MOZART Wolfgang Amadeus (1756-1791). MANUSCRIT...

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MOZART Wolfgang Amadeus (1756-1791). MANUSCRIT...

MOZART Wolfgang Amadeus (1756-1791).
MANUSCRIT MUSICAL autograph, Scena con Rondò for Le Nozze di Figaro, [1786]; 4 oblong pages in-4 of a double-page
spread (22,3 x 31 cm).

Exceptional manuscript of the first version of a scene for the last act

of Le Nozze di Figaro.


On the four pages of a 12-line bifeuillet of paper (Tyson Wasserzeichen no. 82), in brown ink, under the title Scena con Rondò, Mozart composed the primitive version of the recitative and the aria for Susanna in scene 10 (K.492, no. 27) of Act IV and last, in the garden. Mozart had conceived this scene of Susanna as an accompanied recitative, followed by a Rondo in two parts, but finally rejected the rondo in favour of the magnificent aria "Deh vieni,
































non tardar" .



The complete accompanied recitative (34 bars), which will be heavily modified and shortened in the final version, occupies the first three pages, noted on two systems of 5 staves per page, where the vocal part of Susanna and the bass are written out in full, as well as the first violin











part :



"Giunse il momento alfine che godrò senz'affanno in braccio a l'idol mio: Timide cure, partite dal mio petto, a turbar non venite il mio diletto. Oh come in questo istante tutto ad amor risponde! l'aura che tra le fronde dolce sospira, il cielo che del placido velo della notte copre l'amato amante, e i furti miei, e nel suo grato orrore a trasporti di gioia invita il core". At the bottom of the third page, Mozart writes: "Segue Rondò". This Rondo begins on the 4th page, prepared with a system of 10 staves; we have the first 7 bars of the vocal part of Susanna's aria, with the bass (the other parts have remained blank), and the words: " Non tardar amato bene vieni vola al seno moi, à finir



























































































































le lunghe "...




This interesting sketch presents the recitative in a different way, while the main plot is completely modified. After comparing the two versions, the musicologist Hermann Abert (II, 356) concludes that Susanna, who was wearing the countess's clothes, must also have appeared in the musical dress of the countess, before Mozart finally rejects this idea and replaces this first version with the splendid air "Deh vieni non


































tardar" .





Le Nozze di Figaro, composed to the libretto by Lorenzo da Ponte from October 1785 to the end of April 1786, was premiered in Vienna on

















May





1





, 1786.






Provenance: Johann Anton André; Carl August André; Liepmannssohn sale 55 (October 12, 1929, No. 24); coll. Robert Haas, in Rheinfelden, then Amalie Haas; J.A. Stargardt sale 652 (19 September 1992, no. 490); Stargardt sale 678 and Moirandat Auktion 5 (Basel 11 October 2003, no. 208).


























































































-






The continuation of this manuscript (29 measures) was part of the collections of Aloys Fuchs then W. Westley Manning, before being sold at auction in 1913 at C.G. Boerner (cat. 118), then in London at Sotheby's in 1955, 1961 and 1990; today at the Karpeles Manuscript Library in Santa




















Barbara.







References: Köchel 492, Anhang II, and Besitz C.A. Andrés No. 8 (Arie 27). - Ulrich Konrad, Mozarts Schaffensweise: Studien zu den Werkautographen, Skizzen ud Entwürfen (1992): Skb 1785µ/1 (p. 174). - Neue Mozart Ausgabe II/5/16/2 (1973), pp. 638-641; and Kritische Berichte (2007), pp. 69 and 256-257.







































































































































































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