The Mozart Flute: Old and New Transcriptions of Kv

THE MOZART FLUTE: OLD AND NEW TRANSCRIPTIONS OF KV. 10-15

Elizabeth Ann Potts, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 2017

APPROVED:

Terri Sundberg, Major Professor David Bard-Schwarz, Committee Member Samantha Inman, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School

Potts, Elizabeth Ann. The Mozart Flute: Old and New Transcriptions of KV. 10-15.

Doctor of Musical Arts (Performance), May 2017, 93 pp., 17 tables, 25 figures, bibliography, 31 titles.

My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A.

Mozart. I engage the variances between the first edition of Op. 3 and those by Joseph Bopp and

Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and

(4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.

Elizabeth Ann Potts

ACKNOWLEDGEMENTS

I would first like to express my appreciation to Louise Rossi for being the catalyst to my flute career. Thank you for providing the DSO tickets where I saw the flute soloist in a hot pink dress that started it all.

Thank you to all my flute teachers including Melissa Arthur, Dr. Jennie Brown, Dr.

Valerie Watts, Dr. Elizabeth McNutt, and most importantly Professor Terri Sundberg. I am grateful to each of you for your guidance, encouragement, and support. My success would not be possible without your mentorship.

I would also like to express my gratitude to Dr. David Bard-Schwarz and Dr. Samantha

Inman for serving on my committee and supporting me every step of the way.

To all my friends and family, thank you. I am especially grateful to Lisa Bost-Sandberg for putting up with my late-night calls and always being a listening ear to all my questions.

Most importantly I would like to thank my parents, Keath and Janye, who inspired and nurtured my love of music and to my wonderful husband, Eli, for his unconditional love and support.

Soli Deo Gloria

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS………………………………………………………………………iii

LIST OF TABLES..………………………………………………………………………...…….vi

LIST OF FIGURES..…………………………………………………………………..………...vii

LIST OF DIAGRAMS…………………………………………………………………………...ix

CHAPTERS

I. INTRODUCTION………………………………………………………………...1

Significance……………………………………………………………………1

State of Research………………………………………………………………2

Statement of Purpose………………………………………………………….7

Context………………………………………………………………………...9

II. GENERAL ANALYSIS…………………………………………………………10

Sonata No. 1 in Bb, KV. 10………………………………………………….10

Sonata No. 2 in G, KV. 11…………………………………………………...13

Sonata No. 3 in A, KV. 12…………………………………………………...16

Sonata No. 4 in F, KV. 13……………………………………………………19

Sonata No. 5 in C, KV. 14…………………………………………………...23

Sonata No. 6 in Bb, KV. 15………………………………………………….28

III. COMPARATIVE ANALYSIS ON ORIGIN OF FLUTE LINE………………..32

Sonatas KV. 10 – 15…………………………………………………………32

IV. NEW TRANSCRIPTIONS………………………………………………………55

Performance Practice………………………………………………………...55

Transcriptions for Flute and Piano, KV. 10 and KV. 13…………………….63

BIBLIOGRAPHY………………………………………………………………………………..91

LIST OF TABLES

Table 10.1: Comparison of Flute Origin for Sonata KV. 10, mvt. 1…………………………….33

Table 10.2: Comparison of Flute Origin for Sonata KV. 10, mvt. 2 …………………...... 33

Table 10.3: Comparison of Flute Origin for Sonata KV. 10, Menuetto I and II ………………..34

Table 11.1: Comparison of Flute Origin for Sonata KV. 11, mvt. 1…………………………….34

Table 11.2: Comparison of Flute Origin for Sonata KV. 11, mvt. 2…………………………….34

Table 11.3: Comparison of Flute Origin for Sonata KV. 11, Menuetto…………………………35

Table 12.1: Comparison of Flute Origin for Sonata KV. 12, mvt. 1…………………………….35

Table 12.2: Comparison of Flute Origin for Sonata KV. 12, mvt. 2…………………………….36

Table 13.1: Comparison of Flute Origin for Sonata KV. 13, mvt. 1…………………………….37

Table 13.2: Comparison of Flute Origin for Sonata KV. 13, mvt. 2…………………………….37

Table 13.3: Comparison of Flute Origin for Sonata KV. 13, Menuetto I and II………...... 38

Table 14.1: Comparison of Flute Origin for Sonata KV. 14, mvt. 1…………………………….38

Table 14.2: Comparison of Flute Origin for Sonata KV. 14, mvt. 2…………………………….39

Table 14.3: Comparison of Flute Origin for Sonata KV. 14, Menuetto I and II………...... 39

Table 15.1: Comparison of Flute Origin for Sonata KV. 15, mvt. 1…………………………….40

Table 15.2: Comparison of Flute Origin for Sonata KV. 15, mvt. 2…………………………….40

Table 16: Comparison of Total Measures Derived from Original Violin/Flute Line……………41

LIST OF FIGURES

Figure 1a: Urtext editions of Mozart Sonata’s KV. 10-15 for Piano and Violin or Flute...... 4

Figure 1b: Arranged editions of Mozart Sonata’s KV. 10-15 for Flute and Piano………………..4

Figure 2: Publications Including Information about Mozart Sonatas KV. 10-15…………………6

Figure 3: Comparison between measures 1 – 8 of Sonata, KV. 10…………………….……...….8

Figure 4: Rhythmic Pattern found in mvt. 1 of Sonata KV. 10………………………………….11

Figure 5: Sonata KV. 11, Menuetto………………………………………...……………………16

Figure 6: Sonata KV. 12, Andante………………………………………...…………….……….17

Figure 7: Sonata KV.12, Mvt. 2, measures 21-29………………………………………...... 19

Figure 8: Sonata KV. 13, mvt. 1 Opening Phrase………………………….…………...... 20

Figure 9: Sonata KV. 13, mvt. 2 Opening Phrase……………………….………...... 21

Figure 10: Sonata KV. 14, mvt. 1 Opening four measures………………………………………24

Figure 11: Sonata KV. 14, mvt. 1 mm. 15-18………………………….……...... 24

Figure 12: Sonata KV. 14, Mvt. 2 Opening Theme…………………….…………...... 26

Figure 13: Sonata KV. 14, mvt. 2 Second Theme…………………………….…...... 26

Figure 14: Sonata KV. 14, Menuetto II Opening Phrase……………………..…………...….….28

Figure 15: Sonata KV. 15 mvt. 1 Opening Phrase………………………...……………...... 29

Figure 16: Sonata KV. 15, mvt. 2 Opening Phrase………………………………………...... 31

Figure 17a: Sonata KV. 10, mvt. 1, mm. 20-23, NMA Edition……………………………….....45

Figure 17b: Sonata KV. 10, mvt. 1, mm. 19-24, Louis Moyse Edition………………………….45

Figure 17c: Sonata KV. 10, mvt. 1, mm. 19-24, Josephy Bopp Edition……….………………..46

Figure 18a: Sonata KV. 15, mvt. 1, mm. 1-3, Neue Mozart Ausgabe edition…...... 47

