PB 15134 – Mozart, Konzert C-dur KV 299 (297c) by Breitkopf & Härtel

PB_15134_PB.qxp 18.07.2014 12:54 Seite 2

WOLFGANG AMADEUS MOZART (1756 –1791)

Konzert für Flöte, Harfe und Orchester C-dur

Concerto for Flute, Harpe and Orchestra in C major

KV 299 (297c) herausgegeben von /edited by

András Adorján

G. Henle Verlag BREITKOPF & HÄRTEL Partitur-Bibliothek 15134

PB_15134_PB.qxp 18.07.2014 12:54 Seite 3

Orchesterbesetzung

Orchestral Scoring

2 Oboen 2 Hörner

2 Oboes 2 Horns

Streicher

Strings

(Fagott ad lib.)

(Bassoon ad lib.)

Aufführungsdauer

Performing Time

etwa 30 Minuten

approx. 30 minutes

Orchesterstimmen / Orchestral parts: Breitkopf & Härtel OB 15134 Ausgabe für Flöte, Harfe und Klavier / Edition for flute, harp and piano (A. Adorján /J. P. Schulze): Breitkopf & Härtel EB 10768 oder / or G. Henle Verlag HN 768 Studienpartitur / Study score: Breitkopf & Härtel PB 15135

Eine Gemeinschaftsproduktion von Breitkopf & Härtel, Wiesbaden und G. Henle Verlag, München A Coproduction of Breitkopf & Härtel, Wiesbaden and G. Henle Verlag, Munich Printed in Germany

Konzert für Flöte, Harfe und Orchester C dur

Wolfgang Amadeus Mozart KV 299 (297c) herausgegeben von András Adorján

Allegro a2

Oboe

I II

Corno in C

I II

Flauto solo

Arpa

Allegro I Violino II

Viola

Violoncello * e Contrabbasso

Ob.

Cor. (C)

I II

cresc.

I II [ ]

Fl. solo

Arpa

I cresc.

Vl. II

cresc. [

Va.

[

cresc.

]

[

]

[

]

Vc. e Cb. cresc. * Fagotto ad libitum.

Partitur Bibliothek 15134

2 11

Ob.

I II

Cor. (C)

I II

I Vl. II

Va.

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

I Vl. II

Va.

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

A a2

I Vl. II

Va.

Vc. pizz.

Cb.

Breitkopf PB 15134

3 *

Ob.

I II

Cor. (C)

I II

I Vl. II

Va.

Vc. pizz.

Cb.

Ob.

I II

Cor. (C)

I II

Leseprobe **

I Vl. II

Va.

Vc. pizz.

Cb.

Sample page arco

Ob.

I II

Cor. (C)

I II

I Vl. II

Va.

Vc. e Cb. * Im Autograph jeweils ohne Bogen in Ob. I. / In the autograph, always without slur in Ob. I. ** Im Autograph Auflรถser versehentlich vor g 2 statt vor c 2 . / In the autograph, natural sign erroneously before g 2 instead of c 2. Breitkopf PB 15134

4 38

Ob.

I II

Cor. (C)

I II

I 3

Vl.

3 3

Va.

Vc. e Cb.

a2 42

Ob.

I II

Cor. (C)

I II

Leseprobe B

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Sample page

Fl. solo cresc.

cresc.

Arpa

I Vl. II Va.

Vc. e Cb.

Breitkopf PB 15134

3 3

5 51

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Fl. solo

Leseprobe

Arpa

I Vl. II

Va.

Vc. e Cb.

Fl. solo

Sample page

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

6 63

Fl. solo

Arpa

I Vl. II [ ]

Va.

Leseprobe

Vc. e Cb.

Fl. solo

sotto voce

Arpa

I [ ]

Vl.

[

]

[

]

[

]

II [ ]

Va.

Sample page [

Vc. e Cb.

]

Fl. solo

sotto voce

Arpa

I Vl. II

Va. Vc. e Cb.

Breitkopf PB 15134

7 75

Fl. solo

Arpa

I Vl.

[ ]

II [ ]

pizz.

Va. [ ]

Vc. e Cb.

