

paper I shall label Type I. Each folio measures 233 x 319 millimeters.22 Paper-type I resembles most papers of the time in having two different forms or "twins," a result of the use of two molds in the manufacturing process.23 The watermark of the first of these forms, here designated Mold A, is given in Figure i. As nearly all the papers used by Mozart in Vienna have three crescent moons, including all four paper-types present in K. 475/457, two measurements are also

supplied that can assist in distinguishing among them; these are given under "Selenometry" in Figures 1-4.24 The first measurement spec-

10 ifies the horizontal distance, measured halfway down the moons, from the outer curved edge of the largest moon to the inner edge (not points) of the smallest moon; the second specifies the distance from the outer to the inner edge of the largest moon, again measured halfway down.25

20 It is significant that the page numbers encompass both the earlier and later sets of varied reprises for the slow movement that are included within the manuscript, the second of which is written on a separate leaf (see below). Hence, the pagination does not simply represent instructions to the printer or to a copyist, which would have included only the set Mozart wished to have printed or copied, not both.

21 For the first of these numbers see Plate 3, below, just above and to the right of the 5 in the upper right-hand corner.

22 Subsequent folios in the manuscript are of comparable size: fols. 3-4, 230 x 320; fols. 5-6, 233 x 320; fol. 7, 229 x 318; and fols. 8-9, 228 x 320. In the present article all measurements are in millimeters.

23 See Allan H. Stevenson, "Watermarks Are Twins," in Bibliographical Society of the University of Virginia, Studies in Bibliography IV (1951), 57-91, 235; Jan LaRue, "Watermarks and Musicology," Acta Musicologica XXXIII (1961), 123; Alan Tyson, Mozart: Studies of the Autograph Sources (Cambridge, MA, 1987), pp. 1-5. The conven- tions of watermark description employed in the present article are outlined in Alan Tyson, "The Problem of Beethoven's 'First' Leonore Overture," JAMS XXVIII (1975), 332-34. Designation of the molds as "A" and "B" in the present article is based on descriptions to appear in the forthcoming index by Alan Tyson of the watermarks in Mozart's autographs, to be published in the NMA.

24 On "selenometry" (the term is Alan Tyson's, referring to the measurement of moons) see Tyson, Mozart, p. 8.

25 Tyson, Mozart, p. 8, provides an illustration of the two measurements.

MOZART AUTOGRAPH

FIGURE 1. Watermark of Paper-type I, Mold A. Fantasy, folios 1-2. The horizontal line in the center indicates the approxi- mate point at which the original sheet of paper would be cut to make two bifolios. The quadrants of the mold are numbered in the outside corners; see Table 1 for the precise quadrants that appear in the autograph. Selenom- etry = 81/21.

2a 3a

I I

la 4a

For K. 475 Mozart used the bottom half of the original sheet from Mold A. Like all the papers in this manuscript, that of K. 475 has been lined with a twelve-stave rastrum, in this case one with a total span (TS) of ca. 183.6-183.8 millimeters (see Table 2).26 Paper with this watermark (or its twin) and staving was used by Mozart in some sev- enteen manuscripts between 1784 and 1786 or 87, including his song

26 Table 2 provides information on the total span or TS (the distance from the first line of the top staff to the last line of the bottom staff), the distances between the staves or DS (proceeding from top to bottom), and any irregularities observable in the staving of each paper. On these and other descriptive methods for the classification of staving see Jean K. and Eugene K. Wolf, "Rastrology and Its Use in Eighteenth- Century Manuscript Studies," in Studies in Musical Sources and Style: Essays in Honor of Jan LaRue, ed. Eugene K. Wolf and Edward H. Roesner (Madison, WI, 1990), pp. 272-79 (with further references). It should be noted here that Alan Tyson's measurements of the TS of Type I were slightly smaller than mine, 183-835 mm.; according to Tyson, the smaller measurement is a more usual one for this paper. to Tyson, the smaller measurement is a more usual one for this paper.


TABLE 2

Staving of Autograph of K. 475/457

Total span Distance between Paper-type Folio (TS) staves (DS) Irregularities

Fantasy I 1-2 183.6-.8 8.75, 8.8, 8.7, Lines 1/1, 1/5

8.5, 8.85, 8.65, slightly heavier 8.55, 8.85, 8.3, 8.65, 8.4

Sonata II-III 3-6, 189-189.5 8.4, 8.5, 8.7, Line 7/2 heavier,

8-9 8.5, 8.25, 8.35, darker; space 10/1 8.5-.65, 8.5, 8.5, smaller 8.5-.65, 8.6

IV 7 188.5-.8 8.75, 9, 8.6, Space 4/4 larger 8.6, 8.65, 8.85, 8.8, 8.8-.85, 8.85, 8.5, 8.35

12 Note: Paper-types I-IV were all lined with one pass of a twelve-stave rastrum. Total span (TS) is the distance from the top line of the top staff to the bottom line of the bottom staff. Distance between staves (DS) records the series of measurements between adjacent staves (i.e., from the bottom line of one staff to the top line of the staff below it), always proceeding from top to bottom on the page. All measurements are in millimeters and are made at the center of the page. Because lines vary in thickness, TS and DS measurements are always made from the center, not the edge, of each line. "Line 1/i" = staff 1 (the top staff), line i; "space io/1" = staff io, space i.

Das Veilchen, K. 476, completed on 8 June 1785, a few weeks after the

Fantasy. 27

The Fantasy is written throughout in light-brown ink.28 On the first page (see Plate 1) Mozart has written the title "Phantasia" at the

27 This and subsequent information on Mozart's use of various paper-types was generously supplied by Alan Tyson, who also furnished the watermark tracings on which Figs. 1-4 are based. Detailed information on each of the watermarks discussed here, including reproductions of the twin molds and full listings of the autographs containing each watermark, will appear in Tyson's forthcoming index of Mozart's watermarks (see fn. 23). On Mozart's use of this paper in Ein musikalischer Spass, completed in June 1787 but begun much earlier, see Tyson, Mozart, pp. 239-40 (with further references).

28 For color reproductions of the first page of the Fantasy see the Sotheby's Catalogue, p. [2] and back cover. This catalogue also contains color reproductions of fols. 2r, 3r, 4v, 5r, 7r, and 8v of the manuscript.

MOZART AUTO GRAPH

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top center and the tempo marking "Adagio" in the normal place. After the latter there appears the phrase "bey Artaria," again by Mozart, referring to the publisher of the first edition of these works. Across the top of the page are found various notations, all probably by Nissen: "fur die Trattner gemacht," a reference to the dedicatee, Therese von Trattner; "Breitkopfs 6tes Heft," referring to the publication of the Fantasy and Sonata in Breitkopf & Hartel's edition of Mozart's Oeuvres complettes in 1799;29 the date "20 Mai 1785," doubtless taken from the Verzeichniiss; and in lighter ink, "Mozarts Hand- schrift." At the upper left the notation "N? 1o" (?) has been crossed out and "N. 1" placed below it;30 the "No 21" to the upper right is later and relates the manuscript to three others owned by Doane.31 On the last page Mozart has extended the staving into the margin to

encompass the final bar of music (see Plate 2). Finally, at the bottom right of the page Stumpff has written "J. A. Stumpffs / property / in London." That he should have recorded his ownership both here, at the end of the Fantasy, and at the end of the Sonata (see below) supports the conclusion that the two manuscripts had not yet been bound together when he obtained them.

