[MOZART, Wolfgang Amadeus, ascribed to] – EBERL, Anton (1765–1807). XII Variations pour Clavecin ou Piano Forte par W. A. Mozart. Vienna, Magazin de Musique dans l’Unterbreuner-strasse [L. Kozeluch], Pl.-Nr. 176 [1794]. 7 pp. engraved, oblong folio, a few spots and narrow margins, otherwise a good copy.

KV Anh. C. 26.04 (Anh. 286); not in BUC; RISM E 152 (only 1 complete copy [US] and 1 incomplete [D]). –

First edition of this interesting set of variations, which was re-published four years later by Artaria and André, both, once again, using  the wrong composer’s name. Commerce linked with celebrated names is not a modern invention . After Mozart’s death, “newly discovered” works of the great composer soon started circulating, among them several works of Mozart’s very gifted friend, Anton Eberl, who declared in the Hamburger unpartheische Correspondent that  four of his works, published under Mozart’s name, were his own and that he had nothing to do with such a fraud. However, these editions continued circulating from Vienna to London and Paris, and from Edinburgh to St. Petersburg (cf. RISM E 138-156 and EE 151a-156a). A very early owner of our copy knew the truth about these variations and added the (nearly) correct composer’s  name, A Eberlin, at the top of the title-page.

Eberl used Dittersdorf’s arietta „Freundin sanfter Herzenstriebe“ as the theme  (from the comic opera Der Schiffspatron, oder: Der neue Gutsherr, premiered in Vienna, 1791). In these variations, Eberl proves to be an original and astonishingly qualified composer, who really would not need to hide behind Mozart’s name (today, nobody blames Eberl  for these misattributions). This effective composition requires the new sonorities of the then highly modern pianoforte; the reciprocal penetration of the right and left hand parts in the 4^th variation and the virtually  improvised 10^th variation in particular, show the high standard of this composer.

Eberl  lived mainly in Vienna and was a pianist and composer of operas and highly regarded instrumental works. In 1791, he composed a commemorative cantata, Bey Mozarts Grabe; his symphony in E flat was much more successful than Beethoven’s Eroica, which was performed at the same time. 

Order no. 0801S001 £ 280

A book Mozart never wrote!

 MOZART, W. A. (attributed). Kurzgefasste Generalbass-Schule. Vienna, S. A. Steiner und Comp. [1817]. 8vo. Pp. 55. Contemporary boards (spine defective) with the original publisher’s blue printed wrappers bound in; foxing to covers. From the library of Alfred Cortot with his bookplate.               

Köchel C 30.04 (Anh. 109d). A Joseph Haydenreich first offered the manuscript of this tutor in the Wiener Zeitung of 13 April 1796 as ‘a still unknown written primer for learning the figured bass’.  Köchel says that this manuscript may have been the source for this first edition. Mozart certainly did not write this work but it is possible that it was based on composition studies by his pupils. The Vienna National Library owns such a manuscript deriving from a relative of Abbé Stadler, giving an idea of Mozart’s teaching methods and his pertinent annotations. Even if the authenticity is not definitive, this work is interesting and typical of Mozart’s time.

Order no. 0801S002 £ 380

MOZART, Wolfgang Amadeus (1756–1791) [ascribed to]. ANLEITUNG. Englische Contretänze mit zwei Würfeln zu componiren so viele man will, ohne etwas von der Musik oder der Composition zu verstehen. [...] INSTRUCTION To compose without the least knowledge of Music as many Country dances as one pleases, by throwing a certain Number with two Dice. Bonn, Simrock, Pl.-No. 49 [1797/98]. 7 pp., engraved, folio, disbound, slightly browned.

Köchel, Anh. C.30.01; RISM MM7225a (only 1 copy [US-R]), extremely rare indeed. Simrock published an analogue method for composing Walzer or Schleifer (Pl.-No. 48, RISM M 7226), which is more common (9 copies in RISM). This “method” had been ascribed to different composers, but most known editions (RISM M 7224-7228 and MM 7225a-7226a) link this work with Mozart’s name, which was commercially the most profitable for early 19^th century publishers. Composing with dice was a common pleasure at that time, as shown in e.g. Joseph Haydn’s  Gioco Filarmonico which we are also offering (cf. below), or Kirnberger’s Allzeit fertige Polonoisen- und Menuettencomponist (1757, Otto Haas Catalogue 40, item 94). Other “rules” are ascribed to Abbé Stadler, de la Chevardière, F. G. Hayn, Neukomm, A. Callegari (Cat. Otto Haas 40, item 95) and perhaps C.P.E. Bach (according to O.E. Deutsch in Mit Würfel komponieren, ZMW XII, 342f. [1930]).

Mozart also left a draft, K. 516f (Musikalisches Würfelspiel), dated as late as 1787, containing several groups of one, two and three bar patterns, which fit in most combinations decided by any dice result. One imagines Mozart in fits of  laughter from the comical effects of this game – however, no source indicates that the most frequently published “instruction”, of which two are offered here (cf. infra), may have any link to him.

Order no. 0801S003 £ 380

MOZART, Wolfgang Amadeus [ascribed to]. Anleitung & Instruction, So viel Engl. Contre-Dänze, mit zwei würfeln zu componieren, so viel man will, ohne musikalisch zu seyn, noch etwas von der Composition zu verstehen. [...]  Amsterdam, Henning / Holtrop, Pl.-No. 66 [late 18th century]. 7 pp., engraved (p. 7, ‘Instruction’, in letterpress), folio, unbound, in excellent condition.

Köchel, Anh. C.30.01; RISM M 7228 (only 2 copies [F and NL]). – ‘Musically’ identical with the previous edition, but the “Instructions” now have German, Dutch, English and French texts. The table of dice results is remarkably well engraved with fine rococo elements.

The music has 176 numbered bars in 2/4 time; the figures shown by two dice give a result referring to the table which indicates the number to be taken from the music; this procedure has to be repeated as often as necessary for the required amount of  music.  According to Kirnberger, this game was highly appreciated at evening parties, at the end of which,  the newly ‘composed’ music was performed by all players.

Order no. 0801S004 £ 450

HAYDN, Joseph (1732–1809) [ascribed to].Gioco Filarmonico, o sia Maniera facile per comporre un infinito numero di Minuetti anche senza sapere il contrapunto, da eseguirsi per due Violini e Basso, o per due Flauti e Basso. Neapel, Marescalchi [before 1790]. 7 pp., the first 2 in letterpress, the remainder engraved (score for three instrumental parts, folio, in old wrappers with fine title label, in excellent condition.

Hob. IV Anhang (Vol. 1, p. 473f.); Not in RISM (quotes only the piano version H 4373 [6 copies, most in Italy] with a similar title but ... di minuetti e trio [...] il contrapunto, da eseguirsi col cembalo o pianoforte). – Already at the time of publication, doubts were raised with regard to the authorship; in Bossler’s Musikalischer Real=Zeitung, Johann Friedrich Christmann wonders whether Haydn may be the true author: „Ist der Verfasser unser bekannter Haydn und ist das Original wirklich italienisch?“, he asks on 6 January 1790. Carpani, on the other hand, does not doubt its authenticity (p. 40), and scholars such as Marion M. Scott have seen the piece in the context of Haydn’s dealings with the King of Naples.

