Loeb Music Library

Research Materials of the BMEO

Location: Merritt Room Ms. Coll. 110 BMEO

In 2000 Eric Offenbacher donated his personal collection of Mozart research materials to the Eda Kuhn Loeb Music Library, further expanding upon and strengthening our collection of resources for Mozart research. A significant part of the collection consists of photocopies and microfilms of primary Mozart sources including autograph and other manuscripts, correspondence of Mozart and his family members, and other items such as Johann Anton André's early thematic catalogs of Mozart's works. Offenbacher supplied extensive annotations of these sources for our inventory; he also supplied notes and other supporting documentation to accompany the photocopies in their folders. Another part of his collection consists of Mozartiana from the 19th and 20th centuries such as Mozart festival program guides, concert programs, newspaper clippings and reports including those from the 19th and early 20th centuries. These materials will be of particular interest to scholars studying the reception of Mozart. Lastly is a large collection of secondary sources: offprints and photocopies of scholarly journal articles, Festschriften, and books, some of them rare. While many of these publications may be found within the collections of the Loeb Music Library, it will be useful to scholars to have them assembled in one location.

The inventory is organized in four sections: I. Music Manuscripts and Other Primary Source Documents, II. Correspondence, III. Mozartiana, IV. Mozart Research. Music sources are organized alphabetically by auther and then by uniform title; the correspondence alphabetically by author and then chronologically; the remaining sources by their location within the collection.


I. Music manuscripts and other primary materials

André, Johann Anton, [Thematisches Verzeichnis W. A. Mozartscher Manuskripte] [c. 1828?]
Photocopy of ms; original in the Stadt- und Universitätsbibliothek, Frankfurt (D F), shelfmark Mus.Hs.778/2
Box 2, Folder 34
Microfilm copy: Isham Lib. 3582.10.212 (1) BMEO

  • In the hand of Julius André. Notes inserted in folder. See: Wolfgang Rehm, Mozarts Nachlass und die Andres: Dokumente zur Verteilung und Verlosung von 1854. (Offenbach, 1999).

André, Johann Anton. [Mozart Verzeichnis]
Photocopy of ms; original in the Stadt- und Universitätsbibliothek, Frankfurt (D F), shelfmark Mus.Hs.778/4
Box 2, Folder 35
Microfilm copy: Isham Lib. 3582.10.212 (2) BMEO

  • Non-thematic catalog in J.A. André's hand of his original Mozart manuscripts according to their location in 12 boxes (Kastenverzeichnis). Notes inserted in folder. See: Wolfgang Rehm, Mozarts Nachlass und die Andres: Dokumente zur Verteilung und Verlosung von 1854. (Offenbach, 1999).

André, Johann Anton. [Mozart Verzeichnis, 1764-1791] [after 1833]
Photocopy of ms; original in the Stadt- und Universitätsbibliothek, Frankfurt (D F), shelfmark Mus.Hs.778/6
Box 2, Folder 36
Microfilm copy: Isham Lib. 3582.10.212 (3) BMEO

  • Thematic catalog of Mozart manuscripts from the years 1764-1791 written by J.A. André and one of his sons. This "Gesamtverzeichnis" dates from after 1833. It uses J.A. André's Verzeichnis of 1833 for corrections and additions by one of his sons. While the 1833 catalog spans the years 1764-1784, when Mozart's own catalog began, this version extends the range to 1791, the additions made by one of André's sons. See: Wolfgang Rehm, Mozarts Nachlass und die Andres: Dokumente zur Verteilung und Verlosung von 1854. (Offenbach, 1999).

Haydn, Michael. Minuets, orchestra, arr; [6 Menuetten]
Photocopy of ms. in the hand of Maria Anna Mozart ("Nannerl"); original in The Jewish National and University Library, Jerusalem (IL J)
Box 2, Folder 17

  • The piano score, marked "Cembalo", is copied in the hand of Maria Anna ("Nannerl") Mozart (1751-1829) on a double oblong 10-stave sheet. The manuscript is headed "6 Menuetten", on the right hand it says "(del signor haiden)", on the left "von Joseph Haydn". However, it has been established that the music is by Michael Haydn and identical with the orchestral minuets K.105(61f) hitherto assigned to W.A.Mozart.The latter listing, therefore, should be removed from the Köchel catalog. At the bottom of the front page, there are entries by the Viennese collector Alois Fuchs (1799-1853) referring to Nissen's biography and Mozart letters from Italy (see below). The rest of the bottom space is occupied with Nannerl's drawings of naïve symbols in kind of a rebus, perhaps conveying a secret sign language to her brother.
  • References: The Haydn minuets figure in the Mozart correspondence from Italy. Joseph Heinz Eibl in the Commentary volume of the Bauer-Deutsch edition of the Mozart Briefe, tries to bring clarity to the subject of "die Haydn'schen Menuette" (see Vol.V, p.238). For specific description of the Nannerl manuscript, see Wolfgang Plath, "Zur Echtheitsfrage bei Mozart", in: MJb 1971/72, p.33; Günter Thomas, "Studien zu Haydn's Tanzmusik" in: Haydn Studien 3 (1973), pp.22/23; Andrea Lindmayr, "Die 6 Menuett von Haydn gefallen mir besser als die ersten 12", in: Mozart-Jahrbuch 1991, Part II, pp.418-423 and 428.

Mozart, Franz Xaver. Die Rose. Ein deutsches Lied.
Photocopy of autograph ms; original in the Silverstolpe Archives, Näs, Sweden.
Box 2, Folder 14

  • Text of second and third stanzas written out by the composer. At the end is a postscript of authentication by "Fr.S.S." who apparently received the song in Vienna in 1802. Perhaps Mozart's son wrote it for Silverstolpe. [No mention of "Die Rose" could be found in either Hummel's or Stellan Mörner's books].

Mozart, Franz Xaver. Album leaf.
Photocopy of autograph ms; original in the Kungliga Biblioteket, Stockholm (S Sk)
Box 2, Folder 16

  • Six bars of music. Dedication underneath reads: "Ewig ihr Mozart."

Mozart, Leopold. Dedication and title page for the Concerto K. 242 for 3 pianos.
Photocopy of autograph ms.; original in the Stadt- und Universitätsbibliothek, Frankfurt (D F)
Box 2, Folder 32
Microfilm copy: Isham 3582.10.208 (3) BMEO

  • Dedication page for K. 242 in the hand of Leopold Mozart.
  • References: Mozart Jahrbuch 1968/70 pp. 359, 381; Nissen, Biographie W. A. Mozart's, Anh. p. 14, No. 40

Mozart, Wolfgang Amadeus. Adagios, basset horns (2), bassoon, K. 410, F major. Excerpts.
Photocopy of autograph leaf; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • One autograph leaf (one written page) on 12-stave oblong paper. On the verso Mozart notates contrapuntal exercises and, according to K6, p.527, the doric cantus firmus from J.J.Fux's "Gradus ad Parnassum." The number 164 written on the margin refers to the Gleissner Verzeichnis [photocopy in the BMEO].

Mozart, Wolfgang Amadeus. Adagios, piano, K. 540, B minor. [Adagio]
Photocopy of autograph ms; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • 1 autograph leaf (2 written pages) on 12-stave oblong paper. Heading: "Adagio", also: "componirt 19 März 1788" (not in Mozart's hand). Former owners: J.A.Stumpf and A. Geo Kurtz. Einstein calls it "one of the most perfect, most deeply felt, and most despairing of all his works."

Mozart, Wolfgang Amadeus (?). Adagios, piano, K. Anh. A 65, F major. [Adagio]
Photocopy of ms copy in Leopold Mozart's hand; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • This manuscript copy of 36 bars, 4 written pages on 10-stave oblong paper is puzzling. The Abschrift [copy] is in the hand of Leopold Mozart and claims that this Adagio was composed by Mozart in his "Knabenjahren" [boyhood years]. This may confirm an opinion of the late Wolfgang Plath who told EO in October 1985 that the work is so different from anything else that Mozart wrote, that - if it is by Mozart at all - it must originate from his very early years. However, the original manuscript in Mozart's hand shows a heading of "Adagio variée" indicating perhaps that Mozart may have arranged ("embellished") a work of another composer [see facsimile in MJb 1956, opposite p.45]. Finally, the Abschrift here in Leopold's hand - according to Plath - also raises the possibility that it is a composition of his own, because whenever Leopold Mozart copied a work of his son, he never failed to mention the name of the author. So the question of the true author of this anonymous Adagio remains open. There was a "first performance" of the Adagio variée, billed as a work of Mozart, at the 1991 Festival at Lincoln Center, New York City, played by Robert D. Levin. [Correspondence with N.Zaslaw of Cornell University on this work is appended]. Reference: Alfred Orel, "Mozartiana in Schweden" in: Acta Mozartiana 6 (1959), Heft 1. Note: Since writing the above, the following essay has appeared in: HAYDN, MOZART, & BEETHOVEN, Studies in the Music of the Classical Period. Essays in honour of Alan Tyson, edited by Sieghard Brandenburg. Clarendon Press, Oxford 1998, p.101ff: "The Adagio in F Major, K3 Anhang 206a = K6 Anhang A 65" by Neal Zaslaw. It is an exhaustive study exploring provenance and date of the manuscript, and the 'source' piece that Mozart was apparently ornamenting.

