The partitas are of questionable, or spurious, origin, since the authorship cannot be authenticated, but many compelling arguments exist pointing to the possibility of their having been composed by Mozart. They are listed in the Köchel catalogue in Anhang C (i.e. Appendix C), along with other unconfirmed works. Three are full-length partitas and one is a single movement divertimento. The scores for each are fully annotated and provide extensive introductory notes, performance instructions, and reference material.
Dan is the co-editor (with Neil Zazslaw) of the wind music of Mozart for the Bärenreiter Neue Mozart-Ausgabe Edition of Mozarts complete works. He is the world’s leading authority on the wind music of Mozart.
During his travels in the late 1960s and early 1970s he had come across manuscripts in the Klementinum University Library in Prague. Some of these were manuscripts from the Johann Traeg copy houseJohann Traeg was perhaps Mozarts favourite copyist. (In his introduction to this Northdale Music Press performance edition, Dan explains in detail the professional relationship between Traeg, Mozart, and Mozarts wife, Konstanze, and provides a scholarly argument as to the possibility of these works being authentic Mozart.)
In the early 70s there were no photocopy machines in Prague, so Dan hired (at great expense!) a photographer to take pictures of each page of the scores to these Anhang octets and numerous other works. The photographs of these Anhang octets now reside in the library of the University of Toronto Faculty of Music.
When I approached him about the octets, Dan provided me with the photographs hed had taken in Prague of K. Anh. C 17.04, 17.05 and 17.07, and a set of copied parts for these works. A copy of the score for K. Anh. 17.03 was obtained from Jim Cochrane of St. Louis. I then asked Northdale Music Press if they would be interested in publishing these works. The fruits of our effortsthe first detailed performance edition of these worksare in your hands now. I am deeply indebted to Dan Leeson for his assistance and guidance during this project.
I would also like to thank the members of The Symphony Winds, a group of wind players and colleagues of mine from the Toronto Symphony Orchestra, for their participation in this project. Their input and assistance has been invaluable.
Great care has been
taken to preserve all of the original markings (or alternatively, footnote
in detail changes of these originals) found in the photographs. There
were hundreds of ambiguous and conflicting dynamic and articulation markings
in this material. Wherever changes to the markings were made for this
performance edition, they have been footnoted with a reference to the
original source material.
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