This edition also contains 176 patterns, but this time in a trio setting and in ¾ time. Hoboken explains the rules of this composing game in detail (vol. I p. 473) and says that in his youth, he, himself, still played it  in Vienna. He wonders, however, whether Haydn would have been very pleased with his results… He quotes, furthermore, the very ‘noble’ result, the Minuetto estratto de Sua Altezza Reale Beatrice Vittoria… dal Giuoco Filarmonico del Signor Giuseppe Haydn, found in an early 19^th century manuscript in the Modena Biblioteca Estense, but Hoboken seems to have been instantly disgusted  by the errors  already found in the very first bars…

Order no. 0801S005 £ 500

Composed in 1859 by Mozart’s ghost !

ORGEVAL, Brion d’ Fragment de Sonate Dictée par l’Esprit de Mozart à Mr. Brion d’Orgeval, Medium. [...] Paris, M. Ledoyen, Librairie Spirite, 1859. 5 pp., folio, disbound, torn at the  corners and edges but without affecting music.

A fundamental publication absent in all bibliographical sources referring to Mozart scholarship. – It’s a great pity that musicologists never took the musical medium of Brion d’Orgeval seriously; even his dates of birth and death are unknown! Surprisingly, this publication clearly shows that nobody other than d’Orgeval really knew or understood Mozart’s music . Only he felt the geniality of the most simple and sublime grandeur in a music which never goes beyond the dominant and, in several extremely brave cases, the subdominant! After listening to our Fragment de Sonate, all the complications found in the music we know under Mozart’s name must be falsifications…

On the other hand, the  romantic gesture of d’Orgeval’s piece may indicate that music from heaven may not be very thrilling and needs several improvements, or, that it may be better staying on our pitiful earth… 

Due to the lamentable musicological lack of interest in d’Orgeval’s oeuvre, it is unfortunately unknown whether Mozart dictated more music to him. One hundred years after d’Orgeval, however, another musical medium, a Rosemary Brown, drew attention to herself with the same phenomenon. However, a large extract from Epoca (August 1967), present with this item, informs us that Mozart must have been disgusted by d’Orgeval’s misfortune and stopped dictating music! Mrs Brown, indeed, only received ghostly communications from Beethoven, Schubert, Liszt, Brahms and Debussy…

Order no. 0801S006 £ 245

Mozart’s “last composition”

[MOZART, W. A., ascribed to] – EBERL, Anton (1765–1807). The last Composition of the Celebrated Mozart, a Sonata in C  Minor, the Accompaniments of which were left unfinished and which were accomplished by Mr. Pleyel, The Proprietor of the Manuscript. London-Edinburgh, Corri, Dussek & Co. [1797]. Complete set of parts: piano 18 pp., Vl. 4 pp., Basso 4 pp., engraved, folio, a few brownings, otherwise a very good copy.

K. Anh. C. 25.01; BUC, S. 713; RISM E 146 (only 3 copies worldwide, of which 2 in GB). – The present publication of 1797 is an almost crude example of unscrupulous mystification. In the comment to Eberl’s variations (c.f. supra), we have already quoted  several publishers using Mozart’s name incorrectly. However, none of these apart from  Corri-Dussek had the impudence to mention “unfinished accompaniments”, allegedly completed now (by Ignace Pleyel), and to quote “the Manuscript” (thus suggesting Mozart’s manuscript). Pleyel himself had published the same work one year earlier (pl. no. 20), but did not assume any co-authorship; he named  it simply Dernière grande Sonate pour piano avec accompagnement de violon et Violoncelle obligé [par W. A. Mozart].

Today, the mystery is completely unravelled, since Eberl’s autograph is known: he finished his sonata (without any accompaniment!) on 18 July 1792, but as early as  1795, the first edition by André  had already appeared under Mozart’s name as “oeuvre 47”. In 1798, Artaria printed that very same sonata under Eberl’s name, but the fakes continued to be replicated. It is not likely that Pleyel deliberately published a Mozart forgery; almost certainly he was the victim of  fraud.

Eberl’s sonata in C minor is one of the most interesting of its time (1792) and goes far beyond Mozart’s style. Köchel (Einstein) wonders: “It is a mystery how it has been possible to ascribe this clearly Beethovenian-‘romantic’ sonata to Mozart.”

Order no. 0801S007 £ 280

An unrecorded English first edition

MOZART, Wolfgang Amadeus. [KV 318] Mozart’s Celebrated Overture to the Opera of la Villanella rapita, now first arranged for the Piano Forte by Wm. Adams. London, Shade [Watermark 1821]. Title page with a fine Mozart portrait, angel and Greek muse, engraved by H. Wheelwright; 6 pp. piano score, engraved, folio, a few spots, otherwise a good copy.

Not in RISM, not in BUC. – Our edition contains the Sinfonia K. 318, which is said to have been used in Vienna, in 1785 as an overture to Bianchi’s opera La villanella rapita. Whilst this is certain for the vocal quartet K. 479 and the trio K. 480, the case of the sinfonia is more complicated. It was composed in Salzburg, in 1779, but La Villanella was produced in Vienna only in 1785. Einstein therefore thinks that it was written for Zaïde; Deiters tends towards Thamos. It is definitely composed for the stage, since the three movements are linked together without interruption, the third being a Da capo.

La Villanella rapita was first performed in Vienna, in 1783, and staged again, after Vienna, in Paris in 1789. The first edition (Paris 1789) contains Mozart’s trio, but not the sinfonia. Köchel’s claim (7^th ed., p. 340) is incorrect. The orchestral parts of the sinfonia K. 318 were first published by Kühnel, Leipzig, in 1811, together with a quintet version. Our publication contains the first edition for piano of the K. 318 sinfonia.  

Order no. 0801S008 £ 450

MOZART, Wolfgang Amadeus. [KV 345 (336a)] Hymne Preiss dir! Gottheit! durch alle Himmel etc. (Splendete te, Deus etc.) für vier Singstimmen mit Begleitung des Orchesters [...] Partitur N° I. [...] Pr. 1 Rthlr. 8 Gr. Leipzig, Breitkopf & Härtel [1803]. Title-page, 38 pp. full score in typeset, folio (34.5 × 26cm). Slightly browned, some spottings. From Alfred Cortot’s collection (initial stamps “AC” on title page).