Mozart, Wolfgang Amadeus. Allegro, piano (Fragment), K. 400 (372a).
Photocopy of autograph ms; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • 2 autograph leaves (4 written pages, 2½ by Mozart, 1½ completed by Abbé Stadler) on 12-stave oblong paper. This first movement to a probably intended piano sonata in B-flat major contains a crossed-out entry that it originally came from a "Pakken [bundle] of fragments of piano compositions by Mozart." The jokingly written-in names "Sophie" and "Constanze" within the score caused Otto Jahn to date this composition 1781 while Mozart was still living with the Webers.

Mozart, Wolfgang Amadeus. Clemenza di Tito. Come ti piace, imponi. [Duetto]
Photocopy of autograph ms; original in Universitetsbiblioteket, Uppsala (S Uu).
Box 1, Folder 10.

  • Duet No.1 "Come ti piace, imponi" (Vitellia & Sesto). Autograph at University Library Uppsala. Two oblong 12-stave leaves, four written pages. References: K6, p.719, abweichender Entwurf 4) with incipit. Sesto's part noted as a tenor! See also: Transcript in NMA La Clemenza di Tito ANHANG, "Skizzen und Entwürfe", pp.321-323. Additional references: R.Genée, "Über einige Musikhandschriften von Mozart" (Mitt.Moz.Gem. Berlin, Oct.1902, pp.120-122); R.Engländer, "Die Mozart-Skizzen der Universitätsbibliothek Uppsala" (in BMEO xerox file).

Mozart, Wolfgang Amadeus. Clemenza di Tito. Deh prendi un dolce amplesso.
Photocopy of autograph ms; original in Kungliga Biblioteket, Stockholm (S Sk).
Box 1, Folder 10.

  • Duettino No.3 "Deh prendi un dolce amplesso" (Sesto & Annio). Autograph at Royal Music Academy Library Stockholm. Two oblong 12-stave leaves, four written pages. References: K6, p.719, Part.Skizze 2). See also: Transcript in NMA La Clemenza di Tito ANHANG, pp.325/26. See: N.G.Svanfeldt, "Mozart-Kuriosa in der Königlichen Bibliothek zu Upsala" (in BMEO xerox file).

Mozart, Wolfgang Amadeus. Clemenza di Tito. Excerpts. Sketches.
Photocopy of autograph sketches; original in Universitetsbiblioteket, Uppsala (S Uu).
Box 1, Folder 5.

  • Autograph pages from folios 7 and 8 of Fredrik Samuel Silverstolpe's collection with attempted identification by E.O. Two oblong 12-stave pages (recto and verso) which also contain numerical calculations on the margins in Mozart's hand. References guided by Ulrich Konrad's "Katalog der Skizzen und Entwürfe Mozarts" from his book "Mozarts Schaffensweise" (Göttingen 1992). Since 1998 these sketches have been reproduced in color, transcribed and fully identified by Ulrich Konrad in the NMA Series X Supplement, Werkgruppe 30, Band 3: Skizzen. The collective number for the sketches is Skb 1791b and the autograph numbers are 94 and 95. All the new informative material, taken from the NMA, has been fotocopied and is included in this folder.

Mozart, Wolfgang Amadeus. Concertos, piano. Cadenzas. Selections
Facsimiles of autograph ms; originals in Bibliotek des Priesterseminars, Salzburg (A Ssp).
Box 1, Folder 3.

  • The cadenzas in Mozart's hand were found in St.Peter early in 1920 on loose leaves placed into the piano parts of copies of several of his piano concertos (enumerated below). Subsequently, a portefolio of these rare cadenzas was issued in 300 numbered copies in Vienna, August 1921, by the Salzburger Festspielhaus- Gemeinde with an introduction by Eusebius Mandyczewski. This copy is No.205. The facsimiles on seven leaves contain autograph cadenzas to the following Mozart piano concertos:

  • K.413(387a) in F major. Cadenzas for the 1st and 2nd movements. Two written pages on oblong 10-stave paper, both in Leopold's hand. The title reads: "Di Wolfg. Mozart. Concerto in F. Dieses concert und das aus dem A dem Hr: Joseph Wölfl geliehen." Additional photocopy. Refs: K6 p.433+733; Girdlestone "Piano Concertos", Appendix II.; NMA X/31/3, pp.83/84.

  • K.365(316a) in E flat major for Two Pianos. Cadenzas for the 1st and 3rd movements. Eight written pages on oblong 10-stave paper, partially in Wolfgang's and partially in Leopold's hand (different inks). References: K6 p.335+733; Girdlestone "Piano Concertos", Appendix I.; NMA X/31/3, pp.70-75.

  • K.175 in D major. Titled "Cadenza per il Primo Allegro" (1st movt.) and "Cadenza per L'andante" (2nd movt.) in Mozart's hand on 1½ autograph pages on oblong 10-stave paper. Reference: K6 p.197+732; NMA X/31/3, pp.41/42. On the second half of the page:

  • K.382 Concert Rondo. "Cadenza per il Rondaux" 21 autograph bars.This Rondo was published after Mozart's death as the final movement of K.175 (instead of the original finale Allegro which he had written). Reference: K6 p.397+733; NMA X/31/3, p.43.

  • K.271 in E flat major. For the 3rd movement: "1ter Eingang", Fassung b). 19 autograph bars on oblong 10-stave paper. "2ter Eingang", Fassung b), autograph bars without bar lines. Additional photocopies . Reference: K6 p.278+732/33; NMA X/31/3, pp.62-69. On 15 February 1783 Mozart writes to his father: "Herewith I send to my sister the three cadenzas for the concerto ex D and the two Eingänge for the one ex Eb ." The autograph of Fassung a), 1ter and 2ter Eingang, is now at the Paul Sacher Stiftung in Basel.

  • K.246 in C major. For the 1st movement: Parts of the tutti of the score filled in by Mozart and Cadenza a) ( five autograph bars). For the 2nd movement: The same, plus Cadenza a) (five autograph bars). Three written pages on 10-stave oblong paper. Reference: K6 p.255+732; NMA X/31/3, pp.58-61. The portefolio's cover inscription may refer to K.246.

  • References: Introductory essay by Eusebius Mandyczewski, "Zu den neu aufgefundenen Kadenzen von Mozart"; Augustin Jungwirth: "Mozarts Handschriften im Stifte St.Peter in Salzburg", in Mozarteum Mitteilungen vol. 2, Heft 3, May 1920, pp.91ff.; Mozart Jahrbuch 1923, p.25. NMA X/31/3.

Mozart, Wolfgang Amadeus. Concertos, piano, string orchestra, K. 107. Selections [Original-Kadenzen von Mozart sum Cembalo - Konzert in D-dur]
Photocopy of print by Schott's Sohne, Mainz.
Box 2, Folder 18

  • The autograph of these cadenzas was acquired by Hans Moldenhauer of Spokane, Washington. He reported about the discovery to the Northwest Chapter of the American Musicological Society on 5 December 1953. His lecture is published in the MJb of 1953 where the original autographs are also reproduced. The cadenzas are for the 1st and 2nd movements of K.107,1. References: K6 p.131; NMA X/31/3, pp.116/17.

Mozart, Wolfgang Amadeus. Conservati fedele. [Aria 'Conservati fedele': soprano 2 violini viola e basso di Wolfgango Mozart]
Conservati fedele, K. 23. Photocopy of autograph ms; original in the Newberry Library, Chicago (US Cn).
Box 1, Folder 13.
Microfilm copy in Isham Library: Isham 3582.10.211 (3) BMEO

  • Two photocopies (different sizes) of the autograph manuscript in the Newberry Library of Chicago. K6 lists two possible autographs. This one is noted as 2) with the owner [in 1964] as unknown. The library received it in 1968 as a bequest from the famous Mozart opera singer Claire Dux (Mrs. Charles H. Swift) who died in Chicago in 1967. Photocopy of a detailed typewritten description in German accompanies the manuscript [writer not known].
  • The autograph, composed by young Mozart at age 9, has extensive statements on it by R.G.Kiesewetter [a previous owner] who gave the autograph to Aloys Fuchs as a gift. Both Fuchs and Abbé Maximilian Stadler, by comparing the boy's handwriting of that period [1765], confirm the authenticity of the autograph with their signatures on 7 December 1832.

