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Description from the British Museum
Title Collection of compositions attributed to Wolfgang Amadeus Mozart.
Content: ff. 10–12. Piano duets wrongly attributed to Mozart. Autograph. Apparently unpublished (K. Anh. 41a).
- Gavotte in F. f. 10.
- Allegro in B‑flat. f. 10b.
- “Marzia lugubre” in C minor. Beginning only. f. 12. (Arrangements of three numbers from L. Kozeluch’s ballet La ritrovata figlia di Ottone II – Music & Letters, Jan. 1945).
ff. 1–2b. [Motets] De profundis; for four voices with figured bass for organ, in score, by J. C. W. A. Mozart. Autograph. The top stave is marked at the beginning “Violino i, ii,” but the music for those instruments has not been filled in.
ff. 13–14b. [Piano solos] A movement in 6/8 time, in B‑flat, for piano. The bass is incomplete. Apparently unpublished; described in Köchel (511a) as a Rondo (see Music & Letters 1945, pp. 47 ff.).
ff. 15–27. [String quintets] Quintet in C minor for two violins, two violas and cello, in score, by Mozart. Autograph. No. 4 in Peters’ collection, and no. 406 (now 516b) in Köchel’s thematic catalogue. Originally composed as a Serenade for wind instruments (K. 384, now K. 388) in July 1782.
ff. 3–9b. [Trios for piano and strings] Allegro and Rondo allegretto in D; piano duet partly adapted for piano, violin and cello, in score, in the same hand as Add. MS 31750. Apparently unpublished (Köchel Anh. 52a). See Music & Letters 1945, pp. 47 ff.
Author’s Considerations – The Revision
By Graziano Denini
I was fortunate enough to have at hand both the orchestral score and the piano reduction of the ballet in question; finally, I also obtained a copy of the Anhang 8 manuscript preserved in the British Museum (which, incidentally, also contains the Trio for Piano, Violin and Cello Anhang 3).
I was therefore able to compare the three editions and, in my view, these three pieces are not a simple four‑hand piano reduction of Kozeluch’s score. Rather, considering the additions and alterations made by the composer, it would be more accurate to describe them as genuine re‑elaborations. Supporting this hypothesis are, for example, the semiquaver Alberti‑style arpeggios in Piano II (right hand) immediately after the opening ritornello of the Gavotte, and the entire left hand of Piano II in the few surviving bars of the Marzia Lugubre.
Another interesting detail is the descending scale played by Piano II, right hand, in bar 3 of the Gavotte (ex. 1), which should contain E‑flat, as found both in the second violin part and in the London reduction. In this case, however, I preferred to retain the natural E, since the same passage appears in bar 18 (ex. 2), again without the flat, and should therefore not be considered an oversight.
Research Method
By Graziano Denini
For the first two pieces, which are complete, I made a copy of the score prepared by De Saint‑Foix and another derived from the manuscript in the British Museum, and compared the two editions. I then compared everything again with the orchestral score and the London piano reduction, thus producing a so‑called Urtext version.
As for the third piece, the Marzia Lugubre, I copied the few original bars and then continued according to the compositional procedures observed in the two preceding pieces.
The two tables below present the revision work carried out on the manuscript sources, with corresponding photographic examples, while the third image shows the first comparative page of the Allegro Anhang 8 No. 2, a piece that will receive its world premiere in the Urtext version by the piano duo Fusaro–De Rosa Arcuri.