Leseprobe

Fl. solo

Arpa

I Vl. II pizz.

Va. pizz.

Vc. e Cb. [ ]

Sample page

Ob.

Cor. (C)

I II I II

Fl. solo

Arpa

I Vl. II arco

pizz.

Va. pizz.

arco

Vc. e Cb.

Breitkopf PB 15134

[ ]

[

]

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

I Vl. II

Leseprobe

Va.

Vc. e Cb.

Cor. (C)

pizz. [ ]

I II

Fl. solo

Arpa

I Vl. II

Va. pizz.

Vc. e Cb.

Cor. (C)

Sample page

I II

Fl. solo

Arpa

I Vl. II [ ]

[ ]

Va. arco

pizz.

Vc. e Cb.

Breitkopf PB 15134

9 101

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

105

Fl. solo

Leseprobe

Arpa

I Vl. II

Va. Vc. e Cb.

109

Fl. solo

Sample page

Arpa

* pizz. I Vl.

pizz.

II pizz.

Va.

Vc. e Cb. * Zwei Staccatopunkte nicht Ăźbernommen, da singulĂ¤r. / Two staccato dots omitted, as singular occurrences. Breitkopf PB 15134

10 113

Fl. solo

Arpa

[ ]

[]

pizz.

I Vl.

pizz.

II pizz.

Va. Vc. e Cb.

Leseprobe

117

Ob.

I II

Cor. (C)

I II

Fl. solo 3

Arpa

arco

I Vl.

cresc.

arco

II arco

Va.

cresc.

Sample page cresc.

Vc. e Cb.

cresc.

121

Ob.

I II

Cor. (C)

I II

I Vl. II [

]

Va. [

]

Vc. e Cb.

Breitkopf PB 15134

E a2

11 125

Ob.

I II

Cor. (C)

I II

I Vl. II

Va.

Vc. e Cb.

130

Ob.

I II

Cor. (C)

I II

Leseprobe

Fl. solo

Arpa

I Vl.

[

]

[

]

[

]

[

]

[ ]

Sample page

Va.

[ ]

Vc. e Cb.

[ ]

135

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

12 140

Fl. solo

Arpa

I [

Vl.

]

Va.

Leseprobe [ ]

[ ]

Vc. e Cb.

[ ]

144

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

149

Sample page

[

]

Fl. solo cresc. [

[] cresc.

Arpa

I Vl. II

Va. Vc. e Cb.

Breitkopf PB 15134

]

13 153

Fl. solo cresc.

cresc.

Arpa

I cresc.

Vl. II

cresc.

Va. cresc.

Leseprobe

Vc. e Cb.

157

Fl. solo cresc.

[

Arpa

]

cresc.

I Vl. II

Va.

Vc. e Cb.

161

Fl. solo

Sample page

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

Fa2

165

Ob.

I II

Cor. (C)

I II

[ ]

cresc.

Fl. solo cresc.

cresc.

Arpa

I cresc.

Vl.

Leseprobe

cresc.

Va.

cresc.

Vc. e Cb.

cresc.

170

Ob. Cor. (C)

I II

cresc. a2

I II I

Vl.

[

]

cresc.

[

]

cresc.

Va.

Vc. e Cb.

175

Ob.

I II

Sample page

cresc.

Fl. solo cresc.

Arpa

cresc.

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

15 179

Fl. solo [ ]

[]

Arpa

I Vl. II

Va.

Leseprobe

Vc. e Cb.

183

Fl. solo

Arpa

I Vl. II

Va.

Sample page

Vc. e Cb.

187

Fl. solo

sotto voce

Arpa

[ ]

[

]

I [ ]

Vl. [

[

]

[

]

[

]

[

]

II [ ]

Va.

Vc. e Cb.

[ ]

Breitkopf PB 15134

16 191

Fl. solo

Arpa

sotto voce

I Vl. II Va.

Vc. e Cb.

195

Fl. solo

Leseprobe

Arpa

I Vl. II

Va.

Vc. e Cb.

199

Fl. solo

Sample page

Arpa

I Vl. II

pizz.

Va.

Vc. e Cb.