Mozart, Wolfgang Amadeus. Cosi fan tutte. Excerpts.
Photocopy of ms copy of Scene XIII, Act 2, No. 30, Recitative "Ah poveretto me!" and Alfonso's aria "Tutti accusan le donne"; original in the Stadt- und Universitätsbibliothek, Frankfurt (D F): Mus. Hs. 2350.
Box 1, Folder 7.
Microfilm copy: Isham Lib. 3582.10.208 (2) BMEO

  • The entire Scene XIII, Act 2 , No.30, Recitative "Ah poveretto me!" and Alfonso's aria "Tutti accusan le donne", are missing from the full autograph score in Berlin. Wolfgang Plath discovered the two leaves (4 written pages on oblong 12-stave paper) by accident in the Frankfurt library and published his findings in the Mozart-Jahrbuch 1968/70 on p.373/74. This makes our photocopy from the primary source which ends with the three singers exclaiming together "così fan tutte", most valuable. Alan Tyson in "Mozart, Studies of the Autograph Scores ", p.190, comments on additional missing autograph scores.

Mozart, Wolfgang Amadeus. Country dances, K. 462. [6 Contretänze für 2 Violinen und Bass]
Photocopy of autograph ms; original in the Newberry Library, Chicago (US Cn).
Box 1, Folder 8.
Microfilm copy: Isham Lib. 3582.10.211 (1) BMEO

  • K. 462/448b. Three leaves with five written pages on oblong 12-stave paper. The work is written for two violins and bass. Later Mozart added two oboe and two horn parts which he entered on a separate sheet The autograph was formerly owned by Mrs.Charles Swift [Claire Dux, the opera singer]. Mozart did not record the work in his Verzeichnüss which makes K6 (p.481) believe that it was composed before 9 February 1784.

Mozart, Wolfgang Amadeus. Country dances, K. 610 [Les filles malicieuses]
Photocopy of autograph ms; original in the Newberry Library, Chicago (US Cn)
Box 2, Folder 30
Microfilm copy: Isham Lib. 3582.10.211 (2) BMEO

  • One leaf with two written pages on oblong 10-stave paper. It is composed for two violins, two flutes, two horns and bass. Mozart entered it in his Verzeichnüss on 6 March 1791. The manuscript is headed "Les filles malicieuses" but this title has not been explained so far. Before the Newberry Library received the autograph, it was owned by Mrs. Charles H. Swift of Chicago, a famous opera singer known under the name of Claire Dux.

Mozart, Wolfgang Amadeus. Fragment, K. 626b/21=41 [Cadenza]
Partial photocopy of autograph ms; original in private collection.
Box 2, Folder 31

  • This item came up for auction by the French firm Charavay on 21 November 1974. Upon inquiry, Wolfgang Plath wrote to E.O. on 16 April 1985: "I can identify the questionable piece without doubt as K.626b/21=41. It looks as if Mozart wrote here a concertizing cadenza (similar as in the 'Martern aller Arten' aria)for a separate aria composition which needs further elicitation.According to the handwriting in the manuscript I would date it 1783. We might deal here with a favor that Mozart extended to Aloysia Lange/Weber." (Translation by E.O.). Since then, the musical text of the Cadenza on a double leaf, which also contains sketches to K.464 on side four, has been identified (and partially transcribed) by Ulrich Konrad in NMA X/30/3, p.38 and in MJb 1995, pp.20-22. The autograph is now in American private possession.

Mozart, Wolfgang Amadeus. Fugues, piano, K. 401/375e, G minor (Fragment) [Fuga]
Photocopy of autograph ms; original in Universitätsbibliothek, Basel (CH Bu)
Box 2, Folder 26

  • One leaf, two written upright 12-stave pages. Heading: "Fuga". The last 8 bars are written by Abbé Maximilian Stadler. Detailed description of the autograph may be found in Leo Liepmannssohn Katalog of Auction 62, 9 Dec.1932, item 16 on page 17. This Fugue for Piano was first published as Fugue for 4-hands in B&H Oeuvres Complettes, Vol.VIII, No.5. Both the original Liepmannssohn Catalogue and the B&H First Edition are in the BMEO. This Fugue is also mentioned in Constanze's letter to André of 10 Sep.1800 (B-D #1310, Vol.IV, p.369, line 26).

Mozart, Wolfgang Amadeus. Ihr unsre neuen Leiter. [Zum Schlusse der … [Freimaurerloge] von Br. Mozart]
Lied mit dreistimmigem Chor und Orgel, K. 484. Photocopy of copyist's ms; original in Frimurare Orden, Biblioteket, Stockholm (S Sfo).
Box 1, Folder 1.

  • Photocopy of an Abschrift of the autograph(?) manuscript in a copyist's hand. 2½ written pages on oblong 10-stave paper. Here a transcribed modern handwriting surrounds the original old fashioned German text (pencilled?). This work is also missing in Mozart's own catalogue. Probably both K.483 and 484 were composed for the opening and closing of festive ceremonies marking the opening of the lodge "zur neugekrönten Hoffnung" [newly crowned hope].

Mozart, Wolfgang Amadeus. In te spero, o sposo amato. (Fragment)
Photocopy of autograph ms. (fragment); original in the Library of Congress, Washington D.C. (US Wc).
Box 1, Folder 11.<

  • K. 440/383h. "In te spero, o sposo amato" on two leaves, two written pages, on 12-stave oblong paper. The aria was composed probably not long before Mozart's marriage in the Spring of 1782. Constanze was so fond of it that she had Nissen reproduce a facsimile of it in his Mozart biography (see Anhang p.28). The heading of the autograph has been made illegible. The 2nd page bears an entry by Carl Mozart, dated 27 March 1857. An English translation of the text of the aria is enclosed in the BMEO folder. References: NMA, Serie II, Werkgruppe7, Bd. 4, ENTWÜRFE. Köchel6 , pp.406/407.

Mozart, Wolfgang Amadeus. Kyrie (Fragment), K. 322 (296a)
Photocopy of autograph ms; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • Photocopies of 3 autograph leaves (6 written pages) on 10-stave oblong paper. 34 bars. Horns, trumpets and timpani parts are notated separately on the 6th page. This autograph Largo, with the heading "Da Wolfgango Mozart Kyrie", comes from the estate of Carl Mozart. According to C.-G. Stellan Mörner (quoted in K6, p.307) it represents a draft for a later autograph version now in the Salzburg Mozarteum. That autograph manuscript also contains 34 bars. Constanze Nissen mentions it in her letter of 4 May 1832 to Breitkopf & Härtel. It was apparently completed by Abbé Stadler.

Mozart, Wolfgang Amadeus. Laut verkünde unsre Freude. [Mozart's letztes Meisterstück, eine Cantate, gegeben vor seinem Tode, im Kreise vertrauter Freunde].
Freimaurerkantate, K. 623. Photocopy of copyist's ms; original in Frimurare Orden, Biblioteket, Stockholm (S Sfo).
Box 1, Folder 1.

  • Abschrift of the autograph(?) manuscript in a copyist's hand.It seems to be the same copyist as in the three following masonic works, the handwriting exhibiting identical odd characteristics. 55 written pages [including title page] on oblong 10-stave paper. The title reads: "Mozart's letztes Meisterstück, eine Cantate, gegeben vor seinem Tode, im Kreise vertrauter Freunde". It was indeed the last work which he entered as "Eine kleine Freymaurer-Kantate" in his own Verzeichnüss under date of 15 November 1791. He supposedly conducted it yet two days before the onset of his final illness. The NMA Kritische Bericht makes no mention of this manuscript source from Stockholm which was apparently unknown to the editor.

Mozart, Wolfgang Amadeus. Maurerfreude [Die Maurerfreude, eine Kantate gesungen am 24 April 785 zu Ehren des H.w.Br.B. [Ignaz von Born] u. die Worte von Br.P. [Franz Petran] u. die Musik von Br. W.A.M.]
Die Maurerfreude, cantata for tenor and male choir, K. 471. Photocopy of copyist's ms; original in Frimurare Orden, Biblioteket, Stockholm (S Sfo).
Box 1, Folder 1.