Figure 18b: Sonata KV. 15, mvt. 1, mm. 1-3, Joseph Bopp edition…………..…………………47

vii

Figure 18c: Sonata KV. 15, mvt. 1, mm. 1-3, Louis Moyse edition ……..……………………..47

Figure 19a: Sonata KV. 10, mvt. 1, mm. 1-3, NMA edition……………….……………………48

Figure 19b: Sonata KV. 10, mvt. 1, mm. 1-3, Louis Moyse edition ……….…………………...48

Figure 20a: Sonata KV. 10, mvt. 2, mm. 12-18, NMA edition……………..………………...…50

Figure 20b: Sonata KV. 10, mvt. 2, mm. 12-19, Louis Moyse edition……..……………..…….50

Figure 21: Sonata KV. 10, mvt. 2, mm. 12-23, Joseph Bopp edition…….……………………...51

Figure 22a: Sonata KV. 13, mvt. 1, mm. 1-6, NMA edition…………………….………………52

Figure 22b: Sonata KV. 13, mvt. 1, mm. 1-8, Louis Moyse edition ………….………………...52

Figure 23: Sonata, KV. 10 by W.A. Mozart, opening 9 measures as found in the Neue Mozart-

Ausgabe edition………………………………………………………………………………….53

Figure 24: Comparison of opening eight measures from Sonata KV. 10 between the New

Transcription and the Louis Moyse Edition……………………………………………………...54

Figure 25: All Octave Displacements within Transcriptions of KV. 10 and KV. 13 by Potts…..62

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LIST OF DIAGRAMS

Form Diagram 10.1: Sonata KV. 10, mvt. 1……………………………………………………..11

Form Diagram 10.2: Sonata KV. 10, mvt. 2……………………………………………………..12

Form Diagram 10.3a: Sonata KV. 10, Menuetto I……………………………………………….13

Form Diagram 10.3b: Sonata KV. 10, Menuetto II………………………………..…………….13

Form Diagram 11.1: Sonata KV. 11, mvt. 1……………………………………….…………….14

Form Diagram 11.2: Sonata KV. 11, Allegro…………………………………….……………...15

Form Diagram 11.3: Sonata KV. 11, Menuetto………………………………….………………15

Form Diagram 12.1: Sonata KV. 12, mvt. 1……………………………………….…………….17

Form Diagram 12.2: Sonata KV. 12, mvt. 2……………………………………….…………….18

Form Diagram 13.1: Sonata KV. 13, mvt. 1……………………………………….…………….20

Form Diagram 13.2: Sonata KV. 13, mvt. 2……………………………………….…………….22

Form Diagram 13.3: Sonata KV. 13, Menuetto I and Menuetto II ………………..…………….23

Form Diagram 14.1: Sonata KV. 14, mvt. 1……………………………………….…………….25

Form Diagram 14.2: Sonata KV. 14, mvt. 2……………………………………………….…….25

Form Diagram 14.3a: Sonata KV. 14, Menuetto I……………………………….……...... 27

Form Diagram 14.3b: Sonata KV. 14, Menuetto II …………………………….……………….27

Form Diagram 15.1: Sonata KV. 15, mvt. 1…………………………………….……………….30

Form Diagram 15.2: Sonata KV. 15, mvt. 2…………………………………….……………….31

Form Diagram 16: Origin of Flute Line within Sonata KV. 10, mvt. 1 edited by Louis

Moyse…………………………………………………………………………………………….43

Form Diagram 17: Origin of Flute Line within Sonata KV. 10, mvt. 1 edited by Joseph

Bopp……………………………………………………………………………………..……….43

Form Diagram 18: Origin of Flute Line Within Sonata KV. 13, mvt. 2 edited by Louis

Moyse……………………………………………………………………………………………44

Form Diagram 18: Origin of Flute Line Within Sonata KV. 13, mvt. 2 edited by Joseph

Bopp...……………………………………………………………………………………………44

CHAPTER 1

INTRODUCTION

Significance:

Wolfgang Amadeus Mozart composed forty-four sonatas for keyboard and violin within his short lifetime. Of the forty-four, only six, KV. 10-15 were composed for keyboard and violin or flute. The remaining sonatas are specifically written for keyboard and violin. Mozart wrote the Six Sonatas Op. 3, KV. 10-15 in the fall of 1764, when he was eight years old, only a few months after his family’s arrival in London from Paris on April 23. The six sonatas are dedicated to Queen Charlotte, wife of King George III, and were published by his father, Leopold Mozart, at 20 Frith Street, Soho, London in 1765. The dedication reads:

Deign, Madam, to receive my poor gifts. You were from the first destined to reign over a free people, the people of Genius are no so less than the British People, free above all with their offerings, they take pleasure in surrounding your throne. With your help, I shall become as famous as any of my great countrymen; I shall become immortal like Handel and Hasse, and my name will be as famous as that of Bach.1

The title page of Opus 3 also includes a description that the six sonatas are composed originally for harpsichord with accompaniment on violin or transverse flute.2 The first edition includes a separate optional violincello part that mostly doubles the bass line found in the left hand of the keyboard part. A letter from Leopold Mozart to Lorenz Hagenauer, dated May 28, 1764, states that Wolfgang had become acquainted with Christian Bach’s Opus 2, Six Trios for Piano and

Violin or Flute. Alfred Einstein wrote of Christian Bach’s influence on the young Mozart, as seen in the Six Sonatas, Op. 3 (KV. 10-15), by stating:

1 Frans Vester, W.A. Mozart: On the Performance of the Works for Wind Instruments, trans. Ruth Koenig 2 The explicit title description stating that the sonatas are composed for keyboard and violin/flute accompaniment becomes the crux of my project. The flute editions engage later in the document do not maintain the original intent as dictated by Mozart in his title, but create sonatas for flute with keyboard accompaniment.

Even if Mozart had the intention of imitating J.C. Bach, the result was bound to be somewhat quite different from imitation. When Mozart allowed himself to fall completely under the spell of J.C. Bach in London, he had already come into contact with Schobert’s more passionate sonatas, and so these Six Sonatas, Opus III, which he dedicated to the English Queen Charlotte in January 1765, not only show the mixture of influences derived from Schobert and J.C. Bach, but they reveal, more and more, Mozart himself.3

Since the initial publication of Opus 3, new and varied editions and transcriptions have emerged for the flute community. However, none of the currently published transcriptions for flute strictly follow the violin/flute line as composed by Mozart, but instead approach the edition process by producing a flute line compiled from portions of the violin and right-hand keyboard lines. Several of the published editions alter the parts, switching the keyboard right hand and the violin/flute lines. The right hand of the keyboard becomes the violin or flute line and the violin or flute line becomes that of the right hand in the keyboard part. These alternations change the initial intent set for by Mozart as indicated in the title that the sonatas are for keyboard with accompaniment by either the violin or flute.

State of Research:

Despite Mozart’s young age when composing KV. 10-15, these pieces provide additional

Mozart repertoire for flutists, given the absence of mature Mozart sonatas for flute. These pieces demonstrate Mozart’s blossoming gift as a composer. Unlike Mozart’s earlier sonatas, Opus 1

KV. 6-9 (1762)4, in which the violin only outlines chords, repeats pitches, and emphasizes tonic or dominant via pedals, Opus 3 features the use of imitation, rhythmic repetition, and greater equality between the keyboard and violin/flute line.

