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Wolfgang Amadeus Mozart

String Duos K. 423, 424 for Violin and Viola

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Wolfgang Amadeus Mozart

String Duos K. 423, 424 for Violin and Viola

Anja Bensieck (Editor)

Parts, Urtext Edition, paperbound

String Duos, String Trios

Pages 67 (IV+31+8+8+8+8), Size 23,5 x 31,0 cm

Weight 290 g

HN 624 · ISMN 979-0-2018-0624-2

Further editions of this title

Digital (tablet)

After moving to Vienna in 1781, Mozart returned only once to his hometown of Salzburg, and that was from the end of July to the end of October 1783 in the company of his young wife Constanze. Just as we know little for certain about the events of those months, Mozart also seems to have composed equally little there. Just these two exquisite duos for violin and viola come from this period, and even they were apparently written as a friendly favor for Salzburg composer Michael Haydn (younger brother of the great Joseph Haydn), who for reasons of acute ill health was unable to complete a commissioned composition. Henle’s Urtext edition is based on the carefully notated autograph manuscripts; the first edition appeared only in 1792, shortly after Mozart’s death, making its value as a source debatable. In addition to a complete score of this wonderfully intimate chamber music, foldout instrumental parts are included, facilitating comfortable performance.

Content/Details

Duo (Violin and Viola) G major K. 423

Duo (Violin and Viola) B flat major K. 424

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About the Composer

Wolfgang Amadeus Mozart

Mozart is one of the few composers to have produced masterpieces in all genres. On the concert tours he undertook in his early years (London, Mannheim, Italy, Paris) he gained many varied musical impressions that he assimilated in his youth and which formed the prerequisite for his later consummate musical language.