Köchel/7 p. 778; RISM M 5244 (only 1 copy 1 in GB). – First edition. – Mozart composed the incidental music to Gebler’s drama Thamos, König in Ägypten mainly in 1779; the first two choruses (of which no.1 is offered here) were already written, however, in Vienna, in 1773, on the occasion of the first Viennese performance of the drama (4 April 1774). This production, as well as a new one in 1779, was not successful, and further performances or a publication proved impossible although Mozart held his music in high esteem, and in it, anticipated ideas for the Zauberflöte. As late as 15 February 1783, he wrote to his father: “I am extremely sorry that I shall not be able to use the music of ‘Thamos’, but this piece, which failed to please here, is now among the rejected works which are no longer performed. For the sake of the music alone it might possibly be given again…”

Finally, the music was re-used, with Mozart’s consent, by 1790 at the latest, in a drama called Lanassa (Mozart reports that he heard it in Frankfurt, on the occasion of the coronation of Emperor Leopold II). From 1796 onwards, several versions of religious Latin texts appear , arranged for the three great choruses of Thamos, perhaps still on Mozart’s behalf; but it is more likely that this was done only after his death. Here, we offer  the first movement of the incidental music, which became the First Hymn, published by Breitkopf as a highly impressive typeset full score. Only in this form did the work become immensely popular, and remained so through the whole of the 19^th century.

MOZART, Wolfgang Amadeus. [KV 454] Sonate Pour le Clavecin ou le Piano-Forte avec Accompagnement de Violon obligé [...] N° 18. Du Journal de pieces de clavecin par differens Auteurs [...] Ecrit par Ribiere. Paris, Boyer/Le Menu [1785]. Title-page, 13 pp. piano part, engraved, folio, a fine copy with wide margins (without violin part).

RISM M & MM 6540 (3 copies, 2 in F, 1 in GB-Lbm); Lesure, p. 459; Drüner (Mozart-Nachdrucke) No. 33. – A very rare re-edition of a Mozart sonata already published during the composer’s lifetime.

Mozart composed this sonata for the Italian violinist Regina Strinasacchi (1761–1839), who had made a great artistic impression on him. In a letter of 24 April 1784, Mozart writes: “... she has a great deal of taste and feeling in her playing. I am this moment composing a sonata which we are going to play together on Thursday at her concert in the theatre.”  However, by the day of the concert, Mozart had only had time to write down the violin part; the piano part merely existed  in the form of a few sketches. Both artists are said to have played the work without a rehearsal – but with immense success, Mozart improvising what we know, today, as the piano part, which was only completed afterwards. The first edition was immediately  issued by Torricella in Vienna; the first French edition offered here was published just one year later, a good illustration of Mozart’s growing celebrity as a composer known throughout Europe (his earlier fame was mainly as a child prodigy pianist, and much less as a composer). 

In our copy it is the other way round: We have only the piano part, whilst the violin part is missing  

The first English edition

MOZART, Wolfgang Amadeus. [KV 521] A Duet for two Performers on one Piano Forte or Harpsichord [...] Op. 14. London, Birchall [c. 1800]. 31 pp. engraved, folio, disbound, slightly browned, tear repaired on last page, otherwise a good copy.

RISM M 6727 (only 2 copies); BUC, S. 711. – The work was completed in Vienna on  29 May 1787 and first published by Hoffmeister in Vienna later in that year (Pl.-No. 130). The dedicatees were the charming sisters, Nanette and Babette de Natorp. The work became popular, and around 1800, it was available in at least  12 editions through Europe.

MOZART, Wolfgang Amadeus. [KV 527 Nr. 7] Nel D. Giovanni. La ci darem la mano. Duettino. Italian manuscript in full score, 10 ff. with 18 written pp. in brown ink on 12 stave paper; title on the upper leave of an envelope with very fine printed passe-partout frame and an imprint from Giovanni Ricordi, Milano. Early 19^th century (c. 1805-1808). In very good condition.

This manuscript contains one of Mozart’s most celebrated arias, the duet Zerlina-Don Giovanni in the first act of Don Giovanni. This score is an important document for the early reception of Mozart’s operatic music in Italy, which was, despite Da Ponte’s Italian texts, much more slowly accepted than in northern countries.

This Milanese manuscript is typical of the Italian music trade, in which, around 1800, printing was still less common than in Northern Europe. Giovanni Ricordi, started working as a music copyist and dealer in (foreign) printed music in 1803, and began engraving and publishing music as late as 1808 (cf. J. Fuld, World-Famous Music, pp. 87 ff.). To judge by the luxurious title page, the item may not be ascribed to the earliest years of Ricordi’s activity, and he probably did not copy it himself. Examples of manuscripts from the copisteria Ricordi are, however, exceedingly rare on the market (in  contrast to his publications, which are very common, and quite unlike manuscript copies from Luigi Marescalchi, whose Naples copying business was much more important than all others in Italy). Marescalchi disseminated whole operas and oratorios in single numbers or, more rarely, in magnificent full scores, sometimes corrected by the composers, and mostly adapted to the specific needs of the customer. (Cf. our comment to items 69-70 in Otto Haas Catalogue 41.)

The earliest of Mozart’s ‘great’ symphonies to be published

MOZART, W. A. [KV 543] Grosse Sinfonie ins Klavier gesetzt und dem verdienstvollen Tonkünstler und Verehrer dieses unvergesslichen Meisters Herrn Franz Duschek aus besonderer Hochachtung gewidmet von Johann Wenzel an der Metropolitankirche Organisten und Claviermeister zu Prag. 1te Ausgabe. Preis 2. f. Prag: Beym Verfasser. Leipzig, Breitkopfische Buchhandlung [c. 1794]. 2 ff. title and subscribers’ list (Verzeichniß deren Herren Pränumeranten), 20 pp. engraved piano score, oblong folio; title-page browned and with small spots and repairs (also to pp. 5, 7, 15, 19 and a few margins); good cloth binding. 

Köchel/7 p. 616; Haberkamp p. 307 ff. (ill. 270-272); RISM M 5540; coll. Hoboken XI, no, 367; not in Hirsch. – First edition of one of the rarest of Mozart’s compositions; indeed, only one copy has been offered in the trade during the last 25 years. The orchestral parts were published only in 1797 by André. The title-page was engraved by Johann Berka in Prague and has been reproduced many times, it includes the Mozart portrait after Leonhard Posch within a fine decorative laurel and instrumental border. The subscribers’ list contains 126 names (this is its second variant with four additional names on the second page) for a total of 317 copies (100 for Breitkopf in Leipzig). The list contains some well-known names such as Jean Louis Duport, Franz Duscheck, Friedrich Eck, Johann Anton Kozeluch, Johann Gottlieb Naumann, and Mozart’s friends Franziska Duschek and Franz Xaver Süßmayr.

This is the earliest edition of any of Mozart’s last three ‘great’ symphonies (K. 543, 550, 551).

Mozart’s version of Handel’s ‘Messias’

MOZART, W. A. [KV 572] F. G. [sic] Händel‘s Oratorium Der Messias nach W. A. Mozart‘s Bearbeitung... Leipzig, Breitkopf & Härtel [1803]. Title-page, 108, 95, 48 p. (separate pagination for each part), full score in typeset, slightly foxed. Contemporary half-calf with marbled boards and highly decorative label; very slightly rubbed else fine.