3 Alfred Einstein. Mozart, His Character, His Works (Oxford, England: Oxford University Press, 1968), 12. 4 The sonatas from Opus 1, KV. 6-9 were composed between 1762 and 1764. These early sonatas are specified for keyboard and violin and include the first appearance of multi-movement works and sonata forms. As in KV. 10-15, Sonatas KV. 6-9 are keyboard sonatas with accompaniment. However, unlike Op. 3, the violin part is limited in scope and technicality providing only a basic accompaniment line.

There are ten existing editions of Sonatas KV. 10-15. The current editions for flute can be divided into two categories. The first group is made up of Urtext editions, while the second features editions arranged specifically for the flute. Figure 1a shows all Urtext editions, Figure

1b indicates each flute-specific edition. Due to the loss of the original manuscript, the first listing found in Figure 1a represents the first edition of Sonatas KV. 10-15, first published by

Leopold Mozart and sold from the Mozart residence in London.5 Listed second within Figure 1a,

The Neue Mozart-Ausgabe, according to one of the editorial directors Wolfgang Rehm, “Aims to be a historical-critical edition and to off as such the latest state of philological-musicological procedure as well as practical knowledge of Mozart’s creative production.”6 The London and

Neue Mozart-Ausgabe editions will serve as the point of reference for my comparative analysis within the document. Other Urtext editions include the Breitkopf and Hartel,7 Barenreiter, and the Stuttgart Urtext Edition. The violin/flute part is as originally composed, including double stops and the original tessitura, despite often being scored beyond the capability of the modern flute and the flute of Mozart’s time.

Unlike the three previously mentioned Urtext editions, the G. Henle Verlag edition is arranged for solo piano. While the violin/flute line is visible within the score, it is not written as a separate part. This particular edition follows a popular trend during the 1760s where the violin/flute and optional cello parts were written as an accompaniment to the solo keyboard.

Wolf-Dieter Seiffer writes in his preface “the works are autonomous piano sonatas that may be afforded extra musical interest by adding another instrument or even several “ad libitum.” But

5 Remaining copies of the first edition can be found in libraries across the world including a downloadable copy via the Bavarian State Library in Munich. 6 Wolfgang Rehm. “Collected Editions,” The Mozart Compedium: A Guide to Mozart’s Life and Music (New York, New York: Schirmer Books, 1990), 427. 7 The Breitkoph and Hartel editions from 1877-1910 is sometimes referred to as “Alte Mozart-Ausgabe.”

since such an addition is not a necessity, the present edition offers them in their authentic version for piano solo.”8

Instrumentation Editor Publisher Year Six Sonatas for the Clavier, Violin or (Partitur) London, M. Williamson 1765 Clavecin which can flute in Thrift Street Soho be accompanied by accompaniment violin or flute transverse, Op. 3 Sonatas, Op. 3 Violin (Flute), Wolfgang Rehm Neue Mozart-Ausgabe 2006 KV. 10-15 piano, opt. cello Six Sonatas, Violin (Flute), Stimmen Breitkopf and Hartel 1804 KV. 10-15 Piano, opt. Cello Six Sonatas, KV. Violin (Flute), Wolfgang Plath and Barenreiter 1966, 10-15 Piano, opt. Cello Wolfgang Rehm 1988, 2004 Trio Sonatas, Violin/Flute and Siegbert Rampe Stuttgart Urtext Edition 2006 KV. 10-15 Piano Sonatas Volume II, Solo Piano Wolf-Dieter Seiffert G. Henle Verlag 2012 KV. 10-15 Figure 1a: Urtext editions of Mozart Sonata’s KV. 10-15 for Piano and Violin or Flute

Instrumentation Editor Publisher Year Six Sonatas, Flute and Piano Joseph Bopp Edition Reinhardt 1959 Volume 1, KV. 10-12 Six Sonatas, Flute and Piano Joseph Bopp Edition Reinhardt 1959 Volume 2, KV. 13-15 Six Sonatas, Flute and Piano Louis Moyse G. Shirmer 1974 KV. 10-15 Six Sonatas, Flute and Piano Ingomar Rainer and Doblinger 2008 KV. 10-15 Hansgeorg Schmeiser Six Sonatas, Flute and Piano Joseph Bopp Edwin F. Kalmus Unknown Volume 1, KV. 10-12 Six Sonatas, Flute and Piano Joseph Bopp Edwin F. Kalmus Unknown Volume 2, KV. 13-15 Figure 1b: Arranged editions of Mozart Sonata’s KV. 10-15 for Flute and Piano

8 Wolf-Dieter Seiffer. “Preface.” Sonatas Volume II. KV. 10-15 (Munich, Germany: G.Henle Verlag, 2012).

The remaining four listings, shown in Figure 1b, include both a combination of critical and performance editions. Several segments of the original violin/flute line are written out of range for the flute and include devices difficult or impossible to play on the flute such as broken arpeggios, double stops, and pizzicati. Portions of these editions reverse the role of the violin/flute and keyboard resulting in alterations in the construction of the musical lines as well as in the chord structure. In 1959, French flutist Joseph Bopp rearranged the six sonatas making them more playable.9 In order to solve many unplayable parts, Joseph Bopp chose to create a considerable amount of the flute line from both the keyboard right hand line and the original violin/flute line. The third flute-specific edition, formulated by Ingomar Rainer and Hansgeorg

Schmeiser, takes a similar approach to Bopp.

Louis Moyse, another French flutist, released his edition of the six Mozart sonatas in

1974. Unlike Joseph Bopp or Ingomar Rainer and Hansgeorg Schmeiser, Moyse takes a more extreme approach. He writes in the foreword of his edition:

In spite of the promising title for flutists, it is obvious that they were written more for violin than flute; very often, the writing is too low for the register of the flute, and the use of chords is frequent… Besides this, the violin (or flute) part is, for most of the time, an accompaniment in the full sense of the word… In this edition, we did not hesitate to give the flute part a more important role, by sometimes interchanging the right hand of the piano with the violin part.

Within the first sonata, KV. 10 edited by Louis Moyse, only forty-seven of the total one hundred eighty-two measures originate from the original violin/flute line.10 While Bopp maintains the sense of chamber music, Moyse’s arrangements feature a flute soloist with piano accompaniment. There is no longer interaction between the voices as in Mozart’s original.

Notwithstanding the changes made to the original publication, these particular editions often

9 First sold by Reinhardt, the Joseph Bopp edition is now distributed by Edwin F. Kalmus. 10 Specifically, twenty-three of the sixty-eight measures within movement one, twenty-four out of sixty-six within movement two, and zero out of forty-eight within the two minuets are from the original violin/flute line.

address textual inadequacies, wrong notes, accidentals, resolution of grace notes, ornaments, and dynamics. Although there are many critical and performance flute editions available, none are produced by strictly adhering to the available first and Neue Mozart-Ausgabe editions.