  • Since Mozart's autograph manuscript is "unknown" (K6), this photocopy of the full score, penned by a copyist, gains special significance. 36 written pages of music on oblong 10-stave paper. The performance took place in the lodge "zur gekrönten Hoffnung" [to crowned hope] in the presence of Leopold Mozart. The NMA Kritische Bericht for Serie 1, Werkgruppe 4, Band 4 [Kantaten], page d/12f argues that the copyist must have used the printed first edition of the full score as his source and gives reasons. Harvard owns a first edition of the piano score published by Artaria in 1792.

Mozart, Wolfgang Amadeus. Minuets, K. 103 (61d). Selections.
Photocopy of autograph ms; original in Stiftelsen Musikkulturens främjande, Stockholm (S Smf).
Box 1, Folder 2. This autograph leaf with paginations "1" and "2" may well represent one of the missing two leaves "cut out" from the original complete autograph at the Bibliothèque du Conservatoire in Paris. The Stockholm librarian contends that the two page numerals are in Mozart's hand (see letter of Erling Lomnäs to E.O. of 20 September 1977). In addition, a lengthy certification written on page 1 by Josephine von Baroni-Cavalcabo confirming the genuineness of the autograph, dated 25 July 1858, strengthens the assumption that this leaf is the first one of K.61d missing in Paris. A partial paper watermark drawing by Mr. Lomnäs conforms with Tyson WK Nr.28 of the Paris autograph (see NMA Kritischer Bericht for Serie IV, Werkgruppe 13, Abteilung 1 [Tänze], Band 1, page a/110). The incipit of the music is printed as the second one on p.83 in K6. Reference: Rudolf Elvers, "Bemerkungen zum Autograph der Menuette KV.103 (61d) und seiner Abschriften", in: Mozart-Jahrbuch 1958, p.66ff.

Mozart, Wolfgang Amadeus. Minuets, orchestra, K. 585. Trio no. 2 [Trio]
Photocopy of partial autograph ms; original in the Universitätsbibliothek, Basel (CH Bu)
Box 2, Folder 29

  • One cut off leaf with two written oblong 8-stave pages. It contains the 16 bars of the Trio written by a copyist; only the flute and bassoon parts are autograph in Mozart's hand. At the end of the piece there is a confirmation of authenticity by Aloys Fuchs, dated 30/11 1843. Reference: K6 p.661 under Autograph 2).

Mozart, Wolfgang Amadeus. Missa brevis, K. 192. Selections. [Clarino 2do]
Photocopy of autograph of Clarino 2do part; original in Stiftelsen Musikkulturens främjande, Stockholm (S Smf).
Box 1, Folder 2.

  • K. 192/186f. Photocopies of four autograph pages on folio 12-stave paper. Authenticity certification on last page by Julius André. Reference: K6, p.208.

Mozart, Wolfgang Amadeus. Dis neugeborne Ros' entzückt: Arie für Sopran, Streicher und zwei Hörner, KV Anh. 11a (KV365a) / Wolfgang Amadeus Mozart; Geleitwort von Christoph Wolff ; Einführung von Faye Ferguson. Faksimile Edition. Salzburg : Internationale Stiftung Mozarteum, 1996.
Box 2, Folder 25

  • Part of previously unknown Soprano aria, the autograph manuscript auctioned off at Christie's on 26 June 1996 [catalog page in folder]. Reference: Dexter Edge, "A Newly Discovered Autograph Source for Mozart's Aria, K.365a (Anh.11a)", in MJb 1996 [Offprint in folder]. Also included are notes from a lecture by Dexter Edge at the University of Washington on 22 November 1996.

Mozart, Wolfgang Amadeus. O heiliges Band, K. 148/125h
Box 2, Folder 19

  • Photocopy of a facsimile of the autograph formerly in the Archive of the Mozarteum in Salzburg. It had been issued among the "Erinnerungsblätter" at the Mozart Säkularfest in September 1856 but is now missing. The artistically framed leaf also contains a facsimile excerpt of Mozart's letter to his father, dated 9 January 1782 [B.-D. 656] of which the original autograph is still preserved in the Mozarteum Archive. K6 p.149. [see also program and other material on the Säkularfest in Box 2.]

Mozart, Wolfgang Amadeus. Quartettsatz (fragment), K. 458b/Anh. 71
Box 2, Folder 21

  • Photocopy of autograph contained in the program book for the Mozart-Säkularfest in September 1856 in Salzburg. The richly decorated page is headed: "Erinnerung an Mozart's Geburtshaus"and the building is graphically shown in the margin.(also note the letter "Z" in reverse on the heading). The date and purpose of this composition is disputed. Alan Tyson wrote to E.O. on 16 May 1985: "Einstein….wanted to connect K.458b=Anh.71 with the 'Hunt' Quartet, K.458. But actually the paper-type and watermark show that it doesn't date from ca. November 1784 but rather from the first months of 1790; doubtless it was written as a possible finale for the later B-flat quartet, K.589." Ref:K6 p.499.

Mozart, Wolfgang Amadeus. Rondos, piano, K. 494, F major. [Rondò. Andante]
Photocopy of autograph ms; original formerly owned by Dr. Felix Salzer; current owner unknown.
Box 2, Folder 22

  • Two leaves with three written pages on oblong 12-stave paper. Mozart entered it in his Verzeichnüss on 10 June 1786 as "Ein kleines Rondò für das Klavier allein." On top of the autograph he wrote the heading: "Rondò. Andante." Later, on 3 January 1788, he added this Rondo to an "Allegro und Andante", the three movements forming a Sonata, K.533. For Hoffmeister's first printed edition of that sonata Mozart made some changes to K.494. Felix Salzer died in 1986, and his autograph of K.494 was auctioned off at Sotheby's on 17 May 1990 (lot 41 of "The Salzer Collection" catalog in BMEO). It reached a salesprice of £ 95,700 (abt. $ 171,303). Present owner unknown. (see also autograph copy of Letter of Leopold Mozart to his wife, dated 21 November 1772 [B.-D. #267], from the same Salzer Collection in Box 2, Folder 1 of this collection). [In the folder is a letter of transmittal to E.O., signed by Mrs.Hedwig Salzer]. Reference: Hans Neumann and Carl Schachter, "The two versions of Mozart's Rondo K.494", in: The Music Forum, vol.1, New York 1967, pp.1-34.

Mozart, Wolfgang Amadeus. Selections.
Photographs of parts of autograph mss; orginals held in the Pierpont Morgan Library, New York (US Nypm). Please note: these photographs have restrictions as to use for publication.
Box 2, Folder 23

  • 1. Sonatas, violin, piano, K. 376/374d, F major. First page. From the Mary Flagler Cary Collection 2.Capriccio, piano, K. 395/300g, C major. First and third pages. From the Mary Flagler Cary Collection 3.Fugues, pianos (2), K. 426, C minor. First page. From the Robert O. Lehman Collection 4.Der Schauspieldirektor. Overture. First page. From the Mary Flagler Cary Collection

Mozart, Wolfgang Amadeus. Sinfonie concertanti, violin, viola, orchestra, K. 364, Eb major. Sketches.
Photocopy of autograph sketches; original in the Houghton Library, Harvard University (US Cah).
Box 1, Folder 9.

  • K. 364/320d. One 10-stave leaf with two written pages. The recto shows the original end of the first movement (bars 349-357). The verso contains two sketches for a cadenza to the second movement transliterated in NMA 1998, Konrad No.SKb1779ß.

Mozart, Wolfgang Amadeus. Sketches, K. 626b/36 & K. 626b/44
Photocopy of autograph sketches; original in Cornell University, Ithaca (US I).
Box 1, Folder 4.

  • The leaf is written in Mozart's hand on both sides. Ulrich Konrad has indentified the various entries in NMA Serie X Supplement, Werkgruppe 30, Band 3 Skizzen under SKB 1773b, as follows: Recto: Contrapuntal notations in F, K6 626b/36. Verso: (first 4 lines) Sk 1773h, Double Canon for four voices, solution to the riddle canon "Incipientesque canunt Deae" of Padre Martini. 5th line: K6 626b/44, Melody sketch for a contredance le matlot [a French sailor song suggested by Fay Ferguson]. 6th to 10th line: Sk 1773i, Double Canon for four voices in C; Sk1773k, Exercise for three voices; Sk 1773j, Double Canon for four voices in C; Sk1773l, Circle canon for eight voices. References: Neal Zaslaw, "A rediscovered Mozart autograph at Cornell University", in: MJB 1971/72, pp.419-431; Wolfgang Plath, "Beiträge zur Mozart-Autographie II, Schriftchronologie 1770-1780", in: MJB 1976/77, p.161.