HWV 56 and KV 572 (Köchel/7 p. 645); RISM H 723; Hoboken V, no. 104. – First edition of the full score of Mozart’s arrangement and re-instrumentation of Handel’s Messiah. This edition, largely spread by Breitkopf, is one of the most important and an early document of the reception of Handel’s work on the continent. Mozart knew Handel’s works (as well as Bach’s) as a consequence of his close acquaintance with Baron van Swieten in whose ‘Sunday Morning Concerts’ he was a regular performer. – The German translation of Handel’s Messias is by C. D. Ebeling who used Klopstock’s original poem.

A collection of 7 Mozart first editions

MOZART, Wolfgang Amadeus. The complete collection of the 12 Mozartschen Arien, published in 12 single vocal piano scores by Breitkopf & Härtel in Leipzig, 1804, in typeset, together 142 pp.  oblong folio, with Italian and German text, very few spottings and brownings; in a very fine half morocco oblong folio binding, marbled boards (corners in leather) and with gilt stamp 12 Opera Songs Mozart. A very fine item.

This collection was advertised in 1804 in the Intelligenzblatt of the famous Leipzig Allgemeine Musik-Zeitung as 12 Gesänge von Mozart, to be acquired separately or in two collections of 6 each. We know the author of the vocal scores only from that advertisement: C.[Christian] Schulz (1773–1827, cf. Eitner Dictionary).

The complete series rarely appears on the market and is highly valuable for the seven first editions, which it contains; there are also operatic and concert arias, to which instrumental parts were available separately. Contents:

1) Arie. Mia speranza adorata etc. (Ach sie stirbt, meine Hoffnung etc.) [...] N° I der Mozartschen Arien.
KV 416. RISM M 5269. Haberkamp, p. 204f. (ill. 158). First edition. Composed on 8 January 1783 in Vienna for the celebrated prima donna Aloysia Lange (Mozart’s sister-in-law) who first performed it three days later in a concert (text from P. Anfossi’s opera Zemira).
2) Arie. Bella mia fiamma, addio etc. (Theuerstes Mädchen, ich scheide etc.) [...] N° II. der Mozartschen Arien.
KV 528. RISM M 5314. This is the famous Scena composed in Prague on 3 November 1787 for Josefine Duschek, who is said to have locked Mozart up until he had finished the work promised a long time ago…(Text possibly by Lorenzo da Ponte.
3) Terzett. Mandina amabile etc. (Willst du mein Liebchen seyn etc.) zu der Oper: (La villanella rapita). [...] N° III der Mozartschen Arien. KV 480. RISM M 5290.
4) Scena. Ah, lo previdi etc. (Ach, meine Ahndung etc.) zu der Oper: (Andromeda). [...] N° IV. KV 272. RISM M 5260. Haberkamp, p. 118f. (ill. 63). First edition. Composed in August 1777 in Salzburg for the main character Andromeda in Paisiello’s opera (then sung by Josefine Duschek).
5) Scena. In questo seno, deh vieni idolo mio etc. (In meine Arme, komm Liebling meiner Seele etc.). [...] N° V.
KV 374. RISM M 5268. Haberkamp, p. 171f. (ill. 125). First edition. Composed in March-April 1781 for the Salzburg castrato Ceccarelli, who first performed this scena on 8 April 1781 in Vienna.
6) Quartett. Dite almeno in che maniera etc. (Sagt, was hab‘ ich denn verbrochen? etc.) zu der Oper: (La villanella rapita). [...] N° VI. KV 479. RISM M 5285. Haberkamp, p. 242f. (ill. 200). First edition.
7) Scena. Misera! dove son etc. (Wehe mir! ach wo bin ich etc.). [...] N° 7. KV 369. RISM M 5266. Haberkamp p. 167ff. (ill. 120). First edition. Composed on 8 March 1781 in Munich for the tenor J. V. Adamberger (text from Metastasio’s Ezio).
8) Arie. Per pietà, non ricercate etc. (Lass mir meinen stillen Kummer etc.) zu der Oper: Il curioso indiscreto. [...] N° 8. KV 420. RISM M 5279. This is one of four additions Mozart had written in June 1787 for Pasquale Anfossi’s Il curiose indiscreto; cf. K. 178 (417e), 418, 419.
9) Arie. Mentre ti lascio etc. (Bald muss ich dich verlassen etc.) [...] N° 9. KV 513. RISM M 5309. Haberkamp, p. 280f. (ill. 240). First edition. Composed on 23 March 1787 for Mozart’s friend Gottfried von Jacquin, a very distinguished amateur singer. The text is from Paisiello’s La disfatta di Dario.
10) Arie. Nô, che non sei capace etc. (Nein, Treue darf nicht wanken etc.) [...] N° 10. KV 419. RISM M 5276. Cf. N° 8.
11) Scena. Ma, che vi fece, o stella etc (Ach, was verbrach, ihr Sterne etc.). [...] N° 11. KV 368. RISM M 5264. Haberkamp, p. 166f. (ill. 118). First edition. Probably composed  in Munich, in January, 1781; the text is part of Metastasio’s Demofoonte.
12) Arie. Al desio, di chi etc. (Lass Geliebter, lass mich etc.). [...] N° 12. der Mozartschen Arien.  KV 577. RISM M 5324. This is the replacement aria for Susanna’s Deh vieni in Figaro, composed  in Vienna, in 1789.

Freemasonry and philanthropy

ZIEGENHAGEN, Franz Heinrich (editor). Lehre vom richtigen Verhältnisse zu den Schöpfungswerken, und die durch öffentliche Einführung derselben allein zu bewürkende algemeine Menschenbeglükkung. Mit 8 Kupfert. von D. Chodowiecki und einer Musik von W.A. Mozart. Hamburg, by the Editor, 1792. 8vo. 4ff,. 633pp., 2ff., + 8 hors-texte plates by Chodowiecki, 2 folding (one of a Utopian, bucolic landscape extending to 39.5 x 29cm.), + folded leaves (8pp.) of Mozart’s recitative “Die ihr des unermesslichen Weltalls Schöpfers ehrt.” [Köchel 619, pp. 705-6] – the “Kleine deutsche Kantate” for voice and piano, composed in Vienna in July 1791 to a text by Franz Heinrich Ziegenhagen. Twentieth-century full calf with gilt tooled borders to upper and lower covers, t.e.g., marbled endpapers signed on doublures by H. Fikentscher, Leipzig (1922); wear to top row of vignettes on upper cover; in slipcase.

First edition. Steeped in the Leibnitzian moral optimism of the Enlightenment, the work lays down the tenets for human happiness as solely dependent on a general, public, religious and philosophical application of the works of creation. Mozart’s recitative pays tribute to the “immeasurable universe” of the Creator.

ATTWOOD, Thomas (1765–1838). The Harps wild Notes, Glee. For Four Voices. The Words from the Lay of the Last Minstrel, By Walter Scott Esq.r. London, Monzani & Hill [c. 1830]. Title-page, 8 pp. in score, + 1 p. Catalogue of T. Attwood’s Music, engraved, folio. With an autograph dedication on the title: To Miss Clara Novello with the Composer’s best regards. The copy is authorised with the composer’s initials “T.A.” on the imprint. In good condition.