1756	Born in Salzburg on January 27, the son of musician and later court composer Leopold Mozart. His early regimented musical education from his father began in 1761, first compositions at age five.
1763–66	Extended concert tours through various German cities and to Paris, London, Amsterdam, Switzerland. He composes his first sonatas for violin and piano, K. 10–15, dedicated to Queen Charlotte, as well as the first symphonies from London, K. 16 and 19, which show the influence of the works of Johann Christian Bach and Karl Friedrich Abel (the three-movement Italian sinfonia form).
1767	Premiere in Salzburg of the sacred light opera “Die Schuldigkeit des ersten Gebotes,” K. 35 (written with Michael Haydn and Anton C. Adlgasser), and the intermezzo “Apollo et Hyacinthus,” K. 38. Journeys with his father and sister to Vienna.
1768	Probably the premiere in Vienna of his Singspiel “Bastien and Bastienne,” K. 50. Composition of his first masses.
1769	Performance in Salzburg of the dramma giocoso “La finta semplice,” K. 51.
1769–71	Two tours to Italy; he meets Farinelli, P. Nardini, and Padre Martini, among others, and, on the second trip, Hasse. Premieres in Milan of his opera seria “Mitridate, Re di Ponto” in 1770 and of the festa teatrale “Ascanio in Alba” in 1771. Composition of symphonies and his first string quartet (1770, K. 80).
1771	Composition of the oratorio “La Betulia liberate,” K. 118, in Salzburg/Italy.
1772	Premiere of the serenata drammatica “Il sogno di Scipione,” K. 126, for the accession of Salzburg Archbishop Hieronymus Count Colloredo. He receives an appointment as salaried concertmaster of the Salzburg Court Chapel (of which he had been an unpaid member since 1769). Third journey to Italy with his father, premiere in Milan of the dramma per musica “Lucio Silla,” with general success. The final trip to Italy spells the ends of his youthful phase of appropriation; he has tested out all important instrumental genres (symphony, sonata, string quartet) and all the main genres of opera (Singspiel, opera buffa, opera seria, festa teatrale).
from 1773	Composition of string quartets (K. 168–173) under the influence of Haydn, and of symphonies, divertimenti, serenades. He increasingly devotes himself, contingent upon the duties of his post, to liturgical music; several masses are written. Begins to compose violin and piano concerti.
1775	Premiere in Munich of the dramma giocoso “La finta giardiniera” and the serenata “Il Rè pastore.” Piano sonatas, K. 279–284.
1777	He vacates his post temporarily to undertaken a promotional tour with his mother to Munich, Mannheim, and Paris.
1778	Composition of the “Paris” Symphony in D major (K. 297). In Paris he experiences the quarrel between the proponents of Gluck and those of Piccinni. Publication of violin sonatas.
1779	Resumes his duties in Salzburg, as court organist. Coronation Mass in C major.
1781	Premiere in Munich of his tragédie lyrique “Idomeneo,” in which French and Italian elements are synthesized. Journey to Vienna. After his falling out with the Archbishop of Salzburg, he gives up his post, moves to Vienna, and earns his living as a free composer through concertizing and giving music lessons. His last great period of creativity begins.
1782	He becomes acquainted with the works of Bach and Handel through Baron van Swieten; after this he arranges Bachian fugues and incorporates the “learned style” (fugues and counterpoint) into his works beside the “galant style” (e.g. in the String Quartet in G major, K. 387, in 1782; Piano Sonata in F major, K. 533, in 1786; the Jupiter Symphony, K. 551, in 1788; “Die Zauberflöte” (“The Magic Flute”), and the Requiem in D minor, K. 626, both in 1791). Premiere in Vienna of his Singspiel “Die Entführung aus dem Serail” (“The Abduction from the Seraglio”). Composition of the Haffner Symphony in D major, K. 385.
1783	Mass in C minor, K. 427; Linz Symphony in C major, K. 425.
1784	Hunt Quartet in B-flat major, K. 458.
1785	Premiere in Vienna of the oratorio “Davide penitente,” K. 469. “Dissonance” Quartet in C major, K. 465.
1786	Premiere of the comedy with music “Der Schauspieldirektor” (“The Impresario”), K. 486, which Salieri’s competing work “Prima la musica e poi le parole” (“First the Music and Then the Words”) bests. Premiere in Vienna of the opera buffa “Le nozze di Figaro” (“The Marriage of Figaro”), whose extended action-packed finales form a highpoint of opera buffa. Prague Symphony in D major, K. 504.
1787	Serenade in G major (“Eine kleine Nachtmusik”), K. 525. He is named imperial and royal chamber composer. Premiere in Prague of the dramma giocoso “Il dissoluto punito ossia Il Don Giovanni,” a synthesis of serious and comic opera.
1788	Composition of the large Symphonies in E-flat major, K. 543; G minor, K. 550; and C major (Jupiter Symphony), K. 551. Clarinet Quintet in A major, K. 581.
1790	Premiere in Vienna of the dramma giocoso “Così fan tutte ossia La scuola degli amanti.”
1791	Premiere in Prague of the opera seria “La clemenza di Tito” and in Vienna of the Singspiel “Die Zauberflöte.” Clarinet Concerto in A major, K. 622. The Requiem remains unfinished. Dies in Vienna on December 5.

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G. Henle Verlag

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G. Henle Verlag e.K.
Forstenrieder Allee 122
81476 München
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info@henle.de
www.henle.com

Für die Musizierenden hält diese Ausgabe ein besonderes "Schmankerl" bereit: Da es bei dieser durchkomponierten Musik sehr schwer ist, gute Wendestellen für die Violine wie die Viola zu finden, bietet die Henle-Ausgabe erstmals ausklappbare Stimmen, um störendes Blättern innerhalb der Sätze zu vermeiden. Eine zusätzliche Partitur ermöglicht das Einstudieren und Mitlesen.

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Darum sollte Musikkritik unmissverständlich gute Ausgaben gut, mangelhafte aber schlecht nennen. Die Mozart-Ausgaben des Henle-Verlags, von denen hier eine Auswahl der jüngsten Produktion angezeigt wird, gehören allesamt zu den guten ... In Partitur und mit für Aufführungen trefflich eingerichteten Stimmen ist weiterhin das Paar des Duos für Violine und Viola KV 423 und KV 424 herausgekommen, von Anja Bensieck nach dem Autograph in der Pierpont Morgan Library New York unter Berücksichtigung einiger Varianten des postumen Erstdrucks eingerichtet. Welche Herrlichkeiten bieten doch diese zweistimmigen "Gelegenheitswerke"! ... Daß auch derartige Funktionsmusikalien vom Henle-Verlag mit aller Sorgfalt betreut werden – die Einrichtung der Seiten nach dem Gebot praktikabler Wendestellen mag dafür als ein Beleg dienen –, gereicht ihm zur Ehre.

Acta Mozartiana, 2001