Mozart, Wolfgang Amadeus. Sonatas, piano, K. 457, C minor. [Sonata per il piano forte solo composta per la Sig.ra Teresa de Trattnern dal suo umilissimo servo Wolfgango Amadeo Mozart. Vienna li 14 d'ottobre 1784]
Photocopy of copyist's ms with title page in Mozart's hand; original in The Jewish National and University Library, Jerusalem (IL J).
Box 2, Folder 28

  • The manuscript of a copyist consists of 28 written music pages on oblong 8-stave paper. This "dedication" copy for Trattner contains a few autograph entries by Mozart (dynamics and an additional Agitato at the beginning of the Molto Allegro movement). It must have been immediately succeded by the engraved first edition of Artaria on 7 December 1785. The manuscript copy, now in Jerusalem, had once been offered for sale in 1932 in the Auction Catalog No.58 of V.A.Heck of Vienna as lot 47 (see copy of catalog page and accompanying notes in folder). The original autograph, however, was only recently rediscovered and came up for auction at Sotheby's on 21 November 1990. It was purchased by the Mozarteum in Salzburg which then published a facsimile edition of the autograph score in 1991[in BMEO]. Reference: Sotheby's Fine Music Manuscripts Catalog "The Property of the Eastern Baptist Theological Seminary, Philadelphia", Lot 90.[catalog in BMEO].

Mozart Wolfgang Amadeus [attrib]. Sonatas, violin, piano, K. 55-60 [Six sonatas for violin and piano]
Photocopies of ms scores; originals in Stadt- und Universitätsbibliothek, Frankfurt (D F): Mus. Hs. 216.
Box 1, Folder 14.
Microfilm copy in Isham Library: 3582.10.208 (1) BMEO

  • K. 55-60 / K. Anh. C 23.01-23.06. Spurious attribution to Mozart; composer unknown. Also photocopies of printed scores from AMA Oct.1879. References: Wolfgang Plath, "Die Originalmanuskripte der sogenannten Romantischen Violinsonaten" in: Mozart-Jahrbuch 1968/70, pp. 368-373. Additional observations by Wolfgang Plath (about watermarks, dating, etc.) in: Mozart-Jahrbuch 1971/72, p.29. Gustav Gärtner, "Stilkritische Argumente für die Echtheit der 'Romantischen Violinsonaten' W.A.Mozarts" in: Mozart-Jahrbuch 1958, pp.30-43. Richard Engländer, "Die Echtheitsfrage in Mozarts Violinsonaten KV 55-60"in: Musikforschung 8, Heft 3, 1955 [photocopy in BMEO xerox file]. Georges de Saint-Foix, "Les Six Sonates, dites 'romantiques', pour piano et violon, de Mozart" in: La Revue Musicale 22, No.199, Avril 1946 [photocopy in BMEO xerox file].

Mozart, Wolfgang Amadeus. Sonatas, violin, piano, K. 396/385f, C minor (Fragment).
Photocopy of autograph ms; original in Stiftung Weimarer Klassik, Goethe-Schiller-Archiv, Weimar (D WRgs).
Box 2, Folder 20

  • One leaf with two written pages on 12-stave oblong paper. The autograph of this work, also known as Fantasia in c minor, has an interesting history which is fully documented here. The famous German writer Johann Wolfgang von Goethe (1749-1832) had met Madame Eleonore Flies at a Spa resort when he told her about his Autograph Collection. Subsequently, she supplied him with many autographs but Goethe complained that he was still lacking any musical specimen in Mozart's hand. After diligant search Flies came up with the above autograph fragment which is now deposited in the Goethe- und Schiller-Archiv in Weimar. It is listed in "Goethe's Autographen-Sammlung Katalog" by Schreckenbach as item #1129 [photocopy in BMEO]. Also included in the folder is a photocopy of the handwritten original letter of Fries to Goethe, dated 25 May 1812, which contains a Verzeichnis [List] of the autographs sent on that day [Mozart is #19]. It shows anentry by Goethe. Added is a photocopy of the First Printing of Fries's letter which appeared in "Goethe und Österreich", edited by August Sauer, Weimar 1904. The Fantasia is known today as a work for piano alone, as completed by Maximilan Stadler. Reference: Emil Karl Blümml: Aus Mozarts Freundes- und Familienkreis, Wien, Prag, Leipzig 1923, pp.116-118.

Mozart, Wolfgang Amadeus. Sonatas, violin, piano, K. 454, Bb major. [Sonata per il cembalo e violino.]
Photocopy of autograph ms; Original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • Four leaves (14 written pages) on 12-stave oblong paper. Cover leaf with inscription "Sonata per il Cembalo e Violino", not in Mozart's hand. The autograph was once in the possession of J.A.Stumpff [1769-1846] who entered his signature on the front page, and subsequently by A.Geo Kurtz who had bought it at a Sotheby sale on 12 July 1872 (written entry). This is by far the most important autograph in the Swedish collection. Mozart wrote the sonata for the Italian virtuoso violinist Regina Strinasacchi [1764-1839]. "She plays with great taste and feeling", he writes to his father on 24 April 1784. Five days later he premiered this sonata with her at the Kärntnertor Theater in Vienna with the emperor present. The legend goes that Mozart was so pressed for time when composing the piece that he committed only the violin part to paper and played the concert with a manuscript in front of him that had only fragmentary piano indications from memory (see Nissen, p.482/83). This Stockholm autograph may very well be the original one that Mozart used for it reveals how he labored to squeeze in the piano part after the performance. Bar strokes had to be extended to gain space and some notes are bulging out. He also seems to have used old notepaper for the first page because it displays the beginning of another sonata for Cembalo and Violin (2 bars in C major) which he crossed out. He also changed the original Adagio designation for the second movement into Andante. The first printed edition of K.454, published by Torricella in 1784, is also in the BMEO.

  • Ulrich Konrad who carefully scanned the original autograph in its Stockholm depository, corrected the above anecdotal story about the missing piano part at Mozart's performance. He was able to discern that the composer had entered definite sketches for all three movements, presumably days before the performance, in the piano part which he later overwrote and completed. See Ulrich Konrad, "Mozarts Schaffensweise", Göttingen 1992, p.48.

Mozart, Wolfgang Amadeus. Sposo deluso. Sketches.
Photocopy of autograph ms sketch; original in the Jewish National and University Library, Jerusalem (IL J).
Box 1, Folder 12.

  • K. 430/424a. One small oblong 9-stave leaf (originally 12-stave) with the top of the leaf cut off. The recto of the fragment-sketch has been identified as No.4 of this opera buffa, the Terzetto "Che accidenti! Che tragedia!". A transcription has been made for the NMA by Wolfgang Plath and Wolfgang Rehm and is enclosed in the folder. The verso contains an attestation of the genuineness of the autograph manuscript by Julius André. In addition, on a separate sheet, there are confirmations by Paul Hirsch and Otto Erich Deutsch. References: Ulrich Konrad in NMA X/30/2 (Skizzen), and "Mozarts Schaffensweise" (1992), p.158; Alan Tyson in "Mozart: Studies of the Autograph Scores" (1987), p.335. In November 1800, Constanze Nissen writes to Johann André in Offenbach: "You will do me a real service if you can let me have a copy in score of a piece that is still little known - although I have twice sung it in public - I mean the heavenly terzett from an unfinished opera, beginning with the words 'Che accidenti, che tragedia'" [E.Anderson's translation of B.-D. letter #1318, 13-16]. The first printed edition of a piano score of Lo sposo deluso, published by Julius André in 1855, is in the BMI collection at the Houghton Library.

Mozart, Wolfgang Amadeus. Symphonies, K. 297, D major. [Du Repertoire du Concert Spirituel Simphonie a deux violons, alto, et basse, deux hautbois, deux cors, 2 clarinette, 2 flutes, 2 bassons, trompette et timballe ad libitum, composé par W.A. Mozart] Paris: chez le Sr Sieber Musicien
Photocopy of missing bassoon parts in the first edition by Sieber; original in the Jewish National and University Library, Jerusalem (IL J)
Box 2, Folder 24

  • K. 297/300a. Ten upright pages (including titles). The parts reproduced here, come from a later issue of the first edition with the plate no.73 (1789). References: Neal Zaslaw: "Mozart's Symphonies", Clarendon Press, Oxford 1989. Facsimiles of the above bassoon parts are on pp.564-568. Hermann Beck: NMA Kritischer Bericht, Serie IV, Orchesterwerke, Werkgruppe 11, Sinfonien, Band 5, pp. e/39 and e/40 [photocopy in folder]. Köchel6, p.317.