RISM A and AA 2742 (3 copies in D, Gb and USA). – Attwood is considered to have been Mozart’s favourite pupil (Vienna 1785-87). It is  said that amongst all his pupils, Attwood understood his musical style best. Despite his considerable importance as an English composer of sacred music, the memory of Attwood is mainly related to Mozart’s teaching (the “Attwood-studies” resulting from the classes, which show many additions and corrections in Mozart’s hand, were published in the Neue Mozart-Ausgabe). Moreover, Attwood used Mozart’s music in several of his own operas. He became one of the leading figures of  English musical life about 1800. He composed 19 operas, and was then organist at St. Paul’s cathedral and composer of the Chapel Royal from 1795 onwards. Eventually, in 1821, he became composer of King George IV’s private chapel.

Attwood published numerous Glees, among them, the present one by Walter Scott (1771–1832) – one of the most famous English authors. This work is set for mixed vocal quartet with a four-handed piano accompaniment. This publication appeared in the series Vocal english as no. 109. The following catalogue lists 25 Songs & Ballads, 2 Duets and 16 Glees. – This copy is from the estate of the English family publishers,  Novello. The copy was dedicated to Clara Anastasia Novello, (1818–1908), the publisher’s daughter and an opera singer.

Autograph documents by Thomas Attwood are extremely rare.

ATTWOOD, Thomas (1765–1838). The First of May, Or Awake the Lute, the Fife, the Flute. Glee. For Three Voices, with an Accompaniment for Piano Forte & Harp, or Two Performers on One Piano Forte. London, Monzani & Hill [c. 1830]. Title-page, 14 pp. (score), 1 p. Catalogue of T. Attwood’s Music, engraved, folio. With an autograph dedication on the title: To Miss Novello with the Composer’s best regards, and with Attwood’s initials “”TA” under the imprint. In fine condition.

RISM A 2740 (only 1 copy in D-B). – The title is bordered by branches (a simple, but attractive design). The work is set for two sopranos and a baritone, piano and harp. The score is arranged in systems of seven staves; the two first and last two staves are for the pianos (or Piano / harp), the central staves refer to the vocal parts. The composition is mostly homophonic and has some echoing sections. The catalogue is identical with the previous item. The dedicatee is probably also the opera singer, Clara Anastasia Novello, the daughter of the famous publisher.

KELLY, Michael (1762–1842). The Music of Pizarro. A Play, As now Performing at the Theatre Royal Drury Lane, with unbounded Applause, The Music Composed & Selected By Michael Kelly. London, Published for M.r Kelly [1799]. Title-page (stained), 30 pp. vocal score, engraved, folio, sewn together on the back, edges and first and last leaves with dust marks and rubbed corners, but the work itself is in good condition.  Kelly’s initial stamp “MK” on p. 1 for authentication of this edition.

RISM K 348 and B II, p. 248; BUC, p. 567. First edition. – Michael Kelly arrived in Vienna in 1784 as a singer at the Burgtheater and became Mozart’s pupil and friend. In early 1787, he returned to England together with Nancy Storace and Thomas Attwood. Kelly had a very successful career, first as a leading tenor of his day, and then as a composer. In fact, from 1797 onwards, he composed over 60 operas, of which several were pastiches, including Pizarro, first performed in 1799. Each number mentions the composer in the header, among them Cherubini, Gluck and Sacchini. Kelly himself contributed 6 of the 12 pieces, and was also among the singers (who are quoted in most of the numbers, e. g. Mrs. Crouch & Jordan, Mr. Dignum and many others).

Kelly has a further Mozartian connection: He was the first Don Curzio and Basilio in the première of Le Nozze di Figaro on 1st May 1786; there follows further documentation related to this opera. In 1826 Kelly published his Reminiscences which are an important source for the lives of Haydn and Mozart.

Two songs from the ‘Sorrows of Werter’

PLEYEL, Ignace (1757–1831) u. a. XII Ballads with an Accompaniment for a Piano-Forte. London, Preston [1790]. Title-page with very fine rococo frame, 26 pp. engraved,  small oblong quarto; first and last leaf slightly dusty, otherwise in very good condition.

This is a hitherto unrecorded variant to RISM P 2654, BUC, p. 798 and Benton 7105. The title-page is the same, but not the content. Numbers 1-4 are identical with those quoted by Benton; no. 6 and 10 are also by Pleyel, but the texts are unknown to Benton. In contrast to the recorded copies, for which Pleyel’s authorship is assumed for all pieces, our copy contains only 6 songs with Pleyel’s music which comes from instrumental works with texts added later. The other songs are composed by  Anfossi, Davaux, Haydn, Sarti and Sterkel.

Two songs are particularly interesting, for their text refers to Goethe’s Sorrows of Young Werther: Ballad VIII “Oh! Solitude, to thy sequester’d vale”), whose music is attributed to Haydn (cf. Hob.XXVIa: Es3), added to the title is: The words by Charlotte Smith / From the Sorrows of Werter; Ballad X “Go, tyrant of the human brest[sic]”, music by Pleyel) says: The Words from Charlotte Smith’s Sonnets.  Suppos’d to be Written by Werter.

As for Ballad VIII, Hoboken describes a Preston edition with a very different title: Twelve Ballads, the Music by the following eminent Authors [here follow 9 names, Haydn is in fourth place]. In this publication, there is the piece ascribed to Haydn, as well as Ballad VIII [cf RISM].

With Mozart’s ‘Alla turca’ from K. 331

STORACE, Stephen (1762–1796). The Siege of Belgrade, an Opera in Three Acts, As Performed at the Theatre Royal Drury Lane, the Music Principally Composed by Stephen Storace. London, Dale [1791]. Title-page with a stunning illustration, 82 pp. vocal score, 1 fol. with index at the end; engraved,  oblong folio, old wrappers (partly detached), slightly dusty, otherwise in very good condition.

RISM S 6872. First edition. – The title illustration shows a scene from the Belgrade siege, a rather unimportant historical event from 1456, but arranged here into a very melodramatic story. Storace’s opera was first performed in London .on 1^st January 179, with very great success and rapidly shown also in Dublin, New York, Philadelphia and Edinburgh; many printed versions show its great popularity (cf. RISM S 6872–6896). This is a pastiche, for which Storace adapted parts from Martin y Soler’s Una cosa rara, whose libretto was originally written by Lorenzo da Ponte, and which had been revised by James Cobb. An irritated German correspondent of the Journal des Luxus und der Moden wrote on 15 January 1791: “I was highly surprised to hear [in London] a very popular operetta, The Siege of Belgrade, in which I found nearly all the arias from La Cosa rara. A certain Signor Storace knows the art of lumping together many Italian operas into an originally English one …” 

Stephen Storace, one of London’s leading dramatic composers at the end of the 18^th century, was living in Vienna from 1785-87, where Emperor Joseph II had commissioned two operas from him, Gli sposi malcontenti and Gli equivoci, almost certainly on the suggestion of Stephen’s sister, Nancy. She was the prima donna of the Vienna Court theatre, 1783-87, and introduced her brother to Mozart, who greatly influenced the young English composer. Thus, it is not surprising to find Mozart’s fresh markings in The Siege of Belgrade: No. 2, the introductory chorus of the Turks, indeed, uses the celebrated ‘Alla turca’ from Mozart’s piano sonata K. 331 (300i)! This would be legitimate, since The Siege is a pastiche. However, whereas Martini’s contributions are indicated in the score, Mozart’s name is not quoted, and Storace must be reprimanded for stealing Mozart’s (allegedly) Turkish music! – Stephen’s sister, Nancy, played Lulla in this opera, and the inseparable Michael Kelly sang the part of Ismael; both seem to have contributed considerably to its success.