Breitkopf PB 15134

17 203

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

I Vl. II pizz.

Leseprobe

Va. pizz.

Vc. e Cb.

[ ]

207

Ob.

I II [ ]

Cor. (C)

[ ]

I II

[ ]

Sample page

Fl. solo

Arpa

I Vl. II pizz. arco

Va. pizz.

arco

Vc. e Cb.

Breitkopf PB 15134

211

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

I Vl. II

Leseprobe

Va.

pizz.

Vc. e Cb.

216

Cor. (C)

I II

Fl. solo

Arpa

I Vl. II Va. pizz.

Vc. e Cb.

Sample page

221

Fl. solo

Arpa

I Vl. II

Va. arco

Vc. e Cb.

Breitkopf PB 15134

19 225

Fl. solo

Arpa

I Vl. II

Va. Vc. e Cb.

229

Fl. solo

Leseprobe

Arpa

I Vl. II

Va. Vc. e Cb.

233

Ob.

I II

Cor. (C)

I II

Sample page

Fl. solo

Arpa

pizz.

I Vl.

pizz.

II pizz.

[

]

[

]

Va.

Vc. e Cb.

Breitkopf PB 15134

20 237

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

pizz.

Leseprobe

I Vl. pizz.

II pizz.

arco

Va.

Vc. e Cb.

241

Ob.

I II [cresc.] a2

Cor. (C)

I II

Sample page cresc.

[ ]

Fl. solo

Arpa

arco

I cresc.

Vl. arco

II cresc.

Va. cresc.

Vc. e Cb. cresc. Breitkopf PB 15134

21 [ ]

245

Ob.

I II

Cor. (C)

I II

[ ]

I Vl. II

Va.

Vc. e Cb.

249

Ob.

I II

Cor. (C)

I II

[ ]

Leseprobe [ ]

[ ]

Fl. solo *

Arpa

I Vl.

[ ]

II [ ]

Sample page

Va.

[ ]

Vc. e Cb.

[ ]

254

Ob.

I II

Cor. (C)

I II I

Vl. II

Va.

Vc. e Cb.

* Hier ist eine Kadenz zu spielen. / A cadenza is to be played here. Breitkopf PB 15134

22 258

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

Leseprobe

Vl.

Va.

Vc. e Cb.

262

Ob.

I II

Cor. (C)

I II

Fl. solo

Sample page

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

3 3

23 Andantino Flauto solo

Arpa

Andantino I Violino II

I Viola II

Violoncello e Contrabbasso

Leseprobe

I Vl. II

I Va. II

Vc. e Cb.

Fl. solo

Sample page A

Arpa

I Vl. II

I Va. II

Vc. e Cb.

Breitkopf PB 15134

24 17

Fl. solo

Arpa

I Vl. II

I Va.

Leseprobe

Vc. e Cb.

Fl. solo

Arpa

I Vl. II

[

Va.

[ ]

]

II Vc. e Cb.

Fl. solo

Sample page

Arpa

I Vl. II I Va.

[ ]

II Vc. e Cb. [ ]

Breitkopf PB 15134

25 30

Fl. solo

Arpa

I Vl.

cresc.

II cresc.

I Va.

cresc.

Leseprobe

Vc. e Cb.

cresc.

Fl. solo

Arpa

I Vl. II

I Va. II

Sample page

Vc. e Cb.

Fl. solo

Arpa

I Vl.

cresc.

II cresc.

I Va. cresc.

II cresc.

Vc. e Cb. cresc. Breitkopf PB 15134

26 46

[]

Fl. solo

Arpa

I Vl. II

I Va. II

Leseprobe

Vc. e Cb.

Fl. solo

[ ] 3

Arpa

I Vl. II I Va. II

Sample page

Vc. e Cb.

Fl. solo

Arpa

cre

scendo

cre

scendo

cre

scendo

cre

scendo

cre

scendo

cre

scendo

cre

scendo

I Vl. II

I Va. II

Vc. e Cb.

Breitkopf PB 15134

27 57

Fl. solo

Arpa

I Vl. II

I Va. II

Leseprobe

Vc. e Cb.