14 Sonata. In contrast to the autograph of the Fantasy, which is gen-

erally unremarkable from the physical standpoint, that of the Sonata presents several truly surprising aspects that have never before been reported. The Sonata begins with a bifolio (fols. 3-4) on a second paper (Paper-type II, Mold B; see Fig. 2). Mozart uses the upper half of this paper, but inverted, so that the watermarks appear at the top of each leaf. The staving has again been produced with a twelve-stave rastrum, this time with a total span of 189-189.5 (see Table 2 for a full description). According to Alan Tyson, this paper-type with twelve staves was used for a short time by Mozart just after his arrival in Vienna in 1781, then in five other works of precisely the period of the Sonata: the Piano Concerto K. 456 (completed 30 September 1784), the fourth "Haydn" quartet, K. 458 (9 November 1784), the Piano Concerto K. 459 (11 December 1784), the fifth "Haydn" quar-

29 Oeuvres complettes de W. A. Mozart, Cahier VI (Leipzig: Breitkopf & Hartel, [1799]; RISM A/I, M 7319).

30 As we shall see, comparable numbers appear on fols. 3r (the beginning of the Sonata, no. 15 or possibly 18) and 5r (the second movement, no. 27), again crossed out. Similar numbers appear on many Mozart autographs and were probably entered by Nissen and others when the composer's autographs were being prepared for sale in the late 179os.

31 Of the four other MSS owned by Doane at the Seminary, all but the Haydn have similar numbers: the Spohr, 20; the Meyerbeer, 22; and the Strauss, 23.

PLATE 2. Fantasy, folio 2v.

0 N

0 0

It

(7 r CP t 90


FIGURE 2. Watermark of Paper-type II, Mold B. Sonata, folios 3-4, 8-9. Selenometry = 73-74/13.

3b 2b

4b b

I I I I I I

4b lb

16

tet, K. 464 (1oJanuary 1785), and portions of one aria of the oratorio Davidde penitente, K. 469 (March 1785).32

No title or signature appears on the manuscript of the Sonata, only the date "1785" and the notation "K. 457," both in pencil and late (see Plate 3). An older notation, "N? 15" (or possibly 18), is found in the upper left-hand corner; like the "N? 1o" of the Fantasy, it has been crossed out. As already observed, folios 3r and 4r contain small numbers 1 and 2 in the upper right-hand corners, probably the beginning of Mozart's original foliation of the Sonata. The ink color of the Sonata is darker than that of the Fantasy, varying from black to dark- ish brown.33 All these elements-watermarks, staving, numberings, ink color-demonstrate conclusively that the autograph of the Sonata

32 On Mozart's use of this paper in K. 458 and 464 see Tyson, Mozart, pp. 87, 91 (there labeled Paper-type VII; p. 91 has a reproduction of Mold A of this watermark). Study of the autograph thus lays to rest Hans Dennerlein's absurd claim, based on style alone, that K. 457 was "all but certain" to have been composed in 1778/79 rather than 1784, the date given in Mozart's Verzeichniiss (see Der unbekannte Mozart: Die Welt seiner Klaviermusik, 2d ed. [Leipzig, 1955], pp. 203-5). This assertion, for which not a shred of concrete evidence exists, is nonetheless accepted as "a hypothesis that seems at least as acceptable as any other" in William S. Newman, The Sonata in the Classic Era, 2d ed. (New York, 1972), p. 488.

33 Cf., e.g., the color reproductions on pp. [2] and [8] of the Sotheby's Catalogue with that on p. [io].

MOZART AUTOGRAPH

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was written at a different time than that of the Fantasy and forms a distinct unit not related directly to it.

As Table 1 makes clear, the first three pages (fols. 3r-4r) of this bifolio contain the first movement of the Sonata. Our first surprise comes upon turning the leaf from folio 4r to 4v: for what appears on the verso of folio 4 is not the expected second movement, but instead the first page of the finale. What is more, immediately thereafter we find not the continuation of the finale, but a bifolio (fols. 5-6) and a

single leaf (fol. 7) containing the slow movement and two sets of varied reprises for it (to be discussed in full below), all clearly written at a different time from the opening and closing movements of the Sonata. Only after folios 5-7 do we come to the remaining two- thirds of the finale, on the last bifolio (fols. 8-9) of the manuscript (see Table 1).

The latter bifolio is on precisely the same paper (Paper-type II), with the same staving and ink color, as folios 3-4 of the Sonata. By contrast, as we shall see, the second movement and its related mate- rials, on folios 5-7, form a separate physical grouping. There can thus be no question that, as indicated by the dashed arrow in Table 1,

18 the final bifolio originally followed immediately upon the present folio 4, completing the finale. The present arrangement was necessi- tated because Mozart had begun the finale on the verso of the folio

containing the end of the first movement (i.e., fol. 4v). Hence, the next best choice was to place the (physically separate) second movement between the two bifolios containing the fast movements-but with the result that the first third of the finale was separated by three

intervening leaves from its conclusion. Of these three leaves, the first two (fols. 5-6) comprise a bifolio on

a third paper (Paper-type III, Mold A; see Fig. 3). The staving of this bifolio has, however, been drawn using the same twelve-stave rastrum as that of the body of the manuscript (see Table 2), an indication that Paper-types II and III come from approximately the same time period (and possibly the same shop). This conclusion is supported by the use of Paper-types II and III together in the Piano Concerto K. 456 (30 September 1784). At the same time, Paper-type III is very common in Mozart's autographs, being found in over forty works between 1781 and 1787, a fact that limits its usefulness for chronological purposes. In addition to the difference in paper, the ink color of the slow movement is somewhat darker than that of the first and third movements. Another discrepancy is that Mozart has systematically supplied clefs and key signatures at the beginning of each staff of the slow movement; they are used inconsistently in the remainder of the So- nata, typically appearing on only the first system of each page.

MOZART AUTOGRAPH

FIGURE 3. Watermark of Paper-type III, Mold A. Sonata, folios 5-6. Selenometry = 89/16.

2a 3a I I ( I I I

REAL I I

A la 4a 19

The first leaf of this bifolio contains what can now be shown

conclusively to have been the original form of the slow movement (fols. 5r-5v; see Plates 4-5). As had been predicted,34 the version of the slow movement found in the autograph duplicates that of the so-called dedication copy-that is to say, the two rondo returns of the ABACA form do not present the well-known variations familiar from the first edition, but instead leave any embellishment to the performer. Mozart merely uses his standard formula for indicating an exact repetition of the beginning of a movement, in this case "Da

capo: 7 tackt" for the first reprise of A (m. 17) and "Da Capo 7 tackt/ Segno #" for the second (m. 41; see Plates 4-5).35 The returns

have, of course, been written out in full by the scribe of the dedication copy.

The second movement is unlabeled except for Mozart's tempo marking, "Adagio." However, at the top of folio 5r someone-possibly Nissen or Maximilian Stadler, but not Mozart-has written "in

'34 NMA, p. xiv. '3- In the second case the repetition is actually only of the first six and one-half

measures; as can be seen in Plate 4, Mozart places signs halfway through m. 7 indicating a skip to the # sign of m. 49 (Plate 5, beginning of system 3). The first and third movements also have similar da capo indications.


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der Fantasie" in light ink (see Plate 4).36 Doubtless this is an indication on the part of one of the individuals who helped to put Mozart's

autographs in order after his death as to where this originally separate bifolio belonged, namely with the Fantasy and Sonata as printed. As was the case with the first pages of both the Fantasy and the Sonata, a crossed-out number appears in the upper left-hand corner, here 27; the corresponding numbers of the Fantasy and Sonata are o1 and 15 (or 18).

That Mozart composed, or at least wrote down, the music of the second movement at a different time than that of the outer movements raises a series of fascinating questions-questions that cannot, however, be conclusively answered at present. What, for instance, was the precise order of composition of these components? One possibility would be that Mozart initially conceived the Sonata in two fast movements.37 However, though this is a common enough plan in the

eighteenth-century sonata in general,38 no other Mozart piano sonata follows this scheme or even lacks a slow movement; all are in three movements.