Mozart, Wolfgang Amadeus. Ubungen im Kontrapunkt, K. 626b/40. [Ubungen im Kontrapunkt]
Photocopy of autograph ms for three voices; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • One leaf (1½ written pages) on 12-stave oblong paper. Authenticity attestation by Aloys Fuchs. Ref.: K6,p.741.

Mozart, Wolfgang Amadeus. Variationen über Unser dummer Pöbel meint. [Thema]
Photocopy of autograph ms; original held in private collection of Dr. Rudolf Grumbacher, Basel.
Box 2, Folder 27

  • K. 455. Dr. Rudolf Grumbacher authorized the photocopies via the Mozarteum in Salzburg for E.O. Seven written pages on oblong 12-stave paper. On top of the first page (not in Mozart's hand) "gest. Componirt 25 August 1784." In the lower right hand corner of the same page there is an entry referring to A.G.Kurtz who bought the manuscript at a Sotheby Sale on July 12, 1872. K6 lists another autograph of this same work which is unfinished.

Mozart, Wolfgang Amadeus. Variations, piano, 4 hands, K. 501, G major. [Andante]
Photocopy of autograph ms.; original in Stiftelsen Musikkulturens främjande, Stockholm (S Skma).
Box 1, Folder 2.

  • 4 autograph leaves (7 written pages) on 12-stave oblong paper. Originally Mozart conceived this work for 2 pianos. "Cembalo1mo" and "Cembalo 2do" are crossed out and replaced with "Mano diritta" and "Mano sinistra." An early manuscript copy of this work is in the F.S.Silverstolpe collection in Näs (Sweden).

Mozart, Wolfgang Amadeus. Zauberflöte. Excerpts. Sketches.
Photocopy of autograph sketches; original in Universitets Biblioteket, Uppsala (S Uu).
Box 1, Folder 6.

  • Folio 9 (recto and verso) of Silverstolpe's collection with attempted identification by E.O. This one leaf (two written pages) on oblong 12-stave paper is very confusing because Mozart used the note paper for different purposes. The first 4 lines of folio 9 recto have nothing to do with Zauberflöte. They have been identified as belonging to K.615a and are printed in K6 on p.702. There it is also stated that these four bars on four systems represent a sketch for K.616. The identification of the Zauberflöte sketches have been guided by Ulrich Konrad's published studies (see above) as well as transcriptions in the NMA Since 1998 these sketches have been reproduced in color, transcribed and fully identified by Ulrich Konrad in the NMA Series X Supplement, Werkgruppe 30, Band 3: Skizzen. The collective number for the sketches is Skb 1791b and the autograph number is 96. All the new informative material, taken from the NMA, has been fotocopied and is included in this folder. References: Richard Engländer, "The Sketches for 'The Magic Flute' at Upsala"; and "Die Skizzen zur Zauberflöte" (both in xerox file of BMEO); R.Engländer, "Die Mozart-Skizzen der Universitätsbibliothek Uppsala" and N.G.Svanfeldt, "Mozart-Kuriosa in der Königlichen Bibliothek zu Upsala" (both in xerox file of BMEO).

Mozart, Wolfgang Amadeus. Zerflesset heut', geliebte Brüder. [Zur Eröffnung der … [Freimaurerloge] von Br. Mozart]
Lied mit dreistimmigem Chor und Orgel, K. 483. Photocopy of copyist's ms; original in Frimurare Orden, Biblioteket, Stockholm (S Sfo).
Box 1, Folder 1.

  • Abschrift of the autograph(?) manuscript in a copyist's hand. 2½ written pages on oblong 10-stave paper. Above and below the old fashioned German handwriting of the text someone entered a transcription in a more modern script (in pencil?). Mozart did not enter this work in his Verzeichnüss.

Unknown composer, Vier Spiegelkanons für 2 Violins, K. Anhang C 10.16
Box 3, Folder 7

  • Reproduction of modern handwritten copy.

Verzeichnis der Brüder und Mitglieder der Gerechten und Volkomenen St. Johannes [ ] zur Gekrönten Hoffnung im Orient zu Wien. Nro. 61. Auf Johannes 5788 [1788]
Photocopy of printed catalog; original in Newberry Library, Chicago (US Cn).
Box 2, Folder 33

  • Attendance sheets of the Lodge "zur gekrönten Hoffnung". Among the brothers present, listed as No. 70, is Mozart, Wolfgang, K.K. Kapellmeister III.

Return to Top


II. Correspondence

Arnstein, Fanny Letter to Monsieur de Silverstolpe. Undated.
Photocopy of the original in the Silverstolpe Archives, Näs, Sweden.
Box 2, Folder 14

  • In French.

Feuerstein, Johann Heinrich to Anton Jähndl in Salzburg, dated Stedten bei Weimar 28 February 1826.
Photocopy of the original in the Mozarteum, Salzburg (A Sm).
Box 2, Folder 13

  • Printed in "Feuerstein, Jähndl und das Ehepaar Nissen", by Rudolph Angermüller [Wiener Figaro 39, May 1971]. Printed in English translation with comments in "Linkage to Mozart" by Eric Offenbacher [MJb 1993, Appendix A].

Feuerstein, Johann Heinrich to Anton Jähndl in Salzburg, dated Stedten bei Weimar 23 January 1827.
Photocopy of the original in the Mozarteum, Salzburg (A Sm)
Box 2, Folder 13

  • Printed in "Feuerstein, Jähndl und das Ehepaar Nissen", by Rudolph Angermüller [Wiener Figaro 39, May 1971]. Partially reproduced and printed in English translation (complete) with comments in "Linkage to Mozart" by Eric Offenbacher [MJb 1993, Appendix B].

Lichtenthal, Dr. Peter, in Vienna, to Karl Bertuch in Weimar, dated 23 December 1809.
Photocopy of the original in the Jewish National and University Library, Jerusalem (IL J).
Box 2, Folder 15

  • Postscript by Constanze Mozart (in Nissen's hand).
This letter, printed in Bauer-Deutsch 1385a, is significant for a detailed description by Peter Lichtenthal (1780-1853) of Joseph Haydn's death on 31 May 1809. Bertuch asked Wolfgang Mozart Jr. for information on Haydn's last days and burial in Vienna. Since Wolfgang had already left Vienna and was staying near Lwów in Poland as tutor in the house of Count Baworowski,Constanze asked Dr. Lichtenthal to answer in his stead. (On Dr. Peter Lichtenthal see Bauer-Deutsch VI, p. 601, line 12).

Mozart, Constanze to Fredrik Samuel Silverstolpe in Vienna, undated. [Fall 1798?].
Photocopy of the original in the Silverstolpe Archives, Näs, Sweden.
Box 2, Folder 14

  • Printed in part in the book "Johan Wikmanson und die Brüder Silverstolpe" by C.-G. Stellan Mörner on page 336. The Arie referred to is a composition of Joseph Martin Kraus. E.O.'s transliterated German text of the billet is included in the folder.

Mozart, Constanze to Fredrik Samuel Silverstolpe in Vienna, dated [Vienna] 21 January 1800.
Photocopy of the original in the Silverstolpe Archives, Näs, Sweden (found in a file marked "Lettres et billets choisis")
Box 2, Folder 14

  • Printed incomplete in Bauer-Deutsch 1276. The missing end part is printed in Bauer-Deutsch Vol.VI, p.513. The incomplete version comes from the book "Johan Wikmanson und die Brüder Silverstolpe" by C.-G. Stellan Mörner [Stockholm 1952], p.363. [E.O.'s transliterated German text is included in the folder].

Nissen, Constanze to Gasparo Pacifico Spontini in Berlin, dated Salzburg 12 November 1827.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 11

  • Extract printed in Bauer-Deutsch IV, No. 1422. Transcript by E.O. of complete letter included with this photocopy. See also reference in E.O.'s "Linkage to Mozart II" in MJb 1994, p. 3.

Mozart, Franz Xaver to Ignaz Moscheles in London, dated Lemberg 25 December 1827.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 11

  • This letter, with slight incorrections, is printed complete in Walter Hummel, "W.A. Mozarts Söhne" pp. 152-3.

Mozart, Leopold to Anna Maria Mozart in Salzburg, dated Milano, 21 November 1772. Postscript of W.A. Mozart to his sister.
Photocopy of the original, formerly owned by Dr. Felix Salzer, New York; sold at auction in 1990.
Box 2, Folder 1 Printed in Bauer-Deutsch I, p. 462. The autograph of this letter was sold at auction at Sotheby's, London, on 17 May 1990 for 77000 British pounds. Present owner unknown. See item #42 in Salzer Collection catalog, in the BMEO, for description and further details about this letter.