Fl. solo

Arpa

I Vl. II I Va. II Vc. e Cb.

Fl. solo

Sample page

Arpa

I Vl. II

I Va.

[ ]

Vc. e Cb.

Breitkopf PB 15134

28 70

Fl. solo

Arpa

I Vl. II I Va. II Vc. e Cb.

Fl. solo

Leseprobe D

Arpa

I cresc.

Vl.

[ ]

II cresc.

I cresc.

Va.

[ ]

Sample page

cresc.

Vc. e Cb.

cresc.

Fl. solo

Arpa

I Vl. II

I Va. II

Vc. e Cb.

Breitkopf PB 15134

29 86

Fl. solo 3

Arpa

I Vl.

cresc.

II cresc.

I Va.

cresc.

Leseprobe

cresc.

Vc. e Cb. cresc. 91

Fl. solo

Arpa

I Vl. II I Va.

Sample page

II Vc. e Cb.

Fl. solo

Arpa

I Vl. II I Va. II Vc. e Cb.

Breitkopf PB 15134

30 *

Fl. solo

Arpa

I cresc.

Vl. II

Leseprobe cresc.

cresc.

Va. II

cresc.

Vc. e Cb. cresc.

104

Fl. solo

Arpa

Sample page

Vl. II

I Va. II

Vc. e Cb.

* Hier ist eine Kadenz zu spielen. / A cadenza is to be played here. Breitkopf PB 15134

31 109

Fl. solo

Arpa

* I Vl. II

Leseprobe

I Va. II

Vc. e Cb.

114

Fl. solo

Sample page

Arpa

I Vl. II

I Va. II

Vc. e Cb.

* Im Autograph durchgehender Bogen 3.â&#x2C6;&#x2019;8. Note, vgl. aber Fl. sowie T. 110. / In the autograph, one slur from 3rd to 8th notes, but see Fl. as well as m. 110. Breitkopf PB 15134

Rondeau Allegro Oboe

I II

Corno in C

I II

Flauto solo

Arpa

Allegro I Violino II

Viola

Violoncello * e Contrabbasso

Ob.

I II

Cor. (C)

I II

Leseprobe Soli

Soli

I Vl. II

Sample page

Va.

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

[ ]

I Vl. II

Va.

Vc. e Cb. * Fagotto ad libitum. Breitkopf PB 15134

33 a2

Ob.

Cor. (C)

I II

[

]

[

]

I II

[ ]

I Vl. II

Va.

Leseprobe [ ]

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

[ ]

I Vl. II

[

Va.

]

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

Sample page [

]

[

]

[

]

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

Ob.

I II

Cor. (C)

I II

I Vl.

[

]

[

]

Va.

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

Leseprobe

I Vl. II

Va.

Vc. e Cb.

Ob.

I II

Cor. (C)

I II

Sample page [

I Vl. II

Va. pizz.

Vc. e Cb.

Breitkopf PB 15134

]

35 58

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Fl. solo

Leseprobe

Arpa

I Vl. II

Va. Vc. e Cb.

Sample page [

Fl. solo

]

[ ]

Arpa

I Vl. II

Va. Vc. e Cb.

Breitkopf PB 15134

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

I Vl. II

Va. [arco]

Vc. e Cb.

Leseprobe

Fl. solo

Arpa

I Vl.

Sample page

Va. Vc. e Cb.

Fl. solo

Arpa

I Vl. II

Va. Vc. e Cb.

Breitkopf PB 15134

37 95

Fl. solo

Arpa

I Vl.

[ ]

II [ ]

Va. [ ]

Vc. e Cb.

Leseprobe

101

Ob.

I II

Cor. (C)

I II

Arpa

I Vl. II

Va.

Vc. e Cb.

107

Ob.

I II

Cor. (C)

I II

Sample page

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

38 113

Fl. solo

Arpa

I Vl. II

Va.

Leseprobe

Vc. e Cb.

120

Fl. solo

Arpa

I Vl.

]

[

II [

]

Va.

Vc. e Cb.

127

Ob.

I II

Sample page C

[ ]

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

39 133

Ob.

I II

Fl. solo

Arpa

pizz.