A more likely explanation would be that he composed the slow 22 movement first, possibly in part as a teaching piece for Therese von

Trattner; slow movements, especially in rondo form, could stand alone somewhat more naturally than fast. Mozart's use of a clef and

key signature at the beginning of each staff of the slow movement, already mentioned above, may support this view: if he had copied the slow movement after the other two, he would perhaps have been more

likely to continue the practice utilized there of omitting most of the clefs and key signatures. In turn, the more formal appearance of the second movement (with clefs and key signatures) might reflect its use as a teaching piece or independent movement. On the other hand, if the second movement did in fact antedate the other two, the question arises as to why Mozart in writing out the finale did not leave blank the page following the end of the first movement (fol. 4v) and begin the finale after the body of the second movement, either on folio 6r (if the set of variations had not already been written on it-see fn. 39, below)

36 I am indebted to Professor Christoph Wolff of Harvard University for the suggestion that the hand in question might be either Nissen's or Stadler's. Professor Wolff was kind enough to review my conclusions regarding the various hands found in the autograph of K. 475/457.

37 This possibility is raised in the Sotheby's Catalogue, p. [17]. 38 Newman, Sonata in the Classic Era, pp. 133-35. The two-movement cycle is

especially common in the keyboard music of Italians and of Italianate composers such as J. C. Bach, and Haydn made use of it in about 20% of his sonatas. It is generally associated with works in a relatively informal or light style, a description that hardly fits the fast movements of K. 457.

MOZART AUTOGRAPH

or on folio 6v (if they had). Here an aversion to wasting paper might be cited, though one notes that the solution Mozart chose according to this explanation led ultimately to his leaving three pages blank. Al-

ternatively, he could have written down the first and third movements at one time, waiting until later to add the middle one (which he might, of course, have already composed in his head). Yet no indication

appears in the manuscript that the slow movement is to be inserted after the first, and as mentioned, no space has been left for it.

A second surprise awaits us on the next page of this bifolio (fol. 6r), for here we find a set of previously unknown embellishments or variations for the two returns of the A theme that are substantially different from those printed in the first edition (see Plate 6). These variations are labeled by Mozart with the phrases "bey der ersten Reprise" and "bey der 2tenReprise." They are less developed and

polished than those of the well-known set printed by Artaria (see below), and though they contain most of the same melodic formulas, the placement of the latter is different and less effective. Also unlike the printed set, no variants of the material of the coda appear. For these reasons, and also because they appear on the same bifolio as the original version of the slow movement, this set of variations seems 23

unquestionably to represent the earlier of the two-a rare example of a draft by Mozart, in this case mediating between the plain returns of the original score and the more elaborate ones of the print. (For a full discussion of these variations see the penultimate section of this article.) This first set of variations might well have been worked out for the benefit of Therese von Trattner, either before or (more likely) after the full autograph and the dedication copy had been prepared.39

Yet another unexpected feature of this manuscript concerns the single leaf that follows, folio 7, for here we discover the set of variations already alluded to on several occasions, namely those published in the first edition and universally played today (see Plate 7; this is the version printed in large type in the NMA). This leaf has been pasted at the inner (spine) edge to the back of the bifolio containing the slow movement, that is, to the spine edge of folio 6v. The page as a whole is labeled "Variationen" to the upper left, probably in Mozart's hand. There are now three varied passages, the two rondo returns and measures 49.5-53 of the coda. These have been numbered 1 through

39 If it was before, the variations could have been incorporated within the dedication copy, which they were not. However, if it was after, and if as speculated above the composition of the slow movement preceded that of the outer movements, then as already stated Mozart would have had an entire blank folio available on which to write the finale (either the final two-thirds or the beginning).


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3 in the left margin; as no comparable numbers appear in the auto-

graph score or the dedication copy, they probably referred to another

copy, most likely the one Mozart would have supplied to Artaria for engraving (the so-called Stichvorlage). Over the first variation Mozart has written "das 2t mal das Thema," over the second "das 3t mal," references to the second and third statements of the principal theme.

The paper and staving of folio 7 bolster the conclusion that it was written separately, and later, from the rest of the manuscript. The watermark matches Mold A of the paper illustrated in Figure 4, while the staving, with a total span of 188.5-188.8, differs substantially from that of either the Fantasy or Sonata (see Table 2). This paper- type, here numbered IV, is known to have been used by Mozart in

January and February of 1785, in K. 464-65 (the last two "Haydn" quartets, dated lo and 14 January, respectively)40 and K. 466 (the D-Minor Piano Concerto, dated io February 1785). Though the clus- tering of dates around this period may suggest early 1785 as the time Mozart wrote out the revised set of variations, he might also have used a lone leaf he happened to have retained from a somewhat earlier period. This possibility receives some support from the fact, first no-

26 ticed by Alan Tyson, that Mozart has used the leaf the "wrong way around," beginning on what would normally have been the verso; as can be seen by comparing Plate 7 with the other plates, the rest of the manuscript has the smaller margin toward the spine, whereas here it is toward the edge.

As already discussed, after folios 5-7 we return to the paper, staving, and ink color of the body of the manuscript for the remaining two-thirds of the finale, contained on the first leaf of the final bifolio (fols. 8-9). At the end of the sonata Stumpff has again signaled his ownership by writing "J. A. Stumpffs / property" (see Plate 8).

Alterations and Additions: Fantasy Mozart made a substantial number of emendations

in the course of writing out the autographs of K. 475 and 457. The most significant of these will be discussed in the next two sections of this article.

The autograph of the Fantasy contains several corrections that are primarily notational, for example Mozart's decision in measure 80 to notate the entire downward arpeggio on the upper staff (fol. iv). He originally shifted to the lower staff for beats 2-4 of the bar, then

40 On the use of this paper in K. 464-65 see Tyson, Mozart, pp. 87, 92 (Paper-type IX).

MOZART AUTOGRAPH

FIGURE 4. Watermark of Paper-type IV, Mold A. Sonata, folio 7.

Selenometry = 88/16.

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27 crossed this out and rewrote it on the top staff with a change to bass clef. In addition, the "Piui allegro" marking in measure 125 appears in the margin and seems to have been added later (fol. 2r).41

The most unexpected thing we learn from the autograph of the

Fantasy is undoubtedly that Mozart's original intention had been to notate at least the opening Adagio section with a key signature of three flats: this signature had originally appeared at the beginning of the first three systems. After notating the first two bars, however, he

evidently realized that the extraordinary chromaticism of the work would make the use of a key signature unworkable, and he erased the flats (the erasures are clearly evident in Plate i, above). He then crossed out or added accidentals as necessary in the first two bars. As can be seen in Plate 1, for example, flats have been added to the Es and (with some difficulty) the As of measure 1, and the naturals at the

beginning of measure 2 have been crossed out. The implications of these changes are significant for our under-

standing of Mozart's compositional process, for they show convinc- ingly that, at least in this case, the autograph was also the composing manuscript. If there had been an earlier version, or even an extended sketch or draft, the problem of the key signature would surely have

4' The autograph also contains several nonessential additions in pencil in another hand, e.g. the flats evident in Plate 2, system 1, left hand, mm. 2-3.

PLATE 8. Sonata, folio 8v. End of third mc ending (see Ex. 1).

vement. In system 5 note the crossing out of the original H

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been resolved in that. At the same time, the fact that Mozart's original conception included a key signature has ramifications for his idea of the fantasy as a genre.42

Alterations and Additions: Sonata

The autograph of the Sonata is also clearly a com-

posing manuscript, for it reveals numerous alterations made "on the

fly." For instance, on the first page, system 3 (see Plate 3, above), the first and third bars (mm. 23 and 25 of the Sonata, the beginning of the

secondary theme) contain an erasure in conjunction with the thirty- second-note turn figure in the right hand. What Mozart first wrote is not clear, except that the final g' of the turn figure is the only part of the original definitely to remain. The most plausible initial version would perhaps be an f-g' sixteenth-note figure or the same turn

figure but in sixteenths, with the dot on the g' quarter-note omitted. (The dot is, however, in the same color ink as the remainder.) When these bars return in the recapitulation, there is no sign of any erasure-that is, the dotted quarter is followed by the turn figure in

thirty-seconds, as in the final (corrected) version in the exposition. 29 Hence, Mozart made the change relatively quickly, before writing out the recapitulation.

