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Leopold Mozart Sinfonia (Eisen D12) Edited by Cliff Eisen AE ARTARIA EDITIONS – WELLINGTON

LEOPOLD MOZART Sinfonia (Eisen D12) Sources - Universitätsbibliothek Augsburg - HR 4o 539; Fürst Thurn und Taxis Hofbibliothek (Regensburg) - L. Mozart 1 Editor - Cliff Eisen Series Editor - Allan Badley Design - Aleck Yee - Alltex Design Production - Alltex Design Engraving - Ross Hendy - Mallabar Music © Artaria Editions Limited 1997 Wellington, New Zealand ISBN 1-877171-68-9

ForEwOrd

eopold Mozart was born in Augsburg on 14 November

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and musical instruments, and to attend to numerous other

1719. For several years he attended the Augsburg

details as part of his court duties.

the Jesuit school of St Salvator (1735-1736), but in 1737 he

compositional career, however, is unclear. The latest substanti-

broke with his family and matriculated at the Salzburg

ated dates of composition are April 1762 for the Trumpet

Benedictine University, studying philosophy and jurispru-

Concerto and August 1762 for the Litany in D Major. It is

dence. Mozart took the bachelor of philosophy degree the

almost certain, however, that the fragmentary Mass K6

next year, with public commendation, but in September 1739

90a+Anh. A18+417B+Anh. A19 was composed in Vienna in

he was expelled for poor attendance and indifference. Shortly

1768; probably it is the work referred to in Leopold’s petition

after he became a valet and musician to Johann Baptist, Count

to Archbishop Schrattenbach of March 1769: ‘...this stay of

Thurn-Valsassina und Taxis, Salzburg canon and president of

mine in Vienna was made against my will and turned out to

the consistory; it was to Thurn-Valsassina that Mozart

my disadvantage and to safeguard my and my child’s honour I

dedicated his Sonate sei da chiesa e da camera, Op.1.

was unable to leave Vienna earlier ... I myself as well as my son

The extent to which he continued to pursue his

Gymnasium (1727-1735) and the Lyceum adjoining

During the early 1740s Mozart composed several

have composed sundry things for the Church, and especially

German Passion cantatas which may have led to his

for the use of the archiepiscopal Cathedral Church’. On

appointment in 1743 as fourth violinist in the court orchestra

stylistic and bibliographical grounds it is also likely that the

of Archbishop Leopold Anton Freiherr von Firmian; in

so-called ‘New Lambach’ symphony (G16) was composed

addition he taught violin to the choirboys of the cathedral

around 1767. Finally, a cryptic remark in a letter of 1 4

oratory and, later, keyboard. By 1758 Mozart advanced to the

November 1772 seems to refer to an as-yet-unfinished set of

post of second violinist, and in 1763 to deputy Kapellmeister.

keyboard variations.

Earlier, in 1756, Mozart published his important Versuch einer

Leopold Mozart died on 28 May 1787 and was

gründlichen Violinschule. By that time he had composed

buried in the cemetery of St Sebastian. On the same day,

several hundred works in all of the then-current genres and

Dominicus Hagenauer, Abbot of St Peter’s in Salzburg and a

styles, including church music, oratorios, theatrical music,

long-time family friend, noted in his diary: Leopold Mozart, who died today, was a man of much

symphonies, serenades, concertos, dances, chamber music with and without keyboard accompaniment, and instrumental

wit and wisdom, and would have been capable of good services

sonatas for keyboard. The ‘popular’ bias affects only a small

to the state beyond those of music... He was born in Augsburg,

part of Leopold Mozart’s output and is of little significance.

spent most of his days in court service here, and yet had the

Like the character and variability of his works in general, it is

misfortune always to be persecuted and was far less beloved here

more a reflection of particular occasions and the demands of

than in other great places of Europe.

the patrons concerned.

The ‘miracle which God let be born in Salzburg’ changed Leopold Mozart’s life, although it is not true, as

he symphony D12 (Seiffert 3.14) was composed not

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later than 1761. It was first advertised by Breitkopf in

Nannerl later reported, that Leopold ‘entirely gave up both

their non-thematic catalogue of that year and again,

violin instruction and composition in order to direct that time

with incipit, in 1762. The earliest source is a set of manuscript

not claimed in service to the prince to the education of his

parts of south German origin, formerly part of the Oettingen-

two children’. Even after Wolfgang’s talents became apparent,

Wallerstein collection but now housed at the

Leopold continued to perform his works, to direct the court

Universitätsbibliothek, Augsburg (shelfmark HR 4o 539);

music, to teach violin, to arrange for the purchase of music

probably this manuscript dates from the 1750s. A second

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source, also south German in provenance, is in the Thurn und

performing parts show, only one symbol was employed by

Taxis collection at Regensburg (shelfmark L. Mozart 1).

Leopold Mozart (and later by Wolfgang): the stroke, which

Leopold Mozart had good connections at both Oettingen-

indicates varying shades of accent and articulation, depending

Wallerstein and Regensburg; accordingly, the symphony can

on the context. The only instance in which Leopold notated

be presumed authentic despite the non-survival of the

dots was under slurs. Additionally, slurs have not been

composer’s autograph or authentic performing parts. A third

automatically added to connect grace notes and main notes.

source, now at the Zentralbibliothek, Zürich (shelfmark AMG

Although Mozart’s Gründliche Violinschule prescribed the

XIII 7001 & a-f), is more problematic. It has no demonstrable

universal performance of such slurs, even in cases where they

connection to Leopold Mozart or to the ‘normal’ distribution

are not notated, irregularities in musical orthography, changes

of his works and the attribution on the title page notwith-

in musical style, and the specific contexts in which grace notes

standing (del Sig:re Mozart), the symphony was first attributed

appear, all suggest that this ‘rule’ may not have applied in

to Holzbauer, and then to Jomelli, in the 1813 catalogue of

numerous instances. As with most aspects of eighteenth-

music holdings owned by the Zürich Allgemeine

century performance, the performance of slurs, articulation,

Musikgesellschaft. Furthermore, of the three sources, the

tempo and ornamentation are subject to ‘good taste’.

Zürich gives by far the sloppiest text.

Obviously wrong notes and rhythms have been corrected without comment.

his edition is therefore based primarily on the

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Oettingen-Wallerstein and Thurn und Taxis sources, which agree in most details. Editorial dynamics and

Cliff Eisen

other articulations are given in brackets; editorial slurs are dotted. No distinction is drawn between staccato dots and strokes; as his violin treatise, autographs and authentic

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