Figure 2 lists the available publications, one article, and several dissertations pertaining to the Mozart Sonatas KV. 10-15. Despite the number of documents published regarding the early sonatas, these documents focus almost exclusively on the violin option. Further, their focus is theoretical and historical, presenting topics on analysis and aspects of classical performance practice. The documents also do not address the variances in published flute editions.

Date Title Author Publishing Information January 1943 “Eighteenth-Century Flute John P. Harthan Music & Letters, 24, No. 1 Music” Pg. 35-42

1958 “Wolfgang Amadeus Mozart: Dominique- PhD. Dissertation The Works and Influences of His Rene De Lerma Indiana University First Ten Years” 1964 “The Clavier-Violin Sonatas of Carl Earl PhD Dissertation Wolfgang Amadeus Mozart” Forsberg Indiana University 1998 “The Balance Between the Audrey Axinn DMA Dissertation Violin and Keyboard in the 18th Julliard Century Duo” 1998 “A Social and Historical Study Sarah Watkins DMA Dissertation of the Violin-Piano Ensemble, Julliard Seen Through its Repertoire and Performance” 2004 “Wolfgang Amadeus Mozart. Lori Shipley PhD Dissertation Six Sonatas, K.10-15: The California State University Transitional Works from Childhood Works to Composer of International Style” 2007 “Mozart’s Violin Sonatas and Frederic DMA Dissertation the Gestures of Embodiment: Lacroix Cornell University The Subjectivities of Performance Practice” 2015 “The Early, Middle, and Late Elizabeth E. DMA Dissertation Styles of Wolfgang Amadeus Kim University of Maryland Mozart and Ludwig van Beethoven in Their Sonatas for Piano and Violin” Figure 2: Publications Including Information about Mozart Sonatas KV. 10-15

Statement of Purpose:

The purpose of this study is to provide a resource for students, pedagogues, and performers who aspire to perform one of the KV. 10-15 sonatas composed by Mozart. Following the introductory information found in chapter one, the second chapter of this document will comprise a brief analysis of each sonata. Analysis of each movement is an essential element when formulating my transcriptions by ensuring harmonic and melodic content remains intact.

Chapter three examines two flute-specific transcriptions, edited by Louis Moyse and Joseph

Bopp, and chapter four will present my own transcriptions of KV. 10 and 13. The lecture will demonstrate my findings, particularly as they pertain to the origin of the flute line and how each editor managed violin-specific skills within the composition.

The lecture will also be divided into two main components: analysis and new transcriptions. Within chapter three, I will analyze the first flute-specific edition, published by

Joseph Bopp in 1959, and the most popular edition by Louis Moyse in 1974, as they relate to the first and Neue Mozart-Ausgabe editions.11 Through comparative analysis, I will chart the differences between the editions, notating most importantly the origins of the flute line, in addition to specifics regarding pitch content, dynamics, articulation, and style markings. Each movement will be first organized into sections based on the origin of the flute line as compared to the first edition and the Neue Mozart-Ausgabe edition. Subsequently, a few specific variances will follow. Another issue that will be addressed is the presence of problematic violin specific techniques found within the sonatas. I will also annotate how each editor dealt with specific violin characteristics not possible on the flute.

11 While I could compare all flute-specific editions, the similarities between the editions by Joseph Bopp, published initially by Reinhardt, most currently published by Kalmus, and the Doblinger edition are too numerous to warrant individual analysis.

For example, Figure 3 outlines the inconsistencies between the Neue Mozart-Ausgabe and the edition by Louis Moyse within the opening eight measures of Sonata No. 1, KV. 10, in

B-flat. Examining and notating the modifications between the Neue Mozart-Ausgabe and Louis

Moyse edition reveals the right-hand of the keyboard as the primary origin for his flute line.

Other editorial changes include dynamic and stylistic revisions, cementing articulation suggestions, and writing out performance practice ornaments.

Measure Neue Mozart-Ausgabe Edition Louis Moyse Edition Number(s) 1 – 8 • Flute part originates from right hand of piano • Right hand of piano has violin part 1 • Dynamic Indication – forte (f) • Dynamic Indication – mezzo forte (mf) • Ornamentation – no resolution of • Ornamentation – written resolution of trill written trills (beats 2 and 4) • Style – none marked • Style – marked legato 2 • Articulation – beat 1, no slur • Articulation – beat 1 slurred • Articulation – beats 3 and 4 no • Articulation – beats 3 and 4 marked staccato indicated staccato • Ornamentation – none written • Ornamentation – added C6 appogiatura prior to beat 1

3 Repetition of changes found in measure 2 regarding articulation and ornamentation 4 • Articulation – beats 1 and 2 • Articulation – beats 1 and 2 slurred in suggested slur in groups of four groups of four sixteenths sixteenths 5 Repetition of changes found in measures 2 and 3 6 Repetition of changes found in measures 2, 3, and 5 7 Repetition of articulation change found in measure 4 8 • Articulation – suggested slur from • Articulation – beat 1 is slurred, beat 2 beat 1 to the first pitch of beat 2 is tongued, first eighth-note marked as staccato Figure 3: Comparison between measures 1 – 8 of Sonata, KV. 10

Once each sonata has been analyzed and compared in detail, I will summarize editorial trends used within the transcriptions. The editions engaged will serve as models for the new

transcriptions, despite their various methodology. After summarizing editorial trends, I will formulate guidelines for transcription, engaging historical performance practice, my analysis of each movement, and the editorial tendencies reviewed.

The concluding chapter will consist of my own editions of KV. 10 and 13 constructed using the guidelines created in chapter three. The new transcription will take into account classical performance practices and the previous editorial choices, as discovered through the comparative analysis. Each transcription will include the unaltered keyboard part and a new flute transcription. The flute part will originate strictly from the violin/flute line as found in the Neue

Mozart-Ausgabe. Unlike previous editions, my flute line will only be modified to adjust for violin specific techniques including double stops, triple stops, and range. I will not take the same approach as Moyse and Bopp, but instead I will edit only the original violin/flute line strictly for the flute. I will stay as close to the original as possible, only making minor adjustments to better suit the flute. Therefore, the keyboard part will remain intact, as originally composed. I will conclude my lecture with a comparative performance of my edition of Sonata No. 4 in F Major,

KV. 13, Andante against that by Louis Moyse.

Context:

This paper and lecture aim to fill the void in documentation regarding the flute within the

Mozart Sonatas, KV. 10-15. First, my thesis will present a comparative analysis of the Neue

Mozart-Ausgabe edition to flute-specific editions published by Reinhardt and G. Schirmer.

Secondly, my project will produce a new transcription that maintains composition authenticity while also engaging in historical performance practice and editorial adaptations necessitated out of variances between the violin and the flute.

CHAPTER II

GENERAL ANALYSIS

The following chapter engages Op. 3 through formal and harmonic analysis. Music critics did not specifically coin the formal patterns and terms associated with “sonata form” until the mid-1820s and it was not until 1845 when German theorist Adolf Bernhard Marx published the third volume of The Study of Composition was the term codified.12 While the terminology applied may not have been recognizable by Mozart, many of the terms and descriptors employed are still useful for analysis today. As Hepokoski and Darcy state in the opening chapter of their text, Elements of Sonata Theory, there are many overlapping yet diverse methods to formal analysis including approaches by Francis Tovey, Charles Rosen, Leonard G. Ratner, William E.