Three bars later, in the sixth bar of system 3, the left hand originally had the succession c-at-f-a on the first two beats. As can be seen in Plate 3, Mozart has converted this to c-bb-g-bb by canceling the natural and extending the heads of the final three notes of the figure one step upwards. Whether this was a genuine compositional choice or merely the correction of an error-the F6 sonority does in fact appear a bar later, and Mozart may have mistakenly anticipated it- cannot, of course, be determined conclusively. A further bar later there appears another change of purely notational significance: Mozart originally wrote a treble clef in the left hand and a bb below the staff, then changed his mind, smudged out the clef and note while the ink was still wet, and continued to write in bass clef.43

The most spectacular alteration in the entire manuscript comes on the last page of the Sonata (see Plate 8, above).44 As can be seen

42 Both these points are made by Stephen Roe in the Sotheby's Catalogue, p. [13]. 43 Of perhaps greater consequence is a notational change in the finale. On fol. 8r,

system i, Mozart originally notated the two measures 144-45 as one, with the fermata over the two quarter rests that conclude the bar; he then changed this to the form known today by canceling the original fermatas, drawing a new barline after the rests, and placing fermatas and whole rests in the new second bar.

44 This alteration was first reported in the Sotheby's Catalogue, p. [17].


clearly on the second system from the bottom, Mozart's original intention had been to end the finale after measure 300 with the three bars evident under the cross-hatching (see Example 1)-octave Cs in the first bar, then the two chords with which he eventually concluded the work (finale, final version, mm. 318-19). Fairly soon thereafter- the ink color and handwriting do not vary-he must have realized that this ending provided too little sense of closure after the turbulent section just before; one notes in particular such elements of that section as the Neapolitan sixth of measure 298 and, before that, the return of the theme at measure 275 in F minor, to which C minor is the rather unstable dominant.

Doubtless in order to resolve this chromatic and tonal instability more completely, Mozart crossed out the original ending and added an additional sixteen bars stressing C minor, only then concluding with essentially the same three chords as before. This coda is, of course, one of the composer's most remarkable, with its dramatic

hand-crossings and large registral gaps, the latter made even more

impressive by Mozart's later decision to lower the right-hand line of measures 304-8 by an octave (see Plate 8, last bar of system 5 and first

30 four bars of system 6, in which the originally higher notes have been canceled).45 The newly discovered autograph thus provides us with invaluable evidence regarding Mozart's compositional process, which

clearly included an exacting assessment of large-scale formal closure, both thematic and tonal.46

The Text of the Fantasy The next two sections of this article discuss the

most significant departures from the generally accepted text of K. 475 and 457, as represented by the first edition of Artaria and, in modern times, the NMA.47 In general, the autograph version of the Fantasy

45 The higher version of these five bars is the only portion of the finale to dupli- cate the "easy" version later printed by Artaria, and was almost surely conceived inde- pendently of it. See the full discussion below of the text of the Sonata.

46 The ABA slow movement of Mozart's Sonata K. 330, very probably written in the previous year, 1783, contains two somewhat similar changes. Mozart had originally indicated an immediate da capo after the minore B section, in m. 36; he then crossed this out and added a four-bar epilogue to the latter, mm. 36.5-40.5 (see the reproduction in NMA, p. xxiii). For the Artaria edition (1784) he evidently then added a major-key version of this epilogue as a coda to the entire movement, after the da capo of the maggiore A section (mm. 60.5-64), allowing the movement to "stretch out" a bit. The latter section does not appear in the autograph. See NMA, pp. ix-x, 8.

47 It is beyond the scope of this article to provide a detailed collation of the various versions, a task more fittingly left to the forthcoming Kritischer Bericht of the NMA edition; see NMA, pp. xiv-xvi, for a collation of the most important variants and a brief discussion of the two principal stemmata of K. 475/457, the first deriving from the

MOZART AUTOGRAPH

EXAMPLE 1. Sonata, third movement, original ending (see Plate 8, system 5).

297 r^ FE

I FT Ij4J N6

corresponds closely with the familiar one. There are, however, several substantial differences of various types which, even if many of them can be attributed to Mozart's later revision and polishing of the work for publication, hold interest as evidence of his original conception. Most noticeable in this regard is the autograph's failure to include most of the highly expressive dynamic markings found in the first

edition-pianissimos, crescendos and decrescendos, even a calando. With the exception of two crescendo markings near the end (mm. 173-74) and one fp in measure 22, Mozart confines himself in the 31 autograph entirely to forte and piano markings, and even these are used somewhat more sparingly than in the printed version.48 Like- wise, the "rallentando" spread out over measures 153-56 of the first edition and NMA does not appear.49

It seems evident that the more expressive markings found in the Artaria version represent Mozart's last-minute thoughts on the performance of the Fantasy-a kind of second-level set of instructions

going beyond the more structural dynamic contrasts of the autograph to the subtler realm of nuance. One reason for this view is that Mozart

obviously exercised considerable control over the Artaria editions of his sonatas. More conclusively, though, the newly discovered auto-

graph of the Sonata, which was of course composed earlier than the Fantasy, provides a precise parallel for the later addition of this type of performance indication. In the autograph of the second movement of the Sonata, the A section contains no dynamic markings, the coda

only the piano markings after the fermata (m. 53). Likewise, the first

autograph and including the dedication copy and the Andre edition (see fn. 11), the second deriving from the Artaria edition and including the Breitkopf & Hartel Oeuvres complettes edition (see fn. 29).

48 For instance, the lyrical passage in mm. 56-65 contains none of the forte, piano, and crescendo markings found in the first edition with the exception of the opening piano markings.

49 One may also recall that the "Piui allegro" of the autograph, m. 125, seems to have been added at a later date by Mozart (see above, at fn. 41).


or intermediate set of varied reprises of the A section (see Plate 6 and

Example 5, below) has no dynamic markings at all. But in the second, final set of varied reprises, which are found on a separate leaf (see Plate 7), Mozart provides just the sort of detailed and prolific expressive markings found in the Artaria version of the Fantasy (cf. Plate 7 with Plates 4-6). Thus, for the Fantasy, too, he may well have added all or most of the markings not found in the autograph at the time he

prepared the Stichvorlage for Artaria-perhaps, indeed, at more or less the same time he wrote out the final version of the varied reprises.

This conclusion is supported by reference to the very similar case of Mozart's Sonata in F, K. 332, which has recently been redated to 1783, the year before K. 457.50 Here again the Artaria edition (1784) supplies extensive dynamic markings and, in the slow movement, an embellished reprise of the first half of the movement comparable to the varied reprises of K. 457.51 The authenticity of the more expressive dynamics of both K. 332 and the Fantasy is thus strengthened, especially since Mozart states in a letter to his father of 9 and 12 June 1784 that he himself had given the three sonatas K. 330-32 to Artaria to be printed.52 Still more important, the knowledge that Mozart

32 wrote out the varied reprises for K. 457/ii at a later date than the

autograph, that they are unquestionably authentic, and that they were then furnished by him to Artaria for publication greatly enhances the likelihood that the analogous embellished version of K. 332/ii is authentic.5:

A question that has always plagued editors and performers of the Fantasy has been the placement of thefand p markings in the parallel passages found in measures 19, 169, and 172. (See Plate i, system 3, m. 5; Plate 2, system 5, m. 3, and system 6, m. i. Examples 2a and b present transcriptions of the latter two passages.) Every edition known to me, from the Artaria to the NMA, places thefmarkings on the downbeat, the p markings coming one to three notes later (de- pending on the part of the passage involved and the edition). Oppos- ing this tradition, Eva and Paul Badura-Skoda have argued based on analogy with other passages in Mozart that the forte should fall on the

)" See NMA, pp. viii-ix; Tyson, Mozart, pp. 29-30. 5' The embellished version is given in small notes in many editions of K. 332; see,

e.g., NMA, pp. 37-39. The dynamic markings found in the Artaria version are printed in smaller type in the NMA edition of this sonata.