I Vl.

pizz.

II pizz.

Leseprobe

Va.

pizz.

Vc. e Cb.

139

Fl. solo

Arpa

pizz.

I Vl.

pizz.

II pizz.

Va. pizz.

Vc. e Cb.

146

Fl. solo

Sample page 3 3

Arpa

pizz.

I pizz.

Vl. II

pizz.

Va. Vc. e Cb. * Im Autograph Bogen bis 3. Note in Ob. I, vgl. aber T. 134 und Ob. II. / In the autograph, slur to 3rd note in Ob. I, but see m. 134 and Ob. II. Breitkopf PB 15134

40 3

151

Arpa

] [

arco

I Vl.

arco

II arco

Va.

Vc. e Cb.

Leseprobe D

157

Fl. solo

Arpa

] [

pizz.

I Vl.

[ ]

pizz.

[ ]

pizz.

[ ] arco

pizz.

Va.

Sample page

Vc. e Cb.

164

Fl. solo

cresc.

Arpa

pizz.

arco

pizz.

arco

I Vl. II pizz.

Va. arco

pizz.

Vc. e Cb.

Breitkopf PB 15134

41 170

Ob.

I II

Cor. (C)

I II

Fl. solo cresc.

Arpa

Leseprobe

I Vl. II

arco

Va.

Vc. e Cb.

176

Ob.

I II

Cor. (C)

I II

Fl. solo

Sample page

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

42 182

Fl. solo

Arpa

I Vl. II Va. Vc. e Cb.

188

Ob.

I II

Cor. (C)

I II

Leseprobe a2

Fl. solo

Arpa

I Vl. II

Sample page

Va.

Vc. e Cb.

194

Ob.

I II

Cor. (C)

I II

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

43 200

Ob.

I II

Cor. (C)

I II

a2 [

]

I Vl. II

Va.

Vc. e Cb.

206

Ob.

I II

Cor. (C)

I II

Leseprobe

Fl. solo

I Vl. II

Va.

Vc. e Cb.

212

Ob.

Sample page

I II

Fl. solo

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

218

Ob.

I II

Fl. solo

Arpa

I Vl. II

Leseprobe

Va. Vc. e Cb.

225

Ob.

I II

Fl. solo

Arpa

I Vl. II

Va. Vc. e Cb.

231

Sample page

Fl. solo *

Arpa

I Vl. II Va. Vc. e Cb. * Im Autograph Vorschlagsnote

, nicht Ăźbernommen, da singulĂ¤r. / In the autograph, appoggiatura Breitkopf PB 15134

, omitted as singular occurence.

45 237

Fl. solo

Arpa

I Vl. II Va. Vc. e Cb.

243

Cor. (C)

I II

Leseprobe

Fl. solo

Arpa

I Vl.

[ ]

II [ ]

Sample page

Va.

[ ]

Vc. e Cb.

[ ]

250

Fl. solo

Arpa

I Vl. II

Va. Vc. e Cb.

Breitkopf PB 15134

46 256

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

[ ]

I Vl.

Leseprobe

Va.

Vc. e Cb.

262

Fl. solo

Arpa

I Vl. II

Sample page

Va. Vc. e Cb.

268

Fl. solo

Arpa

I Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

47 274

Ob.

I II

Cor. (C)

I II

Arpa

I Vl. II

Leseprobe

Va.

Vc. e Cb.

280

Ob.

I II

Cor. (C)

I II

Fl. solo

Arpa

Sample page

I Vl. II

Va.

Vc. e Cb.

287 [ ]

Fl. solo

I [

Vl. II

Va.

Vc. e Cb.

Breitkopf PB 15134

]

48 294

Cor. (C)

I II [ ]

Fl. solo

Arpa

I Vl.

]

[

II [

Va.

Leseprobe

Vc. e Cb.

301

Cor. (C)

]

I II

Fl. solo

Arpa

I Vl. II

Sample page

Va. Vc. e Cb.

307

Fl. solo

Arpa

pizz.

I Vl.

pizz.

II pizz.

Va. pizz.