Caplin, and themselves. These methodologies can be relegated into two particular areas: musicological and music-theory lines. While those of Rosen and Ratner were not completely sidelined, the succeeding analysis engages primarily the theories regarding sonata form as set forth by Caplin and Hepokoski and Darcy.

Sonata No. 1 in Bb, KV. 10:

The first sonata in Bb is written in three movements: Allegro, Andante, and Menuetto primo and Meneutto secondo. The first movement, as shown in Form Diagram 10.1, follows a

Type 2 sonata form13, with two principle themes and a closing theme, each generally four measures in length. The final section begins with only the second principle theme and includes

12 Thomas Schmidt-Beste, The Cambridge Introductions to Music: The Sonata (Cambridge: Cambridge University Press, 2011), 54. 13 Type 2 Sonata is defined as “structures in which what others have called the “recapitulation” begins not with the onset of the primary (or first) theme but substantially after that point, most commonly at or around the secondary theme” (James Hepokoski and Warren Dary, Elements of Sonata Theory, 344).

the closing theme, therefore using the term recapitulation is irrelevant.14 The harmonic structure of the first movement is primarily based on triads, emphasis being placed on tonic and dominant.

! ! ! ! ! ! ! Development!! ! Exposition! Closing!(nonHrecapitulation)! !

! Continuation!&!cadence! Primary!Theme!Area! Secondary!Theme!Area!

! a! a’! b!! Closing!! a! a’! Transition! b! Closing! ! 9! 15! 22! 29! 37! 51! 55! 62! Bb:!!!!!!!!! !!!!vii°H!I!!!!!!!!!!!!!!!!V6/4!–!V7/V! !!!F:!!V/VHV! !V6/4!–!V!H!I!! ! ! ! ! ! Bb:! !!!V7/V!–!VH!I!! ! !!!!!!!!!!!!!!!!!!!IAC!! !!!!!!!!!!!HC! ! HC! ! !PAC! ! ! ! ! ! ! !!!!!!!!!PAC! !!PAC! ! ! ! ! ! ! ! ! ! !!!!!F:!! ! vii°H!I!!!!gm!!!C!!!Bb:! I!H!V! ! ! ! ! ! ! ! ! ! ! ! ! IAC! !! ! ! HC!

! ! Form Diagram 10.1: Sonata KV.10, mvt. 1 ! KV.!10.1!–!Asymmetrical!Open!Continuous!Balanced!Rounded!Binary!! ! ! A number! of features within movement one include the use of Alberti bass, the crossing of hands ! ! as found! in measures 17, 18, 57, and 58, and the use of a rhythmic pattern illustrated in Figure 4. ! ! ! ! !

Figure 4: Rhythmic Pattern found in mvt. 1 of Sonata KV. 10

The second movement, Andante, is in Eb major and is an asymmetrical continuous rounded balanced binary form with typically eight bar phrases15. Unlike the previous movement,

14 James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in Late-Eighteenth-Century Sonata (New York :Oxford University Press, 2006), 354. 15 William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998) 9-31.

the second movement includes a clear recapitulation of the initial theme. This movement contains nearly continuous eighth note accompaniment and points of imitation between the keyboard right hand and the violin/flute line within measures 32-38. Form Diagram 2, below, provides greater detail. ! ! ! ! ! ! ! !!!!!!!!!A! ! ! ! ! ! ! ! !!!!!!!B! ! ! ! ! !!!!!!!!!!A’! ! ! antecedent! Continuation!&!cadence! antecedent! Development!! Transitional!

! ! a! !!a’! !!!!!b! !!!!!b’!!!!!!!!!!!!b’’!!!!!!!!!ext.! !!!a! !!!!!!!!a’!!! c! !!!!c’! !!!!!!!d! !!!!!!d’! !!!!a! !!!!!!!a’!! !!!b’+b’’! ! ! 1! !!!!!!!!!5! !!!!!!!!!!!!9! !13!!!!!!!!!17!!!!!!!!!!!20b!!!!!!!!!!!!!24!!!!!!!!!!!!!28! !!!!!!32! !!!!!!!!!!36!!!!!!!!!!!!40!!!!!!!!!44!!!!!!!!!48!!!!!!!!!52! !!!56!! ! ! ! ! ! ! ! ! ! ! ! ! Eb:! !!!!!!!!!!!Bb:! ! ! ! ! !!!!!Bb:! !!!!!!!!!!!!!! !!Eb!!!Ab!! !!Bb! !!!!!!!!!!!!!!!!!Eb:! ! !!!!!!!IAC!!!!!!!!!!IAC!!!!!!!!!!DC!!!!!!!!DC! PAC! !!!PAC! !!!!!!!!!!!IAC!!!!!!!!PAC/HC!! !!!!!!!! !!!!!!!!!!!!!!!!!!!!!!HC!!!!!!!!!!!! ! HC!!!!!!!!!!PAC! ! V4/2!–!I6!!!!!!!V6/5!–!I!!!!!!V6/4!–!vi!!V6/4!–!vi!!V7HI! !!!!!V7HI!! !!!!!!!!!!!IV6/4HI!!!!!V7HI!or!V7/V!–!V!! ! ! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!V7/V!–!V! !!V7HI! ! ! KV.!10.2!–!Asymmetrical!Open!Continuous!Rounded!Balanced!BinForm Diagram 10.2:ary!! Sonata! KV.10, mvt. 2 ! ! ! ! ! ! Form Diagram 10.3a and 10.3b outline the final movement, a da capo menuet. Menuetto ! ! I,! in binary form, commences in the tonic Bb, modulates to F in the first half, and returns to Bb ! by! measure 17. The second menuet begins in Eb major, the sub-dominant, not the typical parallel ! minor and unlike the first is in a ternary form. From Eb the second menuet modulates to Bb major. However, the second half of Menuetto II opens in Bb minor, yet quickly, after six measures, returns to the original key of Eb major. The first minuet consists of two sections, the first with two four-measure phrases, the second a total of fourteen measures. Menuetto II follows a similar phrase structure, yet the first half consists of two, five measure phrases while the second is two, eight-measure phrases.

A A’

A A’ a b a a b + ext.

5 9 15 17 Bb: a àb F: a a à Bb: b + ext. PAC HC PAC 5 9 15 17 IV-V-I Pedal on F V7-I Bb: à F: à Bb:

PAC HC PAC

IV-V-I Pedal on F V7-I

Form Diagram 10.3a: Sonata KV 10, Menuetto I

A A’

A B A’

a a’ b a a’’

a 5 a’ 11 b 17 a 22 a’’ Eb: à Bb: fm: àEb: HC5 PAC 11 HC17 HC22 PAC Eb: V6/4 – V IVà Bb: -Vfm:-I àV7/V Eb: – V IV – V7 IV-V-I HC PAC HC HC PAC V6/4 – V IV-V-I V7/V – V IV – V7 IV-V-I

KV. 10.3/4 Form Diagram 10.3b: Sonata KV. 10, Menuetto II

KV. 10.3/4

Sonata No.2 in G Major, KV. 11:

Sonata No. 2 in G Major, KV. 11, contains only two movements, Andante and Allegro with an internal Menuetto. Unlike Sonata KV. 10, the phrases are shorter in length and there is no Alberti bass present. The melodic idea within the first movement consists of primarily dotted rhythms. Movement one, Andante, is written in ternary, quasi-sonata form, rather than a binary form as seen in the Sonata KV. 10, Andante. The first movement also includes a development section, although only eight measures in length (measures 24-31). Within the development,

Mozart manipulates the first theme by placing it in the minor mode and reversing the dotted rhythm. The form and key schematic of the first movement are as follows in Form Diagram

11.1.