5" Mozart: Briefte und Aufzeichnungen III, 318-19; cf. NMA, pp. viii-ix. The Tor- ricella edition (1784) of Mozart's next sonata, K. 333, composed in late 1783, also contains more extensive dynamic markings than the autograph, particularly in the slow movement; these are again printed in smaller type in the NMA edition.

53 See also fn. 65, below.

MOZART AUTOGRAPH

second sixteenth of each beat, as in Example 2.54 The p markings would then come on the second (and fourth) eighth of each bar, creating a quasi-syncopated effect that accentuates the start of the extended thirty-second-note anacruses. This placement of the forte would also bring the first two beats of measures 169 and 172 (Exam- ples 2a and b) in line with the third beat of each bar, which all editions seem to agree should have the f on the second sixteenth.

Careful study of the autograph resolves the issue in favor of the

position taken by the Badura-Skodas and illustrated in Example 2. It also shows clearly enough, though, why the problem occurred in the first place: for Mozart habitually places his dynamic markings to the left of the notes to which they apply, not directly under them. (See, e.g., the last staff of Plate 2, where Mozart had the entire bottom margin at his disposal but consistently situated the unambiguous dynamic markings of mm. 2-5 well to the left of the relevant notes.) In the

present instance the problem evidently arose from a combination of

misunderstanding of this placement and the cramped spacing neces- sitated by the small note values of the passage, together with the fact that Mozart has admittedly allowed the f to creep so far to the left in a few cases that it does apparently occur on the beat (the most obvious 33

example being Plate 2, last system, beat i). Nonetheless, there seems little question that Mozart intended the dynamics to be placed as in

Example 2.

A fair number of differences between autograph and printed version also exist in the category of performance articulations, for

example the frequent omission of slurs and staccato marks in the

autograph. Once again, many of the deviations in the print may be traceable to last-minute revisions on Mozart's part. Such may not be the case, though, for the slurs in the left hand of measures 11-15, which the NMA consistently begins on beat 3; the autograph in each case begins the slur on the preceding eighth-note (see Plate 1, system 2, m. 4ff.). Several other discrepancies are of the notational type, as in Mozart's decision to continue notating measure 132 and the beginning of measure 133 in flats rather than temporarily shifting enhar- monically to sharps, as in the autograph.

The autograph of the Fantasy reveals only a few variants in actual pitch or rhythm when compared with the printed version. In one

54 Eva and Paul Badura-Skoda, Interpreting Mozart on the Keyboard, trans. Leo Black (London, 1962; orig. Ger. ed., 1957), p. 132. The measure numbers given are not correct, however. The editors of the NMA edition do not accept the arguments offered by the Badura-Skodas; see p. xv. The version advocated by the Badura-Skodas is adopted in the widely praised performance of the Fantasy by Mitsuko Uchida (Philips 412 617).


EXAMPLE 2a. Fantasy, measures 169-70.

169

-I jr fj j, ?S) v- . .. M- - } of f p f p f

EXAMPLE 2b. Fantasy, measures 172-73. The notes within the brackets are omitted in the autograph.

172 -

fr f1 f

34 series of differences, the sustained inner F of measures 86-87, 9o, 95, 114, and 118 is one-half beat longer in the autograph than in the print, a half note rather than a quarter tied to an eighth (see Example 3). The effect is slightly to stress the fifth of the chord (the dominant) and to furnish greater continuity and connectedness. The same rhythmic difference is evident in measures 120 and 122 when the unit is sequenced twice. If it was indeed Mozart who made this series of

changes in the first edition, he may have decided that he preferred the more articulated, less fussy effect of having all three voices end simultaneously, as they do in measure 89 of the autograph, for example.

The autograph also provides welcome information on two passages toward the end of the Fantasy that have been the cause of uncertainty in the past. The first of these pertains to the previously discussed passages given in Examples 2a and 2b, of which 2b basically represents a variant of 2a with the texture inverted. The principal difference is that the second time through (Example 2b) Mozart in- tensified the climax significantly by replacing the original third and fourth beats with a sequential (subdominant) restatement of beats 1-2, reinverting the texture so that the thirty-second-note figure again appears in the bass. In the autograph, this textural inversion is particularly clear, for as indicated by the brackets in Example 2b, Mozart has omitted the bottom two notes in the right hand in the

MOZART AUTOGRAPH

EXAMPLE 3. Fantasy, measures 86-87, original version.

Andantino

/ 86 j _ p

c ;- r Z-- r *Changed to quarter note tied to eighth note in final version.

second half of measure 172 through the first note of measure 173 (see Plate 2, bottom system, mm. 1-2).55 Once again, though, the possibility is strong that the fuller harmony of the printed version was a late revision by Mozart, in this case intended to strengthen the climax even further by filling in the over two-octave gap between the right and left hands evident in the original. The thinness in texture of the

original version is particularly obvious by comparison with the full

harmony of measures 169.5-170 (Example 2a). A final detail concerns the pair of eighths in thirds in the right

hand on the fourth beat of the penultimate bar of the Fantasy. As Plate 2 shows, Mozart wrote g over eb beamed to d over B~, whereas the first edition has eb over c for the first two eighths.56 Here the

possibility of a simple error by the engraver or whoever prepared the

Stichvorlage is more plausible than in the other cases discussed above, though the change could also have resulted from second thoughts on the part of the composer.

The Text of the Sonata

The autograph text of the Sonata discloses many of the same kinds of discrepancies we have noted in comparing the

original and later versions of the Fantasy, including much sparer use of dynamic markings (especially in the slow movement) and a less

55 This passage is discussed briefly in NMA, p. xvi. The NMA chooses the Artaria version of this passage, while the edition by Nathan Broder, Mozart: Sonatas and Fan- tasies for the Piano, rev. ed. (Bryn Mawr, PA, 1960), incorporates the version found in the autograph and its stemma.

56 On this passage see NMA, pp. xvi, 79. Lacking the autograph for comparison, the Badura-Skodas refer to the "obvious error" of most editions in printing the penultimate pair of eighths "a third too high" (Interpreting Mozart, p. 133). If it was an error, it was Mozart's.


systematic application of performance articulations. In the first movement, for instance, staccato strokes are applied rather haphazardly to the rising quarters of the main theme after its first appearance (see, e.g., Plate 3, system 2, last four bars, where no staccatos appear), and in measure 43 the slur has been omitted in the left hand (system 4, m.

9; cf. m. 5). Divergencies in the first movement that might affect

performance include the fact that in measures 36 and 40 the slur seems only to extend over the first four notes of the second secondary theme rather than encompassing the entire bar (see Plate 3, system 4, mm. 2 and 6). However, as the parallel passage in the recapitulation (m. 131) clearly places the slur over all five notes, this may represent merely a lack of precision on Mozart's part. The opposite situation occurs in measure 57 (Plate 3, system 5, penultimate bar), where the slur covers all seven eighths in the right hand but only the last six in the recapitulation (m. 143), the first now receiving a staccato marking. Also worth noting is the fact that Mozart's original tempo marking had been Allegro, not Allegro molto as in the Artaria version. In addition, he has not written out the first eighteen bars of the recapitulation (mm. 100-117), but merely specifies "Da Capo: 18 tackt:";

36 similar instructions are common in Mozart's autographs and occur in the other two movements of the Sonata, as well.

Special interest in the autograph of the first movement centers on two passages for which the dedication copy and early editions exhibit

divergent readings. The first is found in measures 52-53. As can be seen in Plate 3, system 5, measure 6, the middle note of the chord in the left hand is ambiguous, stretching across both El, and C above the low Ai. In fact Mozart intended it to be a C, matching the chord of the

previous bar but an octave lower, as a correction in his hand in the dedication copy shows.57 The Artaria edition takes the easy way out, substituting an octave F from the partially parallel passage in the

recapitulation (cf. mm. 52 and 149 in the NMA edition). In the next bar (m. 53) Mozart has written a slightly peculiar quarter rest followed by another low Al (a quarter note), which the first edition simply omits; again the dedication copy contains a correction in the composer's hand.