Signed by the composer

STORACE, Stephen. Captivity. A Ballad. Supposed to be Sung by the Unfortunate Marie Antonette, During her Imprisonment in the Temple. The Words by the Revd. Mr. Jeans… & Sung by Sig.ra Storace & Mrs. Crouch, Set by Stephen Storace. London, Printed for the Author, & Sold by J. Dale [1793]. 2 pp. folio, engraved, signed by the composer at the end (“Storace”) for the authentication of this edition. Fore-edges a little browned, some fingerings in pencil, otherwise very fine.

RISM S 6916; BUC p. 985. First edition of this ballad, very rare now, but popular in its time (RISM quotes re-editions in Ireland and America). The text must have been written (and probably composed) between the execution of Louis XVI (21 January 1793), referred to as “my murder’d Lord”, and Marie Antoinette’s death on 16 October 1793: In the text at least, she is still alive, but “is now grey headed” (note on bottom of p. 2).

As is often the case, Stephen Storace’s composition is associated with the name of his celebrated sister Anna Selina (Nancy; 1765-1817), who trained with Antonio Sacchini before being appointed as prima donna at the Imperial Theatre in Vienna, at the age of 19. She was Mozart’s first Susanna, and she was the dedicatee of one of Mozart’s most beautiful concert arias; on 27 December 1786, he entered it in his own Verzeichnis as Scena con Rondo mit Klavier-Solo. Für Madelle Storace und mich (“Non temer, amato bene” K. 505). According to Jahn’s biography (1856) the piano part may express Mozart’s love for Nancy.

The other singer in Captivity, Anna Crouch, was the inamorata of Michael Kelly, the other important English friend (and pupil) of Mozart.

Autograph material from Stephen Storace’s short, 34 year-long life is exceedingly rare.

Pio Cianchettini, born in London 1799, was a composer and pianist. His mother, Katerina Dusikova, was the sister of the pianist J. L. Dussek; his father, Francesco Cianchettini of Rome, was head of the London music publishing firm Cianchettini & Sperati. At the age of five, he appeared at the Opera House as an infant prodigy. A year later, he travelled with his father through Holland, Germany and France, where he was hailed as the English Mozart. By the age of eight, he had mastered English, French, German and Italian. In 1809, he performed a concerto of his own composition in London. He published cantatas (e.g. on words from “Paradise Lost”), Italian Nocturnes and other vocal and piano music.

CIANCHETTINI, Pio (1799–1851). Autograph letter signed, Cheltenham, Easter 1848, to the publisher C. Lonsdale in London, 3 pp. 8vo, page 3 with the stunningly large signature, in very good condition.

“Many, many thanks!my old friend of 1820”; Cianchettini hopes to be able to repay an old debt. “In the meanwhile – I have no doubt that you will be disposed to accept the dedication of this vocal gem, one of Zingarelli’s most celebrated Duetto (one of his masterpieces!) ‘Giuro al paterna Sangue’. This may be very useful, some evening at the Ancient Concerts, where Zingarelli has now the honour of being canonized with the other great Italian masters.” Cianchettini offers to provide the score and parts and suggests  showing them to [Michaele] Costa, who “will know how to appreciate it.”

CIANCHETTINI, Pio (1799–1851). Scena “Ah! quando cesserà“ as sung with unbounded Applause by Mad.e Catalani at the Bath and Bristol Musical Festivals. Expressly Composed for her [...] Arranged for the Piano Forte, by the Author. London, Mitchell [in 1825]. 11 pp., engraved, folio. With Cianchettini’s signature.

Mitchell’s address quoted here may be dated 1821 to 1827. –  Angelica Catalani appointed Cianchettini as her composer and concert director . She “ frequently sang Italian airs, which were wrote to suit her voice” (Sainsbury). The present scena is dedicated to her and documents their cooperation, in which there was enough scope  for a coloratura  to show off  the qualities of her voice. Several section have an additional system marked “As sung by Mad.e Catalani”; judging from these places, she must have had a large tessitura, through two 1/3octaves from G to H.

CIANCHETTINI, Pio. Autograph musical manuscript signed, inscribed and dated “for Mess. D’Almaine and C. Cianch. 1843, titled: New Edition of Dussek’s celebrated Octave Lesson for the Piano Forte (op. 12 N° 1). Revised by his nephew Pio Cianchettini. Pr. 3f. London, D’Almaine and Co. 20 Soho Sq. Title + 13 pp. piano score on twelve staves, written in brown ink, partly browned, otherwise in good condition. With an old ex libris showing the initials “WLHC”.

This seems to be the Stichvorlage but does not show the engraver’s markings. Dussek’s op. 12 is a collection of three sonatas for piano and violin, the first of which is in F major, like the ‘lesson’ of our manuscript. The introduction, Maestoso ed Espressivo, is not likely to have been written in this way for piano-violin duet; this is perhaps a rhapsodic addition by Dussek’s nephew, Cianchettini. The following Allegro spiritoso  frequently uses a theme in octaves; this and several triplet passages, marked [con] 8va alta, may give the impression of an almost technical composition. This does not seem to be the aim of this well constructed and ‘classically’ conceived work, whose highly musical expression is, however, intimately mixed with high technical demands. The title Octava Lesson does not occur in Dussek’s list of works and may be the formulation of his nephew Cianchettini, who, perhaps, added several octave lines to make the piano part more demanding.

CIANCHETTINI, Pio, & ATTWOOD, Thomas (et al.) Theatre poster “Never acted. Theatre Royal, Covent Garden. This present Friday, April 8, 1825, Will be produced a New Play, in three acts, (interpersed with Musick) called The Hebrew Family; or A Traveller’s Adventure! With new Musick, Scenes, Dresses, and Decorations. The Musick in the First Act composed by Pio Cianchettini; in the Second and Third, by Mr. Attwood…To which will be added, the Melo-Drama of A Tale of Mystery… A Pastoral Ballet… One sheet in small folio (33.2 x c. 19.5 cm), edges and corners slightly damaged without affecting the text.

The best known of Mozart’s obituaries

[MOZART,W.A.] SCHLICHTEGROLL, A.H. Friedrich von. [Nekrolog auf das Jahr 1791]. Den 5. December [sic]. Johannes Chrysostumus Wolfgang Gottlieb Mozart. [Gotha: J. Perthes: 1793]. Later parchment-backed marbled boards. From the library of Alfred Cortot with his bookplate and small green library stamp.