Exposition Development Recapitulation

a transition b (b’) closing c c’ a b’ closing

7 11 (15) 18 24 28 32 38 45 G: à D: G: àgm: G: IAC IAC DC HC PAC HC HC IAC PAC PAC V4/3-I V6-I V6/4-V7-vi ii6-V7 V7-I V6/4-V i6/4-V V4/3-I V6/4-V-I ii-V-I

KV. 11.1 Form Diagram 11.1: Sonata KV. 11, mvt. 1

A A’ A

As withina the previousb sonata,closing the vionlincello a’ doublesa the bass b line, however, closing the 5 13 17 35 43 50 54 9 20 31 39 47 58 violin/fluteG: line à is D: granted G: moreàD: independence, D: specificallyG: withinàam: G the: development section. The IAC HC HC HC PAC IAC IAC PAC PAC PAC V4/3-I vii°-V V/V-V ii-V-I V7-I V4/3-I V4/3-I V-I V7-I V7-I reversed dotted rhythm is firstD Pedal introduced in the violin/flute line and echoed within G Pedal the melodic

line of the keyboard. KV. 11.2 The Allegro and Menuetto of Sonata KV.11 exhibit greater experimentation by the young

Mozart. The movements follow a compound ternary form of a traditional menuet, yet the primary menuet is an Allegro duple-meter contredanse. A Menuetto in 3/4 time succeeds the

Allegro. Upon completion, there is a da capo return back to the Allegro. As shown in Figure

11.2, the Allegro consists of sixty-eight total measures, much longer than a typical menuet, divided into two overarching sections, the first including thirty measures, the second thirty-eight.

The Allegro only includes one theme with slight variations, notated as ‘b’ in Form Diagram 11.2, taking the movement through its key regions. Unlike the previous movement, the violin/flute line plays a less significant role by filling in harmonies through sustaining pitches or octave leaps.

The form and key schematic of the Allegro is as follows:

Exposition Development Recapitulation

a transition b (b’) closing c c’ a b’ closing

7 11 (15) 18 24 28 32 38 45 G: à D: G: àgm: G: IAC IAC DC HC PAC HC HC IAC PAC PAC V4/3-I V6-I V6/4-V7-vi ii6-V7 V7-I V6/4-V i6/4-V V4/3-I V6/4-V-I ii-V-I

KV. 11.1

A A’ A

a b closing a’ a b closing 5 13 17 35 43 50 54 9 20 31 39 47 58 G: à D: G: àD: D: G: àam: G: IAC HC HC DC PAC IAC IAC PAC PAC PAC V4/3-I vii°-V V/V-V V-vi V7-I V4/3-I V4/3-I V-I V7-I V7-I D Pedal G Pedal

Form Diagram 11.2: Sonata KV. 11, Allegro KV. 11.2

The melody of the Menuetto is an elongation of the Allegro theme yet traditionally performed slower than meneuts found in other similar sonatas. The slower tempi might suggest a greater contrast to that of the adjoining Allegro. The Menuetto features one of Mozart’s first uses of a minor key for the initial theme and a wider use of secondary triads and seventh chords. He transitions from the major mode within the Allegro to the parallel minor mode. The use of deceptive cadences within the Allegro, at measures 16 and 19, and the Menuetto, at measures 16 and 20 is another interesting feature. Form Diagram 11.2 and 11.3 provide greater detail.

! ! ! ! !!!B! ! ! ! ! ! ! ! ! !!B’!! ! ! ! !!!!!!!!!!! ! !

!!!!!!!Antecedent!! !!!Consequent! ! ! !!!!!!!!!!!!!!!!!!!!!!Consequent!&!Cadence! !!!!!!!!!!Antecedent!!

! !!!!!a!! ! ! a’! ! !!!!!closing!! ! ! a’!! ! ! !!!!!!a!! ! ! closing! ! !!!!!!1! !!!!!!!!!!!!2!! !!!!3!! !!!!!!!!4!! !! !!!!!!!!!5!!! ! 3! 6! !!4! !!!!!!!!1! ! !!!!2!! ! !5! !! ! ! ! !!!!!!!!!!9!! ! !!!!!!17! ! ! !!!!!!21! ! ! ! 37! ! ! !!!!45! gm:!!!! !!!!!!!!!!!D:!!!!!Bb:! !!!!!!! ! ! ! !!!!!!Bb:!!!!!!!!!!!!!!cm:!!!!Bb:!!!gm:! ! !!!HC! !!!!PAC! ! HC! !!DC! ! ! !!DC! !!!!!!!HC!!!!!!!!PAC!!!!!!!!PAC! !!!!!HC! ! PAC! ! !!!!!!PAC! ! !!!iHV! !!!!V7HI! ! IHV! !V6/4HvHvi! !!!V6/4HVHvi! !!!!!!!IHV!!!!!!!!V7HI!!!V6/4HV7HI! !!!!!!VHI!! ! V7HI! ! !!!!!!V7Hi! ! KV.!11.3!! ! Form Diagram 11.3: Sonata KV. 11, Meneutto ! ! ! ! ! ! ! ! ! ! ! 15 ! ! !

This particular movement also exhibits the necessity of the violin/flute line. The keyboard begins the theme at the opening measure and in measure 2, the violin/flute enter with the same theme in imitation (see Figure 5).

Figure 5: Sonata KV. 11, Menuetto

Sonata No. 3 in A Major, KV. 12:

The third sonata composed within Opus 3, Sonata No. 3 in A Major, KV. 12, continues in the vein of two movements, Andante and Allegro, both in A Major. The first movement,

Andante, is a Type 3 sonata form including an exposition, development, and recapitulation with long, extended phrases and short repeated motives that comprise the melody. However, similar to

Sonata KV. 10, the first theme in its entirety does not appear in the recapitulation, but is stated at the beginning of the development in the dominant. The opening melodic theme is organized into three four-measure groups as shown in Form Diagram 12.1.

Exposition Development Recapitulation

First Theme Second Theme

a a a’ b b closing a a a a’ a b b closing 5 16 27 31 39 45 9 13 19 23 35 43 49 A: àE: E: àA: IAC PAC PAC PAC PAC HC PAC PAC PAC ii-V6/5-I V7-I V7-I V7-I V7-I V/V-V V-I V-I V-I ascending sequence

Form Diagram 12.1: Sonata KV. 12, mvt. 1 KV 12.1

The sixteenth -note triplet motive, first introduced within the violincello and left hand keyboard

line, then echoed in the violin/flute line, provides rhythmic propulsion and a unifying idea within the entire movement. Figure 6 shows the motivic relationship between the violin/flute line and that of the keyboard left hand and violincello. Each part is important to the sonata, providing forward motion and unity, especially within transitions.