Mozart, Leopold to W.A. Mozart in Munich, dated Salzburg 22 December 1780.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 11

  • Printed in Bauer-Deutsch No. 566 (in the reading of C. G. Stellan Mörner). Contents deal with Idomeneo.

Mozart, Leopold to Maria Anna in St. Gilgen, dated Salzburg 19 November 1784.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 11

  • Printed in Bauer-Deutsch III, No. 825 (signed "redlicher Vatter" L. Mozart). This autograph letter was at one time in the possession of Johann Heinrich Feuerstein (see: Eric Offenbacher, "Linkage to Mozart" in MJb 1993, p.26). G.N.Nissen wrote an addendum and authentication on this letter at the end of the last page (quoted faultily in Bauer-Deutsch VI p.706): "Ich bezeuge dem Herrn Geheimenrath Feuerstein, dass dieser Brief die Handschrift Leopold Mozarts, Vaters von W.A.Mozart (gest.1791) ist. Salzburg 20 Febr.1826. [signed] Nissen, Gatte der Witwe W.A.Mozarts. Leopold M. war fürsterzbischöflicher Salzburgscher Vicekapellmeister, Verfasser des zuerst 1756 in Augsburg herausgekommenen Versuch einer gründlichen Violinschule. Der Herr Sohn oben ist der Tochtermann." On the left margin he added: "an die nachherige Baroninn v. Berchtold zu Sonnenburg."

Mozart, Leopold to Marianne Reichsfreiin Berchtold zu Sonnenburg in St. Gilgen, dated Munich 13 February 1787.
Photocopy of the original in the Stadtarchiv, Augsburg (D Asa).
Box 2, Folder 2

  • Printed in Bauer-Deutsch No.1033. On the bottom of page 1 in Nissen's hand: "die obenerwähnte Oper von Vogler war Castore e Polluce. N." [for a photocopy of the address page of this letter in Leopold's hand with an added note in Nissen's hand of authentication for Dr.Feuerstein, see "Linkage to Mozart"by E.O. in MJb 1993, p.28]. Printed in: Zeitschrift des Historischen Vereins für Schwaben, vol.49, 1933. [Copy in folder].

Reichsfreiin von Berchtold zu Sonnenburg, Maria Anna to Breitkopf & Härtel in Leipzig, dated Salzburg 20 September 1802.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 11

  • Printed in Bauer-Deutsch IV, No. 1354 (corrections in Bauer-Deutsch VI, pp. 724-5). Signed "Ihre Dienstbereitwilligste Freyin von Berchtold."

Reichsfreiin von Berchtold zu Sonnenburg, Maria Anna to her son Leopold in Linz, dated Salzburg 10 August 1806.
Photocopy of the original in the Mozarteum, Salzburg (A Sm).
Box 2, Folder 12

  • Extract printed in Bauer-Deutsch No. 1372 with further description in vol. VI, p. 588. Nissen obliterated two words in this letter that refer to an attempted homosexual relationship of a fellow cadet with Leopold [who was in the army at the time]. Nissen remarks on the side of the letter [translated]: "The subject matter here is one of those natural things whose mentioning nowadays is considered disgraceful, which the Romans, however, did not consider morally shameful. N." On the address page are the authentications by Nissen of Anna Maria's handwriting as well as the one of her son Leopold who had written an addendum to this letter. All given for the benefit of Dr.Feuerstein who, by the way, never attained the title "Geheimrath.".

Mozart, Wolfgang Amadeus to Cara Sorella Mia [Maria Anna Mozart] in Salzburg, dated [Milano] 3 March 1770.
Photocopy of the original in the Library of Congress, Washington (US Wc).
Box 2, Folder 3

  • Bauer-Deutsch 164. [See note in folder about one questionable word.]

Mozart, Wolfgang Amadeus to Fridolin Weber in Mannheim, dated Paris 29 July 1778.
Photocopy of the original in the Goethe- und Schiller-Archiv, Weimar (D WRgs).
Box 2, Folder 4

  • Bauer-Deutsch No.469. Explanatory remark by Nissen bottom of page 2. Folder also contains photocopy of a handwritten letter by Friedrich Rochlitz to Goethe; several pages from H.J.Schreckenbach's printed catalogue of Goethe's "Autographen Sammlung"; and an 1891 printing of this letter in NZM, published by Max Friedländer.

Mozart, Wolfgang Amadeus to Aloysia Weber in Mannheim, dated Paris 30 July 1778.
Photocopy of the original in the Goethe- und Schiller-Archiv, Weimar (D WRgs).
Box 2, Folder 5

  • Bauer-Deutsch No. 470. Folder also contains copies of the first printing of Mozart letters Bauer-Deutsch Nos. 469 and 470, as published by Max Friedländer in the Goethe-Jahrbuch, Vol. 12, 1891, with comments on both letters.

Mozart, Wolfgang Amadeus to Leopold Mozart in Salzburg, dated Vienna 12 July 1783. Photocopy of the original in the Universitätsbibliothek, Basel (CH Bu), Geigy-Hagenbach collection.
Box 2, Folder 6

  • Bauer-Deutsch No. 758

Mozart, Wolfgang Amadeus to Leopold Mozart in Salzburg, dated Vienna 20 February 1784.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 7

  • Bauer-Deutsch No. 776.

Mozart, Wolfgang Amadeus to Leopold Mozart in Salzburg, dated Vienna 26 May 1784.
Photocopy of the original in the Stiftelsen Musikkulturens Främjande, Stockholm (S Smf).
Box 2, Folder 11

  • Printed in Bauer-Deutsch III, No. 793. Signed W & C Mozart. First printed in L. Nohl, Mozarts Briefe (1865), No. 236, dated there 24 May.

Mozart, Wolfgang Amadeus to Michael Puchberg in Vienna, dated [Vienna] 27 June 1788.
Published in Salzburger Nachrichten, 26/27 July 1986.
Box 2, Folder 8

  • Incorrectly printed in Bauer-Deutsch No. 1079. In Vol. VI, p. 370, the autograph source of this letter is given as unknown.

Mozart,Wolfgang Amadeus to Constanze Mozart in Vienna, dated Frankfurt am Main 28 September 1790.
Photocopy of the original in the Jewish National and University Library, Jerusalem (IL J), Alex Cohen collection.
Box 2, Folder 9

  • First printing in Bauer-Deutsch No.1135 did not agree with the autograph because it was based on a flawed copy. Subsequently, a corrected version was printed in Vol.VI, p.397, taken from a photocopy like the one in this folder. Published essays, dealing with this letter, and additional reference material is included.

Mozart, Wolfgang Amadeus to Constanze Mozart in Baden bei Wien, [dated Vienna 7 and 8 October 1791].
Photocopy of the original in the Universitätsbibliothek, Basel (Geigy-Hagenbach Collection) (CH Bu).
Box 2, Folder 10.

  • Bauer-Deutsch No. 1193.

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III. Mozartiana

Mozartfest, Salzburg, 4-6 September, 1842
Box 2, Folder 37

  • Photocopies of excerpts from the Allgemeine Wiener Musik-Zeitung, August/September 1842, issues No.103, 110, 114 and 115 describing the celebration of the Mozartfest. They describe the unveiling of the first Mozart monument in Salzburg [51 years after his death] and the program details of the ceremonies.

Mozart Secular-Fest, Salzburg, 6-9 September 1856
Box 2, Folder 38, 39
Microfilm copy (of first item): Isham Lib. 3582.10.206 BMEO

  • Photocopies of materials concerning the festival held in Salzburg, 6-9 September 1856, the centennial year of Mozart's birth. Items include:
    1. Mozart Secular-Fest-Album - 1856, manuscript volume containing signatures of about 800 persons participating in the celebrations, including Carl Mozart. Original in Newberry Library, Chicago (US Cn). 2. Program book with list of participants. Original in Newberry Library, Chicago. 3. Erinnerungs-Blätter with alphabetical listing of guests. Original in Newberry Library, Chicago. 4. "Vom Mozartfest in Salzburg" from Eduard Hanslick, Aus dem Concertsall, Wien 1870. Excerpts from the book "Aus dem Concertsaal" by Eduard Hanslick, 1870 (containing the chapter "Vom Mozartfest in Salzburg").