A second questionable passage occurs in measures 68 and 70 of the first movement, the first of which can be seen as the final bar of Plate 3. The last chord in the left hand is somewhat unclear, but at the repetition in measure 70 it is more obviously ElB-F-Ab.58 Artaria re-

57 See the facsimile in NMA, p. xxviii. 58 The copyist of the dedication copy also had trouble with this passage. In m. 68

he reads the chord as D-F-Abl, in m. 70 as (correctly) EI-F-Ab.

MOZART AUTOGRAPH

moves the dissonant Eb in both cases, substituting a more mellifluous (but structurally less apposite) Bb.

The autograph of the second movement mirrors that of the Fan-

tasy in lacking most of the highly expressive dynamic markings and other performance indications contained in the first edition (and in the second set of varied reprises, to be considered in the next section of this article; the autograph does not write out the reprises but

merely contains instructions to repeat the first seven bars). As a glance at Plates 4-5 will show, such relatively unusual indications in the Artaria edition as "sotto voce" (m. i), "mancando" (mm. 15, 55), and "calando" (m. 40) fail to appear, as do most of the crescendo and pp markings and the small-scale forte-piano alternations. Also omitted are the turn signs of measures i and 12 and the slurred staccatos of the ending (mm. 55-57). Mozart does, however, include slurred staccatos in measures 3-4, sforzandos in measure 16, and turn ornaments in measures 34 and 37; these were evidently part of his conception of the movement from the beginning. There can be no real question that all or most of the more detailed markings of the print derive from Mozart, for they correspond in every way to the authentic markings of the second set of varied reprises, found on folio 7r. 37

Mozart's use of abbreviated notation for several ornamental runs in the slow movement also merits attention, for unlike the standard notation of the printed versions, it tells us something about his sense of what was structural and what ornamental in the passage. Thus, in measure 29 (Plate 4, system 5, last bar) Mozart has used slurs and

lightly written small notes to indicate that runs should connect first the two Als, then the two Ebs in the right hand. (In the Fantasy he uses a different procedure, instructing the copyist to notate the three- octave chromatic scale of m. 85 by writing "semitoni" in the space between the low and high El!s.) The two scale passages are not com-

plete but merely serve to indicate to the copyist that a run should be inserted.59 It is nevertheless of interest that Mozart begins both flour- ishes not with a turn figure, the form eventually printed in the first edition, but with direct scalar motion.

Close examination of measure 29 shows that the two lightly written runs have been added after the fact. In the first (descending) run the final ab still has a flag, indicating that it was written before the beamed scale passage in thirty-seconds; in the ascending run that follows, the stem of the el' has been extended upward and a second,

59 However, the copyist of the dedication copy takes Mozart literally, leaving gaps at the end of both runs in m. 29 and transcribing m. 30 just as it appears in the autograph.


larger slur added. In other words, the original notation of this measure resembled that found in the next measure (m. 30; Plate 4, last

system, first bar), which has nothing but the long slur to indicate what we know from the Artaria print to have been intended as a third extended run.60 The skeleton of the passage as initially notated by Mozart therefore seems to have been as shown in Example 4.61 The Artaria version obscures the importance of the low ab on beat 2 of measure 29 and of the analogous eb' of measure 30 by including them within a rhythmically regularized thirty-second- and sixty-fourth-note run. Performers who are aware that Mozart seems originally to have conceived the passage as in Example 4 may wish to adjust their in-

terpretation accordingly. In the original version of the finale we again find that numerous

performance indications are missing which eventually turn up in the Artaria print: the crescendo marking of measure 52, the piano of measure 54, all the dynamic markings of measures 2 11-218, the slurs of measures ioo-i o and 217-2 18, the slurred staccato of measure

172, and the three-note slurs of measures 179 and 181. Mozart does, however, include all the forte, piano, and fp markings of both mea-

38 sures 74-85 and the analogous passage, in C minor and extended by two bars, in measures 187-2 10.62 As in the first movement, the tempo marking differs from that of the print, being simply "Molto allegro";

60 In m. 51 a similar run from bb" down to g is likewise indicated by use of a slur alone; see Plate 5, end of system 3, and cf. the embellished version in Plate 7, system 5, m. 3. As in m. 30, the copyist of the dedication copy did not take the hint, transcribing the bar as it appears in the autograph.

61 The problems in this passage derive from the fact that the alignment of the bass and treble in m. 29 is completely out of kilter, owing in part to space problems; the interpretation preferred here, given in Ex. 4, is based partly on a reading of the final eb as a dotted quarter, partly on the fact that in the Artaria version that note appears as a syncopation on the second half of beat 3 (but as a quarter note, the remaining eighth filled by the upward run). In the autograph this eb is aligned with beat 4 of the bass, despite its apparent rhythmic value of one and one-half beats. An alternate reading would disregard the dot on the ek and assume that an eighth rest between the g eighth on the third beat and the eb on the fourth had been omitted (see the ossia in Ex. 4). This is the solution chosen in the dedication copy, which gives the eb the rhythmic value of a sixteenth followed by the remainder of the run in thirty-seconds. (It is obvious that the copyist of this manuscript was confused by the entire passage: he adds an extra half beat in the bass in m. 29 and forgets to draw the barline between mm. 29 and 30.)

62 The autograph shows that Mozart intended all thefp markings included in the NMA version of these passages to be forte-pianos and not fortes followed by pianos (see the discussion in NMA, p. xv). The reason for the confusion is that Mozart carelessly wrote several of these markings with the f and p separate (mm. 74, 76-77, 205, 207); all the remainder, however-including several places where the foregoing bars are repeated-join the two letters.

MOZART AUTOGRAPH

EXAMPLE 4. Sonata, second movement, measures 29-30, original version.

29

in the dedication copy Mozart has added "agitato" to the latter, while in the Artaria print the marking is changed to Allegro assai.

The most notable conflict between the autograph and the Artaria edition occurs in the famous crossed-hands passage in the finale just before the first return of the primary theme (mm. 92-102, restated in variant form in mm. 287-301 [see Plate 8]; the return of the primary theme just after the first of these passages is not written out but is

specified by the phrase "Da Capo: 39 tackt:"). The autograph presents a more difficult and dramatic version, known originally from the dedication copy and Andre print of 1802 and given in larger notes in the NMA, in which the distance between the hands reaches almost four octaves at one point. The Artaria version simplifies the passage by replacing the descending arpeggio of measures 92 and 94 with a

repetition of measure 90, the result being to narrow the gap between the hands by first one, then two octaves. (In the recapitulation only m.

291 is replaced.) While the more difficult original version is well known and is played almost universally, discovery of the autograph confirms beyond any doubt that it represents Mozart's true intentions. Whether the Artaria version also derived from him or had his sanc- tion will, however, continue to be a subject of debate.63

The Two Sets of Varied Reprises for the Slow Movement

As the reader will by now be well aware, Mozart's original version of the slow movement presents the two reprises of the ABACA rondo form in unembellished form; the autograph merely instructs the copyist (or performer) to repeat the first seven bars (see above and Plates 4-5). It is this version that appears in the manuscript copy of the Sonata that Mozart had made for his student Therese von Trattner, the so-called dedication copy. The most startling revelation

63 See NMA, p. xiv (under No. 5).


of the rediscovered autograph is that he then composed an initial set of variants for the returns of the main theme, writing them down, as we have seen, on the leaf opposite the one containing the slow movement (see Plate 6, above, and the transcription in Example 5, below). I shall refer to these as the first or intermediate set of varied reprises (abbreviated "VR I").64

At a somewhat later date, perhaps in preparation for publication of the Fantasy and Sonata, Mozart wrote out a final, revised set of variations (here labeled "VR II"), now including embellishments not

only for the two reprises but also for part of the coda (see Plate 7). As

already discussed, this set was written on an entirely separate leaf that is now bound after the bifolio containing the slow movement and VR I; the variants it contains were incorporated directly within the text of the slow movement in the Artaria edition, without any indication that

they were originally separate.65 The two sets of variants found in the autograph represent a rare

and fascinating example of Mozart's compositional process, as the first set has all the earmarks of a draft for the second. In going from VR I to VR II Mozart made changes that range from the addition of

40 detailed dynamic and other performance indications, through notable refinements and intensifications in the areas of texture, sonority, rhythm, and harmony, to major adjustments in the melodic and formal structure that yield a strikingly more coherent and expressive overall shape. The result is to convert a lovely set of variations into the sublime ones we know today.