Figure 6: Sonata KV. 12, Andante

Composed in 3/8, the Allegro is structured as a multi-couplet rondeau.16 Form Diagram

12.2 provides an outline of the rondo structure. ! ! ! ! !!!!!!!!!!! ! ! ! ! !!!!!!!!!!!!A! ! ! ! !!!!!!!!!A’!! ! ! ! !!!B! ! ! ! A’’! ! ! ! !!!!!!!A! ! !!!!!!!!!!B!! ! A! ! !!!!!!B’! ! ! !!!A! ! !!!!!C! ! A! !!!!B’’!!

! ! a! a’! !!!b!! !!!!b’!! !!!!!!a!! !!!!!a’!! !!!!!!!!b! !!!!!!!!!!!!!!!!!!!!b’’! !!!!!!!!!!a!!!!!!!!!!!!a!!!!!!!!!!!!!c! !c!!!!!!!!a+a!!!!!!!b’!!!!!!!!!!b’!! ! ! !!!!!!!9! !!!!!!!!!!!!17!!!!!!!!!25! !33! !41! !49!! !52! 57! !!!!!73!!!!!!!!!81! !!!!!!89! !!!!!!!!97!!!!!!!!!!!105!!!!121! A:!! !!!!!!!!! !!!!!!!!!!!!!E:! ! A:! ! f#m:!!! !bm:! A:!!f#m:!!!A:!! ! !!!!!!am:! !!!!!!!!!! !!!!!!!!!!!A:!!!!!!!!!! ! ! !!!!!!HC!! !!!!!!!PAC! !!!!!!!!!!!IAC!!!!!!!PAC!!!!!!!!!!!!!!HC!!!!!!!PAC!!!!!!!!!!PAC!!!!!!!PAC! PAC! !HC!!!!!!!!!PAC! !!!!!!HC! !!!!!!!HC! !!!!!PAC! !!!!!PAC! !!!!PAC! ! V/VHV! !!!!!!!VHI!! !!!!!!!!!VHI6!!!!!!!!VHI!! !!!!!!!!V/VHV!!!!!!!VHI!!!!!!!!!!!!VHi!!!!!!!!!!VHi!!!!!!!!!!!!!!!ii°HVHi!!!!!!V/VHV!!!!!!!VHI!!!!!!!!!!!!!!V/IIIHV7!!!!!!!!!! !!!!!VHI! !!!!!VHI! !!!!VHI! ! ! KV.!12.2!! Form Diagram 12.2: Sonata KV.12, mvt. 2 ! ! ! ! The! theme is eight measures in length, but the tempo of the movement makes the themes sound ! ! quite! short. Upon completion of sub-section C, at measure 104, the return of A and B sub- ! ! sections! are composed as variations of the original themes. The final A and Coda sections return ! in their initial form. One anomaly within this particular rondo is the presence of the parallel minor, A minor, to the original key A Major, found at measure 89. Although Form Diagram 12.2 graphs measures 89-104 as their own independent theme, the section could also be diagramed as a transition back to the A section based on the unison alignment of each part at the octave.

Despite the first movement only containing an initial forte dynamic marking, this movement has an abundance of markings. This particular movement makes use of the “echo” effect. Figure 7, measures 21 thru 29, illustrates two examples of presenting an idea then repeating it quietly then immediately returning to a louder dynamic level.

16 James Hepokoski and Warren Darcy, Elements of Sonata Theory, 393-394.

Figure 7: Sonata KV.12, mvt. 2, measures 21-29

Sonata No. 4 in F Major, KV. 13:

Sonata No. 4 in F Major, KV. 13 is a three movement sonata comprised of an Allegro,

Andante, and Menuetto I/Meneutto II. The overarching key structure follows a major (Allegro) to minor mode (Andante), return to major (Menuetto I), then migration to the submediant of the original major key area (Menuetto II), returning to the major with the da capo. The first movement, as shown in Form Digram 13.1, is a Type 2 sonata form, and follows the expected patterns with a brief shift to the sub-mediant, d minor within the development. The shift to d minor potentially foreshadows the migration to the submedient within the second menuet to come.

Exposition

First Theme Second Thematic Section

a a transition b b’ b’’ b’’’ closing

7 13 17 21 29 33 39 F: à C: PAC PAC IAC PAC PAC PAC V7-I V7-I V6/5-I V-I V-I V-I

! ! ! ! !!!!!!!Development!! ! ! ! ! ! !!!!!!Closing!(nonHrecapitulation)!! !

! ! ! !!a!! ! !!!a! !!!!!!!!!transition!material!! !!!!!!!!!a’!! !!!!!!!b! ! !!!b’! ! b’’! ! b’’’! !!!!!closing!! ! !45 ! ! !!!!!51! ! !!!!!!!!58!! !!!!!!!!!!65! !!!!!!!!!!!!!71! !!!!!!!!75!! !!!!!!!!83!! !!!!!!87! ! !93!! C:! ! ! ! ! ! !!dm:!!!!!!!!!!Bb:!!!!!!!C:!!!!!!!!!!F:! PAC! ! !!!!PAC! ! !!!PAC! ! !!!!!!PAC! ! ! VHI! ! !!!!VHI!! !!!!!!!!!!!!!!!!!VHi!! ! !!!!!!VHI! ! ! ! Form Diagram 13.1: Sonata KV.13, mvt. 1 ! ! ! ! ! ! Similar to the keyboard and violin/flute canon found in the Menuetto from KV. 11, the ! KV!13.1! violin/flute! line within KV. 13 follows the keyboard melody one measure later. The comparison ! is indicated! via Figures 5 and 8. ! ! ! ! !

Figure 8: Sonata KV. 13, mvt. 1 Opening Phrase

While the violin/flute enter with a repetition of the initial theme first heard in the keyboard, the violin/flute line is only three measures in length, not four. The second measure of the phrase is similar in rhythm, yet is varied in pitch content. This allows Mozart to harmonically align the third measure of the keyboard line to the second of the violin/flute line. Each appearance of the initial four-measure melodic material, despite variances in key, is followed by two measures of transitional material. The second theme is marked by a growing importance of the violin/flute line. Beginning in measure twenty-one the keyboard enters with the second theme in C major, but on the subdominant. C major is firmly established with the violin/flute entrance one measure later in twenty-two.

The Andante, in F minor, also incorporates points of imitation between the keyboard and violin/flute. This movement is in sonata form, yet a Type 3 as shown in Form Diagram 13.2.

However, instead of being an entire measure apart, the violin/flute enter two beats later, echoing the keyboard (see Figure 9). The repetition of the theme by the violin/flute is significant because

Mozart is again not restricting the violin/flute to accompanimental parts. The first theme, stated twice in f minor, establishes the relationship. The second theme, in Ab Major, begins with the same melodic idea as the opening before diverging in a new direction.