Clippings from 19th and early 20th-century German-language newspapers and journals consisting mostly of articles commemorating Mozart.
Box 3, Folder 11

  • Contents include clippings from:
    Allgemeine Musikalische Zeitung, Leipzig, 5 April 1865 and 12 April 1865
    Allgemeine Theaterzeitung, Originalblatt für Kunst, Literatur, Musik, Mode und geselliges Leben, Wien, 3 November 1841
    Beilage zur Allgemeine Zeitung, [1904]
    Beilage zum Bazar, Berlin, 15 Februar 1865
    Freie Badener Bezirks-Rundschau, 22 November 1913 and 17 Jänner 1914
    [Freya, Illustrierte Blätter für die bebildete Welt, Stuttgart, 1866]

Neue Freie Presse, Wien 2 Januar 1906 and [29 November 1912]
Neue Illustrirte Zeitung, Wien 25 Jänner 1880
Neuen Musik-Zeitung, Beilage Nr. 19, [Köln, 1887]
Zu Mozarts Gedächtnis, ??, 1906
Ueber Land und Meer, 5 Dezember 1891

Articles on Mozart clipped from 1940s German language newspapers.
Box 3, Folder 9

Miscellaneous clippings from 20th century English and German language journals and newspapers of facsimile reproductions of autograph manuscripts, correspondence, engravings. Box 3, Folder 1

Concert programs, mostly of performances of Mozart, and related newspaper clippings.
Box 3, Folder 4, Box 4

  • Contents include:
    30 November 1891, Zum Gedächtniss von W.A. Mozart, Stern'scher Gesang-Verein, [Berlin?]
    February 1923, Blätter der Staatsoper, Berlin
    28 December 1924, Don Juan, ??, Berlin
    18 October 1931, Die Zauberflöte, Lessing-Theater, Berlin
    4 March 1932, Die Hochzeit des Figaro, Staats-Oper Unter den Linden, Berlin
    13 May 1932, Die Entführung aus dem Serail, Städtische Oper, Berlin
    19 August 1933, Concerti Popolarissimi con L'Orchestra dell'Augusteo, Diretto da Pietro Mascagni, Basilica di Massenzio, Rome
    4 May 1980, Die Zauberflöte, Oper Frankfurt
    1987/88, La Flute Enchantée, Grand Théâtre de Genève

Leo Liepmannssohn, Antiquariat, Musikmanuskripte Wolfgang Amadeus Mozarts aus dem Besitz von André Erben. 12 Oktober 1929 and 6-9 Dezember 1932. Auction catalogs. Originals are in fragile condition; please consult the photocopies Box 3, Folder 3; Photocopies in Box 7 Sotheby's, Wolfgang Amadeus Mozart: Autograph Manuscript of Nine Symphonies, 22 May 1987 Box 3

Program booklets and guides from Mozart festivals and exhibits, 1956-1991.
Box 3, Folders 8 and 9; Box 4

  • Contents include:
    Internationale Stiftung Mozarteum, Salzburg, Mozart-Festwoche, 21-30 Januar 1956
    WQXR (New York), Mozart Bicentennial Program Guide, January 1956
    The Listener, 26 January 1956
    Beecham on Mozart: a Lecture at the University of Illinois for the Mozart Bicentennial 1956. Edited with a preface by John Ardoin, Privately printed, 1975.
    Macalester College, St. Paul, MN, Little Mozart Festival [n.d.]
    High Fidelity, The Mozart Operas, November 1965
    Lincoln Center for the Performing Arts, Mozart Bicentennial, Stagebill, 1991
    The John F. Kennedy Center for the Performing Arts & The National Symphony Orchestra, Haydnfest, 1975
    The Westfield Center, Mozart's Nature, Mozart's World: A Bicentenary Humanities Symposium, Program Guide, 1991
    Riess-Museum Mannheim, Mozart und Mannheim, 1971
    Rudolf Angermüller, Don Juan Register (Internationale Stiftung Mozarteum Salzburg, Freunde Der Salzburger Festspiele, Bayerische Vereinsbank), 1987
    Internationalen Stiftung Mozarteum Salzburg in Zusammenheit mit der Bayerischen Vereinsbank, Mozart im XX.Jahrhundert, 1984
    Universität Bayreuth/Institut für Musiktheater, Cosi fan tutte: Werk und Wirkung auf dem Theater, 1987
    Internationalen Stiftung Mozarteum Salzburg, "Auf Ehre und Credit": Die Finanzen des W.A. Mozart, 1983
    Internationalen Stiftung Mozarteum Salzburg, Figaro, 1986
    Mozart-Stiftung von 1838 zu Frankfurt am Main, 150 Jahre Stiftung zur Förderung junger Komponisten, 1988

Periodical issues devoted to Mozart.
Box 3; Box 4

  • Contents include:
    Arbeits- und Kulturbericht der Mozartgemeinde Wien, II. Jahrgang, Nr. 1 u. 2, Januar-Februar 1944; 3 u. 4, März -April 1944
    Jahresberichte der Mozartgemeinde, 1935, 1936, 1937
    Jahresbericht der Internationalen Stiftung Mozarteum, 1903, 1911, 1912
    Jahresbericht der internationalen Mozart-Gemeinde in Salzburg, 1895, 1897, 1902, 1905, 1906, 1909, 1910, 1911, 1912, 1915
    The Musical Times, cxxii, no. 1661 (July 1981). Photocopy of special issue dedicated to Mozart.
    La Revue Musicale, 'Mozart', Décembre 1933 (Photocopy of special issue)
    Ricordiana: Rivista mensile di vita musicale, 2/1 (January 1956), "Numero Speciale dedicato a W.A. Mozart"
    Studi Trentini, 5/4 (1924), "Mozart nel Trentino"
    Zeitwende, "Thema: Wer war Mozart?", January 1979

    Commemorative Mozart postal stamps Box 3, Folder 5

    IV. Mozart Research

    Books

    Blümml, Emil Karl. Aus Mozarts Freundes- ind Familienkreis (Eduard Strache: Wien, 1923).
    Box 5

  • Photocopy

Brunner, Hans. Das Klavierklangideal Mozarts und die Klaviere seiner Zeit (Augsburg: Benno Filser Verlag, 1933); reprinted 1975 by Kraus Repring, Nendeln, 1975.
Box 6

  • Photocopy

Deutsch, Otto Erich. Das Freihaustheater auf der Wieden, 1787-1801 (Vienna: Deutscher Verlag für Jugend und Vold, 1937)
Box 6

  • Photocopy

Fowler, W. Warde. Stray notes on Mozart and his music (Edinburgh: R & R Clark, 1910)
Box 6
Microfilm copy in Isham Library: Isham 3582.10.207 BMEO

  • Photocopy

Mörner, Carl Gabriel Stellan. Johan Wikmanson und die Brüder Silverstolpe (Stockholm, 1952)
Box 5

  • Photocopy

Sauer, August. Goethe und Österreich (Weimar: Goethe-Gesellschaft, 1904)
Box 6

  • Photocopy of excerpts.

Spiel, Hilde. Fanny von Arnstein oder Die Emanzipation: ein Frauenleben an der Zeitenwende, 1758-1818 (Frankfurt am Main: S. Fischer, 1962).
Box 6

  • Photocopy

Articles

Oldman, Cecil B. Selected writings.
Box 5

  • Photocopies.

Mozart-related articles from Festschriften, journals and conference proceedings.
Boxes 5, 6

  • Photocopies. Not listed in BMEO card file. Contents include excerpts from Festschriften dedicated to the following: Wilhelm Fischer (1956), Barnhard Paumgartner (1958), Otto Erich Deutsch (1963), Walter Senn (1975), Erich Valentin (1976), Albi Rosenthal (1984), Rudolf Elvers (1985). Contents also include Mozart-related articles from the Berichte über den siebenten internationalen Musikwissenschaftlichen Kongress Köln 1958, and from the Deutsches Jahrbuch der Musikwissenschaft (Leipzig: 1959 and 1964).

Mozart-related articles from 19th- and 20th century journals and other publications.
Boxes 7, 8, 9

  • Photocopies. Items in these boxes are arranged alphabetically by author and are all cited in the BMEO card file prepared by Eric Offenbacher. Card file is located with the BMEO collection; there is also a microfilm copy: Isham 3582.10.202 BMEO.

Wiedenmann-Augsburg, Hans, "Briefe von Leopold Mozart, dessen Tochter Marianne und von Karl und Konstanze Mozart, dem Sohne und der Gattin von Wolfgang Amadeus Mozart," Zeitschrift des Historischen Vereins für Schwaben 49 (1933)
Box 3, Folder 6

  • Incomplete photocopy.

 

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