The theme that provides the basis for the variations is basically a seven-bar parallel period with an expansion in the second phrase; it

comprises a three-bar antecedent phrase (a), ending on the dominant, answered by a varied four-bar consequent phrase (b, = a') that closes on the tonic (see Plate 4, mm. 1-7). The first two bars of each phrase are structurally equivalent, but Mozart already begins the process of variation at the outset of the b phrase (m. 4): here he presents the first of many variants of the opening bar of the movement, moving up to and then away from eb" and adding a characteristic three-note

64 In both sets of variations Mozart refers to these returns as reprises; he also labels the entire second set "Variationen." I use the abbreviation "VR" (for "Varied Reprises") in part to avoid confusion with the individual variations (i and 2) of each set.

65 As already discussed in the section "Text of the Fantasy," the sequence of events just described seems to have a direct parallel in the sonata K. 332, composed in 1783. Here the version of the slow movement printed by Artaria contains an extensive varied reprise of part one of the movement, which is in a two-part "exposition- recapitulation" form. The main difference would appear to be that in K. 332 Mozart's autograph of the variants-which, like that of the variants for K. 457, would probably have been on a separate leaf-has not survived.

MOZART AUTOGRAPH

anacrusis in thirty-second notes that leads smoothly to measure 5. After the first two bars the two phrases go their separate ways, the a

phrase concluding with a single bar cadencing on the dominant, the b phrase introducing a full new subphrase of two bars (6-7) that

brings the entire period to a close on the tonic.

Turning now to the variations, we see that in the first set, VR I, Mozart's initial idea for an opening embellishment of the first phrase of variation 1 had been a trill-like figure (see Plate 6 and Example 5); in the final version, VR II (Plate 7), he converts this to a more graceful turn figure. Measure 3 of this variation finds Mozart adding a new

doubling at the octave to the bass in VR II, a decision that both enhances the sonority and provides better balance between the even sixteenths of the left hand and the new syncopations of the right.

The second or b phrase of variation 1 brings us to the first of Mozart's more substantial compositional choices in these variations. As a glance at measure 4 of Example 5 will show (= m. 20 of the full movement), his original intention had been to begin the second

phrase with a figure moving upward by step to eb", followed by an

expressive appoggiatura-like figure leaping down a sixth from the eV" to g'. The bar was then to close with a chromatic run downward to the 41

beginning of the next bar. In place of these variants, Mozart's final version in VR II returns to the simpler figuration of the analogous portion of the original theme, with its slightly decorated triadic motion

up to and away from the eb" (cf. Plates 4 and 7, m. 4); only the three pickups to the next bar are altered, now moving upward from bb by step. As is apparent in Plate 7 (last bar of system i), Mozart seems then to have noted that this created parallel octaves with the original bass line, since both voices now moved from D to El at the end of m. 4; he therefore canceled the d in the bass, replacing it with a Bb.66

What these changes accomplish is an overall simplification of-a reduction in emphasis upon-the opening of the second phrase of the first variation. This is achieved in several ways: by the use of a form that is for the most part already familiar from the original statement of the theme at the beginning of the movement, by the choice of an opening motif that is somewhat less emphatic and expressive, and by the removal of a modicum of new chromaticism (the thirty-second- note triplet pickups). But these changes have longer-range significance, as well. By returning to the original figuration for measure 4, Mozart somewhat deemphasizes the high eb" as a goal-note; in the

66 Mozart had a comparable problem with this figure in its original version, found at the end of the first bar of variation 2 (see Example 5 and Plate 6, system 3, last beat of m. i). Here Mozart alters the original Bb-d-f-d of the bass line to Bb-f-ab-f.

EXAMPLE 5. Sonata, second movement, Varied Reprises (VR) I (Plate 6). Cf. Plates 4 (original version) and 7 (VR II). The brackets and arrows under the first bar of phrases 2 and 3 indicate the eventual placement of that material in VR II (the final version).

Variation I ("bey der ersten Reprise")

(17)

'

---- ' - ? ~ ~-"~'"'~ i.~~~~~~~~~~~~~~~~~~~~~~~~~~~I [1] 1

[2]

[31 '

[41 <

*Original g sixteenth crossed out, replaced with sixteenth rest. **Bass originally Bb-d-f-d

C- 0

cl

0

., 0

0 O 0

MOZART AUTOGRAPH

final version (VR II) the opening figure of measure 4 remains more

firmly within the bb'-g' ambitus established at the beginning of that variation. As we shall see, the discarded figure stressing the high eV" reappears at the beginning of the second variation in the final version, in which the ambitus is more consistently extended upward to that el " as one means of giving that variation a sense of culmination.

Another prominent difference between the two versions of variation 1 supports the above observations, though in this case it balances

greater melodic simplicity of the type just discussed with greater har- monic complexity. In comparing the two versions of measure 6 of variation i, we discover that in the final version (Plate 7, system 2, m. 2) Mozart has again returned to the original form of the melody, without the turn and dotted figure of VR I. At the same time, though, he has added a dbl' in the left hand on beat 3 to the already striking augmented chord, a pungent dissonance-marked f:-that then resolves to a piano c' on the next beat. This chord now clearly functions as the focal point of the entire variation, providing yet another reason to deemphasize the opening of the phrase slightly.

The second variation reveals even more extensive changes in going from VR I to VR II. As noted already, Mozart in his revision of 43 VR I shifts the opening figure of the consequent or b phrase of variation 1 to the beginning of the antecedent or a phrase of variation 2. There it replaces a variant featuring a sixty-fourth-note figure in

stepwise rising thirds (see Plate 6, system 3, m. i, and Example 5, variation 2, m. 1 [= m. 41]). But neither is that figure discarded: for Mozart continues the process of displacement by shifting the figure three bars farther along to the beginning of the consequent (b) phrase of variation 2, where it replaces a chromatically rising figure. This process of displacement is illustrated in Example 5. As indicated by the numbers in brackets at the beginning of each system, if we think of the four phrases in question (phrases a and b of each of variations 1 and 2) as phrases 1 through 4, then the opening motive of phrase 2 in VR I has moved to the beginning of phrase 3 in VR II, the opening motive of phrase 3 to the beginning of phrase 4 (where it ousts the original chromatic variant found in VR I).67

The process just described, in which Mozart as it were bumps the opening gesture of each phrase forward to the start of the next

67 Of course, the procedure is not quite so simple as that: because the various units are all variations of the same material, certain fragments will naturally remain constant. In Example 5 these common elements are indicated by the use of gapped brackets.


phrase, might seem to imply a modular or even permutational ap- proach, one in which units can be juggled almost at random.68 Such is not the case. Mozart's revisions preserve the original order of the units and thus the gradually increasing complexity of the various forms: in both sets of variations the effect is of a carefully graded process of intensification. One reason for this is that by moving what had in VR I been the opening gesture of the b phrase of variation 1 to the beginning of variation 2, Mozart brings it into closer proximity with a gesture that had in turn been derived from it-namely, the

rising-thirds figure that now begins the consequent phrase of variation 2 (see Example 6). Obviously, the listener is more likely to detect this relationship when the two figures are placed within the same variation than when they are separated by the C section of the movement, as they would have been in VR I. The result is a greater sense of logical progression from variant to variant.69 Moreover, as previously observed, these two gestures place greater emphasis upon the

high eb" than the opening gestures of the two phrases of variation 1 in VR II, which orient around g', producing a subtle increase in

intensity. At the same time, we have seen that Mozart's decision gen- 44 erally to return to the original form of the theme in the b phrase of

variation 1 renders the growth in complexity more gradual than in VR I.