Vc. e Cb. * Im Autograph Bogen bis 1. Note von T. 296, vgl. aber Vl. I, II. / In the autograph, slur to 1st note of m. 296, but see Vl. I, II. Breitkopf PB 15134

313

Ob.

I II

Cor. (C)

[ ]

[]

I II

Fl. solo

Arpa

Leseprobe

arco

I Vl. arco

[ ]

arco

[

]

[

]

Va. arco

Vc. e Cb.

320

Ob.

I II

Cor. (C)

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Notensatz: ARION, Baden Baden Druck: imprimo Offsetdruck, WeiÃ&#x;enthurm

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Zu dieser Ausgabe

About this edition

Mozarts abfällige Bemerkung über die Flöte: „dann bin ich auch, wie sie wissen, gleich stuff wenn ich immer für ein instrument das ich nicht leiden kann schreiben soll“ (Brief aus Mannheim an den Vater vom 14. Februar 1778) ist (zu) oft zitiert worden. So ernst gemeint kann es aber nicht gewesen sein, denn schon wenige Wochen danach, kaum in Paris angekommen, komponierte er ein Konzert für das originell besetzte Solistenpaar „flautraver“ und „harpfe“. Auftraggeber dieses Konzertes war „Duc de guines, dessen Tochter meine Scolarin in der Composition ist, [der] unvergleichlich die flöte spiellt und sie magnifique die Harpfe“ (Brief an den Vater vom 14. Mai 1778). Das ungewöhnlich große Lob Mozarts mag ein wenig überraschen angesichts der ihnen zugedachten Partien; beide Stimmen sind leicht spielbar und zeichnen sich weniger durch Bravour und Virtuosität als vielmehr durch esprit, élégance und die aus der aparten Kombination der beiden Instrumente gewonnene Farbigkeit aus. Über die musikalischen Aktivitäten des Amateurflötisten Adrien-Louis Bonnières de Sodastre, Comte de Guines, wissen wir wenig. Ein Hinweis auf dem Titelblatt der „Concertante“ für zwei Flöten von Anton Stamitz „exécuté au concert chez la Reine par Mrs le Duc de Guine et Windlingue“ zeigt immerhin, dass er mit einem so berühmten Musiker wie Johann Baptist Wendling zusammen auftrat. De Guines muss im Besitz eines ungewöhnlichen Instrumentes gewesen sein, denn Mozart verlangt in allen drei Sätzen von der Flöte das c1. Das hier vorgelegte Konzert für Flöte und Harfe KV 299 (297c) gehört zusammen mit dem Flötenquartett in D-dur KV 285, dem Andante KV 315 und dem Quintett für Glasharmonika KV 617 dank eines überlieferten Autographs mit dem Titel „Concertante a La Harpe, e Flauto. Paris 1778“ zu den wenigen zweifelsfrei echten Kompositionen Mozarts für die Flöte. Für die freundliche Bereitstellung der Quelle sei der Biblioteka Jagiellońska, Krakau, herzlich gedankt.

Mozart’s disparaging remarks about the flute – “moreover you know that I become quite unwell whenever I am obliged to write for an instrument which I do not like” (letter of 14 February 1778 from Mannheim to his father) – have been frequently, indeed too frequently quoted. Yet he cannot have meant them very seriously, for hardly had he arrived in Paris a few weeks later than he composed a concerto for that unique pair of soloists, “flautraver” and “harpfe.” The concerto was commissioned by the “Duc de Guines whose daughter is my pupil in composition; [he] plays the flute incomparably, and she the harp magnifique” (letter of 14 May 1778 to his father). Mozart’s remarkably lavish praise may seem a bit surprising in view of the parts he actually wrote: both are easy to play and distinguished less by bravura and virtuosity than by esprit, élégance, and the colors he obtained from the deft combination of the two instruments. Little is known about the musical activities of Adrien-Louis Bonnières de Sodastre, Comte de Guines and amateur flautist. But a note on the title page of Anton Stamitz’s “Concertante” for two flutes – “exécuté au concert chez la Reine par Mrs le Duc de Guine et Windlingue” – reveals that he could appear together with a musician as famous as Johann Baptist Wendling. De Guines must have owned an unusual instrument, for Mozart calls for the flute to play c1 in all three movements. Thanks to an extant autograph score with the title “Concertante a La Harpe, e Flauto. Paris 1778”, the Concerto for Flute and Harp, K. 299 (297c), stands alongside the D major Flute Quartet (K. 285), the Andante (K. 315) and the Quintet for Glass Harmonica (K. 617) among Mozart’s few unquestionably genuine compositions for the flute. The editor wishes to extend his thanks to the Biblioteka Jagiellońska in Cracow for kindly allowing him to consult the source.