8vo. Pp. 82-112. Mozart’s obituary extracted from volume II of the work above, written shortly after his death: “So glänzend seine Laufbahn war, so kurz war sie auch. Kaum war er 36 Jahr alt, als er starb. Aber er hat sich in dieser kurzen Zeit einen Nahmen gemacht, der nicht untergehen wird, so lange nur noch Ein Tempel der Muse der Tonkunst stehen wird, und oft noch wird von gefühlvollen Seelen, sanft bewegt durch den Reichtum und die Schönheit seiner Harmonien, seinem Andenken ein begeistertes, dankbares Lob gewidmet werden.”

The earliest biography on Mozart

[MOZART, W. A.] Niemetschek, Franz. Leben des K. K. Kapellmeisters Wolfgang Gottlieb Mozart, nach Originalquellen beschrieben… Prag, Herrlische Buchhandlung 1798. Title-page + 78 pp. 4to., loss in text leaf 29-30 repared, brownings, covers detached.

First edition of this important biography, which remains a primary source for many details of the composer’s life. Niemetschek (1766-1847), a Czech teacher and one of the earliest music critics in Prague, had access to many documents provided by Constance Mozart. He was also responsible for the education of Mozart’s eldest surviving son, Carl Thomas (1784-1858), after the composer’s death. Very rare.

[MOZART, W.A.] HOLMES, Edward. The Life of Mozart, including his Correspondence. London, Chapman and Hall, 1845. 8vo. Pp. iv, 364 pp. + two folding plates, 16pp. publishers’ adverts. Original cloth; upper cover strengthened, spine and corners worn. With the inscription of the Whittlesea Book Society, dated 1846.

First edition of the first comprehensive English biography of Mozart distinguished by its thorough research and intelligent interpretation of the contemporary, accessible material. The first plate shows specimens of Mozart’s composition at six years of age (KV2 and KV3). The second folding plate, a copy of the ‘Antiphona given to Mozart, for treatment by the Princeps and the censors of the Philharmonic Academy’. This [KV86 (=73V)] was the famous ‘test piece’, which Mozart had to compose as his examination for acceptance into the Academy. Leopold Mozart reported that his son fulfilled the task in a mere half hour, (letter of 20th October 1770). Leopold, however, did not reveal that Wolfgang’s setting of the antiphonal text in no way corresponded to the rules of the Academy and that Padre Martini secretly amended it before passing it over to the examiners as the work of Mozart alone.

[MOZART, W.A.] OULIBICHEFF, A. Mozart’s Leben und Werke. Zweite Auflage…neu bearbeitet und wesentlich erweitert von Ludwig Gantter. Erster Band…Vierter Band. Stuttgart, Becher, 1859. 4 vols. 8vo. Pp. xx, 332;1f., 328 pp. (Appendix 2 [pp. 310-325] being the 145-item listing of Mozart’s own Verzeichniss - now ‘eigenhändiger Katalog’); pp. 392; pp.348, 2ff., 11pp., music, including a bibliography of works on Mozart. Contemporary half-morocco with crimson marbled boards; a very good set.

KÖCHEL, Dr. Ludwig, Ritter von. Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozart’s. Nebst Angabe der verloren gegangenen, unvollendeten, übertragenen, zweifelhaften und unterschobenen Compositionen desselben. Leipzig, Breitkopf und Härtel. 1862. Small folio, Pp. xviii, 1f., 551 pp. Publisher’s cloth-backed boards, extremities rubbed.

First edition of the first thematic catalogue in musicology. In 23 sections totalling 626 works and with 5 appendices comprising lost, incomplete, transcribed, doubtful and misattributed compositions and an index of those for voice. This monumental work remains the cornerstone of Mozart bibliography, the last edition of which, (the sixth), was published in 1964.

MOZART, W. A. Mozart as a child, engraving by Thomas Cook after J. B. Delafosse, published in London 1781. Oval 92 x 82 mm (with the text 130 x 93 mm); mounted on a larger sheet. A few very small stains, otherwise in excellent condition.

Zenger-Deutsch No. 5a. – This portrait was published as an illustration for D. Barrington’s Miscellanies on Various Subjects (1781), in which he gave one of the most important reports on Mozart’s journey to London in 1765.

A commemorative portrait of Constanze’s husband ?

MOZART, W. A. Engraved portrait by Clemens Kohl after Leonard Posch, Vienna 1793, signed Cl. Kohl sc. Viennae 1793, 90 x 70 mm on a 4to leaf (228 x 157 mm), a few minor spottings, otherwise a good copy.

Zenger-Deutsch No. 22. – This is one of the very rare, authentic Mozart portraits, which are now extremely hard to find on the market. Most of the models for this engraving, one of  Leonard Posch’s four reliefs sculpted in 1788-1790 (Deutsch-Zenger 17-20), are lost (nos. 17, 20) or destroyed (no. 18); only no. 19 seems to still exist. Only two engravings of Posch’s works are regarded as authentic: the copy by J. G. Mansfeld, published by Artaria in 1789, and Clemens Kohl’s version, which is said to have been commissioned by Mozart’s widow Constanze. She bought the plate directly from the engraver or through the Graz publisher, Hubeck, in 1794 and sold it in 1798 to the firm of Breitkopf & Haertel, where it was re-used until at least 1806 (re-publication in the Allgemeine Musik-Zeitung).

Only one copy of this engraving is recorded in Zenger-Deutsch, now in Augsburg, Mozart Memorial Museum (Mozart-Gedenkstätte), formerly in the collection of Maximilian Zenger, Munich.

MOZART, W. A. Lithographed portrait after Lange, published for Nissen’s biography, Leipzig 1828, 220 x 128 mm, in good condition.

[MOZART, W. A.] Very rare engraved portrait of the painter and actor Joseph Lange, Mozart’s brother-in-law, by C. Pfeiffer after J. Lange, c. 1795, 85 x 70 mm, in excellent condition.

Not in Zenger-Deutsch. – Joseph Lange (1751-1831) was the husband of Aloisia Weber (c. 1760-1839), Mozart’s Mannheim muse in 1777, and later the celebrated prima donna of the Vienna Court Theatre (from 1779 onwards). Joseph Lange was an excellent artist and, in addition, a fine psychologist, who left precious accounts on Mozart’s character as an artist.

[MOZART, W. A.] The celebrated and extremely rare double portrait of Joseph and Aloisia Lange, titled Herr und Madame Lange, Mitglieder des KK National Hoftheaters in Wien, engraved by Daniel Berger after J. Lange, Vienna 1785, 143 x 92 mm, in excellent condition.

Zenger-Deutsch No. 322. This engraving was first published in Ephemeriden der Literatur und des Theaters, Berlin 1785. The two artists married in October 1780, but the couple’s life was not very happy.  They were once together on stage in one of Mozart’s works: Joseph as an actor (Herr Herz) and Aloisia as a singer (Madame Herz) in Der Schauspieldirektor K. 486 (Vienna, Schönbrunn Castle, 1786). This is one of the most striking artist portraits to come out of late 18^th century Vienna.