Another effect of shifting the original second and third units of VR I into third and fourth place in VR II is to remove the rather trite chromatic triplets that had begun the b phrase of variation 2 as an

apparent goal of the entire passage. These triplets had originally both

68 On modular structure in the eighteenth century see my book The Symphonies of Johann Stamitz: A Study in the Formation of the Classic Style (Utrecht, 1981), pp. 103-6. On permutational approaches see Leonard G. Ratner, "Ars Combinatoria: Chance and Choice in Eighteenth-Century Music," in Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His Seventieth Birthday, ed. H. C. Robbins Landon and Roger E. Chap- man (London, 1970), pp. 343-63; idem, Classic Music: Expression, Form, and Style (New York, 1980), pp. 98-102.

69 The model-copy relationship illustrated in Example 6 is somewhat more com- plex in VR I, where the two components initially appear within a single phrase, opening and closing the b phrase of variation 1 (see Example 5, variation i, mm. 4 and 7). Thus in VR I the listener first hears the scalar, thirty-second-note version (the model) at the beginning of the b phrase of variation 1 (m. 4); then the rising-thirds, sixty-fourth-note form (the copy) at the end of the same phrase (m. 7); and finally, after the C section of the movement, the rising-thirds figure again, at the beginning of variation 2. As discussed above and illustrated in Example 5, in revising VR I Mozart moved the two opening motives in question one phrase forward, with the result that what had been the model (variation i, m. 4) now appears at the beginning of variation 2, following its erstwhile copy (variation i, m. 7). This new sequence of events conceals the original relationship and focuses our attention on the simpler model-copy relationship of the opening bar of each phrase of variation 2 (as illustrated in Example 6).

MOZART AUTOGRAPH

EXAMPLE 6. Sonata, second movement, measures 41 and 44 final version (VR II).

41 44

c^ b rr\\ model for

opened and closed the phrase, and Mozart may have come to consider such a dual appearance to be overly obvious and redundant. He does, however, retain the chromatic triplet figure as part of the cadential

gesture, where its character is now more ornamental than expressive (cf. the final bar of Plate 6 and Example 5 with the final bar of Plate 7, system 4).

Two final reasons one might cite in possible explanation for these

changes involve weaknesses Mozart may have detected in his original draft of the variations. (1) As already mentioned (see fn. 69), in VR I the rising-thirds figure that begins variation 2 is the same figure that closes variation i (cf. Example 5, variation i, m. 7, and variation 2, m. i). Mozart may have felt that such conformance was a bit too overt, even separated by the intervening C section of the movement. (2) The 45 same rising-thirds figure was originally answered in variation 2, measure 3, by a series of thirds moving downward by step. As in the case of the chromatic triplet figure discussed in the previots paragraph, Mozart may simply have decided that such a patently derivative rela-

tionship was a little trite. Of course, whether one or the other of the above problems actually spurred Mozart to make the changes mentioned, or whether their resolution was merely the fortuitous result of the shifts in material, cannot be determined. What is clear is that, as

perfect an example of "il filo" as the final ordering is, it only became so after some rather substantial manipulation on Mozart's part.

In addition to the changes just discussed, all of which involve considerations of structural context and succession of material discussed above, the final version of the second variation contains several notable revisions at the local level. Most impressive is the addition in VR II of the celebrated imitation at the octave in the left hand of measure 6 (see Plate 7, system 4, m. 2). Here Mozart creates the same kind of intensification of measure 6 as he had by the addition of the dissonant Dk in the first variation, making it in this case one of the climactic points of the entire movement. The previous bar also brings an intensification, through the addition of octaves in the left hand, through the change in rhythm to double-dotting in the melody of the right hand, and through the alteration of the rising scale to a fully chromatic one by beginning the thirty-second-note triplet on aV'


rather than b,', then changing to sixty-fourth notes for the remainder of the run. (This run is marked "pia:" in the autograph, a marking omitted from the NMA edition.) In the same bar, Mozart has altered the c'-bb-d' figure in the middle part, beat 2, of VR I to the d'-bb-d' familiar today. Finally, in measure 7 he adds a d' on the last sixteenth- note of the second beat, supplying the third of the dominant seventh chord. All these changes underscore the sense within these variations of an exquisitely controlled growth in complexity and intensity.

This sense of growth is, of course, continued even farther in the climactic coda, for which VR II provides an embellished version, printed in the first edition, of the repetition of the first phrase. This version first supplies a chromatic variant of the opening figure (see Plate 7, No. 3, m. i, and cf. Plate 5, system 3, second full bar, beat 3ff.), then a diatonic version of the same figure that leaps an octave to a c"'. (A minor change in the traditional text at this point is that the left hand has only eb and g in m. 50, beat 3, with no doubling of the bb' in the right hand as in the NMA; see Plate 7, system 5, m. 2.) The other main embellishment is the fantastic upward run of almost four octaves to anf", balancing the repeated f"s of the B section,

46 the ending of which in fact provides the basis for the close of this movement.70 A final attractive touch is the new chromatic decoration of the cadence in measure 53 (Plate 7, last measure).71

One cannot conclude this discussion without remarking on the extraordinarily detailed dynamic markings found throughout VR II, already mentioned as analogues for the performance indications included in the published version of the Fantasy. Rediscovery of the autograph now shows these unquestionably to be Mozart's own. These markings go so far as to indicate piano and forte alternation at the level of the thirty-second note (see Plate 7, system 2, m. i). As no dynamics of any kind appear in either the original theme or VR I, we may regard them-like the variations themselves-as a kind of lesson by Mozart in the proper performance of an Adagio movement of this type.

70 It may be recalled that the preceding run downward from bb" to g is indicated by an inverted slur in the autograph (see Plate 5, end of system 3). By contrast, no such indication appears in either the autograph or the dedication copy for the upward run of the next bar (cf. NMA, p. 90, fn.).

71 This bar also adds turn figures to the spare melody of the autograph, figures that-like those of the comparable passage in m. 49, which is not a part of these variations-reappear in the Artaria print.

MOZART AUTOGRAPH

Epilogue: Sale of the Autograph Upon determining the authenticity of the auto-

graph of K. 475/457, I called Alan Tyson, who in turn placed me in touch with Stephen Roe of Sotheby's. After several trips across the Atlantic, the autograph was auctioned at Sotheby's in London on 21 November 1990. The sale price was ?880,ooo (ca. $1.7 million), one of the two highest prices ever paid for a music manuscript.72 The buyer was acting on behalf of a consortium of Austrian cultural institutions, and the manuscript will be housed at the Internationale Stiftung Mozarteum in Salzburg-a happy outcome for scholars who feared it

might end up in a restricted private collection.73 Also happy, and a

fitting conclusion to this tale considering the original gift of the au-

tograph from the family of William Howard Doane, is the report that proceeds from the sale would be used by Eastern Baptist Theological Seminary to support strengthened offerings in the field of sacred music.74

University of Pennsylvania 47

72 A manuscript containing autograph scores of nine Mozart symphonies was sold in 1987 for ?2,585,000 (ca. $4,600,000). All prices given here include commission. An article providing further details of the sale appeared in the Philadelphia Inquirer, 22 November 199o.

73 A facsimile edition of the autograph is reportedly in preparation. 74 The New York Times, 15 December 1990, p. 32, quoting Dr. Manfred Brauch,

president of the seminary.

Documents

The Rediscovered Autograph of Mozart's Fantasy and Sonata ... · Upon seeing the manuscripts I knew at once that both the Mozart and Haydn were in fact autographs. After exactly seventy-five