Quelle und Edition

Source and Edition

Partiturautograph. Krakau, Biblioteka Jagiellońska, Signatur Mus. ms. autogr. Mozart K. 299. 68 Blätter mit 135 beschriebenen Seiten, heute eingebunden in einen hellbraunen Ganzlederband. Kein Titelblatt, Fremdaufschriften auf der ersten Notenseite [oberer Rand, von der Hand Georg Nikolaus Nissens:] N. 23. Vollständig. von Mozart und seine Handschrift. [am rechten Rand von der Hand Franz Gleißners:] Concertante | a | La Harpe, e | Flauto. [darunter von der Hand Johann Anton Andrés:] Paris 1778. [darunter verschiedene Nummern von unterschiedlicher Hand:] 134 (Gleißner-Verzeichnis) | K 299 (KöchelVerzeichnis) | 259. (André-Verzeichnis). Partituranordnung (II. Satz ohne Oboen und Hörner: oboe et Corni tacciono.): Violini (mittig vor System 1 und 2) | Viole (Satz II: 2 Viole) | 2 Oboe (mittig vor System 4 und 5) | 2 Corni | Flauto solo (Satz III: Flute seul) | La Harpe (mittig vor System 8 und 9) | Baßi.

Autograph of the score. Cracow, Biblioteka Jagiellońska, shelfmark Mus. ms. autogr. Mozart K. 299. 68 leaves with 135 pages of written music, now bound in a light-brown full-leather cover. No title page, inscriptions by another hand on the first page of music [upper margin, in Georg Nikolaus Nissen’s hand:] N. 23. Vollständig. von Mozart und seine Handschrift. [in the right margin in Franz Gleissner’s hand:] Concertante | a | La Harpe, e | Flauto. [below, in Johann Anton André’s hand:] Paris 1778. [below this, various numbers in different hands:] 134 (Gleissner Catalogue) | K 299 (Köchel Catalogue) | 259. (André Catalogue). Score lay-out (Movement II without oboes and horns: oboe et Corni tacciono.): Violini (centered, before staves 1 and 2) | Viole (Movement II: 2 Viole) | 2 Oboe (centered, before staves 4 and 5) | 2 Corni | Flauto solo (Movemenet III: Flute seul) | La Harpe (centered, before staves 8 and 9) | Baßi.

Das Autograph ist alleinige Quelle der Edition. Vorschläge werden immer durch einen Bogen mit der Hauptnote verbunden; H wird durch 3, J durch 2 ersetzt. Für die Harfe werden doppelte Dynamikbezeichnungen (oberes /unteres System) zu einer Bezeichnung zwischen den Systemen vereinfacht. Alle Anweisungen zu Colla-parte-Führungen werden stillschweigend aufgelöst. Die Unterscheidung zwischen Staccatopunkt und -strich folgt dem Autograph. In eckige Klammern gesetzte Zeichen bzw. gestrichelte Bögen stellen Analogieergänzungen oder sonstige Vorschläge des Herausgebers dar.

The autograph served as the sole source for this edition. Grace notes are always connected to the main note by a slur; H is replaced by 3, J by 2 . For the harp, double dynamic signs (upper/lower staff) are simplified through the use of only one sign between the staves. All colla-parte indications have been eliminated and the notes written out in full without comment. The differentiation between staccato dots and strokes follow the autograph. Broken-line slurs or signs placed in brackets are editorial additions based on analogous passages or other suggestions of the editor.

München, Frühjahr 2014

Munich, Spring 2014

Leseprobe

Sample page

András Adorján