MOZART, Wolfgang Amadeus (1756–1791). Playbill for a pastiche from Idomeneo [K. 366], dated London, 14^th March 1829, Theatre Royal, Drury Lane: This Evening [...] His Majesty’s Servants will act (for the Second Time) a new Ballad Opera, entitled The Casket. The Music composed by Mozart and now performed for the second time in this Country; Arranged and adapted to the English Stage by M. Rophino Lacy. 1 leaf, folio (34.5×21cm), slightly browned.          

According to Loewenberg (col. 387), the first performance of this pastiche was given on 10 March 1829, for which Michael Rophino Lacy (1795–1867) used Mozart’s Idomeneo as a musical ‘store’ for elaborating on a dramatic idea of Eugène Scribe's (Les premiers amours). The playbill praises the production to the skies: “The new Ballad Opera of the Casket, On Tuesday Evening, was performed to a brilliant and overflowing House with marked and enthusiastic Approbation.”  The night included two further sections: “an entirely new Rustic Ballad, called Little Goody Two Shoes. The Music composed and selected by Mr. R. Hughes”, and “a Musical Farce, in Two Acts, called The Illustrious Stranger”.

As for 19^th century England, Loewenberg quotes no other such performance of Idomeneo; It was only in Glasgow, as late as 1934, that an authentic production was first staged.

The first English production of ‘Die Entführung aus dem Serail’

MOZART, Wolfgang Amadeus (1756–1791). Playbill of Die Entführung aus dem Serail [K. 384], London, 11 November 1828, Theatre Royal, Covent-Garden: This present Tuesday [...] will be acted, the last new Opera of The Seraglio. The Music arranged, & adapted from Mozart’s celebrated Opera [...] With additional Airs, &c. composed by Mr. Kramer. 1 leaf, folio (35.5×20cm).                                                                               

The premiere of this first English production of Mozart’s Entführung took place on 24 November 1827; it must have been very successful since our playbill dates from one year later. One of its highlights was the singer Lucia Elisabeth Vestris (1797–1856), who was active in London from 1820. The playbill suggests that the performance must have been rather different from the original version; there are Mahometans, Greeks, Foreigners, and the scenery is quite extraordinary!

1. The Seraglio Garden, and a distant View. 2. A Corridor in the Palace. 3. A splendid Chamber in Ibrahim’s Palace. 4. A Close Walk in the Garden. 5. Drop Scene – Ruins of an Amphitheatre in the Island. 6. Ruins of the Temple of Bacchus, by Moonlight – and since Mozart did not compose enough for Madame Vestris, there was an additional Farce of ’The £100 Note’, in which the prima donna would sing a Ballad called ’Homage to Charlie’ (composed expressly for her by A. Lee)… For the prevention of fire, the direction promises that “The Gas is entirely removed from the Dress Circle, which will in future be illuminated with Wax.”

A programme of at least seven hours of duration

MOZART, Wolfgang Amadeus (1756–1791). Playbill for Le Nozze di Figaro [K. 492], London, 14. October 1828 – Theatre Royal, Hay-Market: Miss Bartolozzi Respectfully informs her Friends and the Public, that her Benefit Will take place On Tuesday [...] On which occasion Madame Vestris (Who has kindly offered her Service) will make her First and Only appearance this Season. Ther Entertainments selected for the Evening are the Opera of The Marriage of Figaro. 1 leaf, folio (31.5×19cm). Slightly creased.                                                                  

The first London performance of Figaro in Italian took place on 18th June 1812 at the Haymarket Theatre. Since the rivalling Covent Garden Theatre issued an English version in 1819 (the music arranged by Sir Henry Rowley Bishop, texts revised by T. Holcroft), the Haymarket Theatre may have been encouraged to maintain the old Italian version. It may, however, not be called ‘original’, since many additions are announced on the playbill: Miss Bartolozzi as Contessa (for the first time) will sing ‘Tyrant, soon I’ll blust thy Chains’, and Madame Vestris (for this Night only) ‘What can a poor Maiden do?’ and ‘The Light Guitarre’. – Two further works are offered to the public on the same occasion: An Operatic Comedy, (in Two Acts) called The Rencontre, or: Love Will Find Out the Way. The Overture and Music composed by H. R. Bishop and the Burletta of Midas. Since this in not yet enough for the night, Mr. Cuddy (Pupil of Mr. Nicholson) will play a Concerto on the Flute, composed by Nicholson (Mr. A. Lee will preside at the Piano Forte)...

One of the earliest performances of ‘Don Giovanni’ in England

MOZART, Wolfgang Amadeus (1756–1791). Playbill for Don Giovanni [K. 527], London, 8 August 1817, Theatre-Royal, Richmond: ... will be presented (for the 3d time) the New Grand Drama, which has been performed with the most unbounded Applause at the Opera House and Covent-Garden Theatre, call’d Don Giovanni, Or, The Libertine. With the Overture, and all Mozart’s Music, &c.&c. 1 leaf, folio (32×17.5cm), slightly spotted and very few creases.          

In this programme, Don Giovanni was the highlight of a long night starting with Coleman’s celebrated and popular Comedy of the Heir at Law. The first performance of Don Giovanni in England took place on 12^th April 1817. Our playbill refers to the third performance and promises the sensational details of the production: The Cemetery by Moonlight, with a grand Equestrian Statue. A Street in Sevilla by Lamp Light. Scene the last: A Magnificiant Saloon, Which is broken, and exhibits the Ghost of Don Pedro. A Throne of Fire rises, charged with Demons and Infernal Spirits; Don Giovanni seized, and made to descend enveloped in the flames – this was not for the faint-hearted!

MOZART, Wolfgang Amadeus (1756–1791). Playbill for Die Zauberflöte [K. 620], London, 13 June 1833, Theatre Royal, Covent Garden: The Last Night of The Magic Flute!!! [...] Her Majesty Having been most graciously pleased to permit the German Operas to be announced under Her Royal Patronage. On Tuesday [...] Will be Performed (for the 7^th Time on English Stage) Mozart’s Grand Opera of The Magic Flute.1 leaf, folio (34×21cm), small tears on edges, a little browned, otherwise fine.                                                                                                  

The first English performance of Die Zauberflöte took place in London, on 6th June 1811, but in an Italian translation by G. de Gamerra. The original version was given only by the Dresden opera troupe, then on tour in England, on 27 May 1833 with Wilhelmine Schröder-Devrient as Pamina (she was a member of the Dresden opera from 1822 to 1847).

After the Zauberflöte, the public was allowed to admire the Musical Entertainment of The Waterman and the New Ballet of The Pages of the Duke de Vendome. – The playbill informs the public of a special event the next day: As an Extraordinary Musical Attraction, Maria Malibran, as Susanna, has extended her Engagement at Drury Lane Theatre to One More Night, the performance of The Marriage of Figaro (with Madame Vestris as Cherubino). Furthermore, the public is informed that Weber’s Grand Opera of Euryanthe is in rehearsal, and will be produced (for the First Time in this Country) on Monday next [e.g. 17 June 1833, but, in fact, delayed to 29 June].