Figure 9: Sonata KV. 13, mvt. 2 Opening Phrase

! ! ! ! ! ! ! ! !!!!Exposition!! ! ! !! ! ! ! !!!!!a!! ! ! !!!a’! ! ! !!!!a’’! ! !!!!!!!!!!!!!!!!b!! ! ! a!! ! !!!!!!!!!!!!a’!! ! !!!!! ! !!!!!!!!!5! ! ! !!!!!!!!!!9!! ! !! 11! !!!!(15)! !!!!!!!!!!20! ! !!!!!!!!!!23! fm:! ! ! ! ! !!!!!!!!!!Ab:! ! ! !!!!!!!!Ab!Pedal! ! ! !!!!PAC! ! ! !!!!HC! ! ! !!!!!!PAC! ! !!!PAC! !!!!!!!!!!!!!!!!!!!!!!!(Evaded!Cadence)! ! PAC! ! ! !!!!VHi! ! !!!!!!V6/5/VHV! ! ! !!!!!V7HI!! ! !!!V7HI! ! ! !!!! ! ! V7HI! ! ! ! ! ! ! ! ! !!!!!!!!Development!! ! ! ! ! ! ! !!!Recapitulation!! ! ! ! ! a!! ! a’! ! ! !!!b! ! ! !!!!!!a!!!!!!!!! a’! !!!!!!!!! !!!b! ! !!!!!a! !!!!!!!!!a’!! !! !27! ! !!!31! ! !!!35! ! !!!!!!!!(39)! !!!!!!!!!!47! !!!!!51! !!!!!!!!!!!!55! !!!!!(59)!!!!!!!!!!!64! !!!67! Ab:! ! !!Bbm:! ! ! ! !!!!!!!!!!!!!!!!!!!!fm:! ! ! ! !!!!!!!!PAC! !!!!!!!!!PAC! ! ! ! !!!!!HC! ! PAC! !!!!!!!HC!! ! !!!!HC! ! HC! !PAC! ! !!!!!!!V7HI! !!!!!!!!!VHi! ! ! !!!!!!!!!!!vii°7HV!! ! VHi!!!!!!!!!!V/VHV!! ! !!!!iHV7!!! iHV7! !VHi!! ! ! ! Form Diagram 13.2: Sonata KV. 13, mvt. 2 ! 13.2!

The final movement of Sonata KV. 13 is comprised of two menuets, both in rounded binary form (ABA). The opening of Menuetto I is in F major while the second section begins immediately in C major then modulates in measure fourteen signaling the return to F Major. The first menuetto features a descending eighth note chromatic scale in the keyboard right hand, followed by an ascending chromatic eighth note scale in the violin/flute line. This alternation continues three times, a total of six measures ending with a two measure cadential approach. The second section of the first menuet continues the chromatic alternation, yet only in the keyboard line. The violin/flute line is relegated to repeated eighth-notes on C4. The return of the opening motive alternations returns to conclude the first menuet.

! ! ! ! ! ! Menuetto!I! ! ! ! ! ! ! ! Menuetto!II! ! ! ! ! ! ! ! ! !!!!!!!!a! ! ! !!!!!!!!a’! ! ! !!!!!!a!! ! ! !!!!!!b! ! ! !!!!b’! ! ! !!b!! ! !!!!!!!1! ! ! !9! ! ! !!!!!15! ! ! !!!1! ! ! !9! ! !!!!!!!!!!!!15! ! da!capo! F:! ! ! C:! ! ! !!!!F:!!! ! ! !!dm:! !!!!!!!!!!!am:! ! !!!!!!!!!!dm:! ! ! !!!!!! ! ! !!!!!!!!HC! ! ! HC! ! !!!!!!!!PAC! ! !!!!!!!!!PAC! ! !!!!!!!HC!! ! PAC! ! ! V6/4HV!! ! ! ! ! !!!!!!!!V7HI! ! !!!!!!!!!VHi! ! !!V/VHV!! ! VHI! ! ! ! Form Diagram 13.3: Sonata KV.13, Menuetto I and Menuetto II ! ! ! 13.3/4! ! ! Menuetto II, in d minor, is structured overall in a similar manner to Menuetto I. The first ! phrase! can be divided into two groups, a four measure presentation followed by a four measure ! ! continuation! and cadence, forming a sentence. The keyboard begins with a broken d minor triad, ! ! answered! by a broken A major triad in the second measure by the violin/flute. The keyboard returns in measure three with the repetition of A major, yet with the added seventh, forming a dominant chord, followed by another reiteration of d minor in the violin/flute. The subsequent four measures consist of an expanded broken chord motive within the keyboard line. Similar to that of the first menuet, the keyboard must answer itself within the second section of menuet two.

Menuetto II concludes with a reiteration of the opening.

Sonata No. 5 in C Major, KV. 14:

The fifth sonata, KV. 14, is organized into three movements, all in the key of C major.

The first movement in ternary form, the second a rondo, and the final movement a pair of menuets. The use of Alberti bass, similar to KV. 10, is a prominent feature within this sonata.

The first movement, Allegro, is in cut time and includes the Alberti bass written in eighth-note triplets as shown in Figure 10.

Figure 10: Sonata KV. 14, mvt. 1 Opening four measures

The first theme appears within the first four measures and is repeated a second time prior to the second theme. The second theme consists of twenty-four measures. Throughout the first theme the violin/flute line plays the Alberti bass pattern similar to that of the keyboard left hand, yet a third higher. Within the second theme however, the violin/flute line answers the trill motive first heard within the keyboard one beat later as exhibited in Figure 11.

Figure 11: Sonata KV. 14, mvt. 1 mm. 15-18

The key structure for movement one is as follows:

Exposition

First Theme Second Theme

a a transition b b b closing

6 11 15 19 23 31 C: à G: HC PAC HC PC PAC ii-V6/4-V7 V7-I V6/4-V V6/4-V7-vi V-I

Development Recapitulation

a a’ c c’ a a transition b b b closing

35 40 45 49 54 59 63 67 71 75 82

G: gm: àC: HC PAC HC HC HC HC HC PC IAC PAC V6/4-V7 V6/4-V-I V/V-V V6/4-V V6/4-V V6/4-V V6/4-V V7-vi V-I6 V-I

Form Diagram 14.1: Sonata KV. 14, mvt. 1 KV14.1

Movement two, also an Allegro, is melodically similar to that of KV. 13, mvt. 1, yet

structurally similar to that of the Allegro from KV. 12. The French Rondeau, structured into three

sections, organized by key relations beginning with major (ABA), then minor (C), then da capo

to major (ABA). The overall schematic is presented in Form Diagram 14.2.

A B A

a a’ a a’’ a’’ b b a a’ a a’’ a’’ 5 9 13 21 29 33 37 41 45 49 57

C: C-F-em-am-G-C gm: (g pedal) C: (repetition of previous A section) IAC HC IAC PAC PAC PAC V4/3-I6 V/V-V V4/3-I6 V-I V-I V-i

C A B A

c c’ c c’’ d d’ c c’

65 69 73 77 81 84 89 93 97 125 133 am: dm: àC: am: C: gm: C: IAC HC IAC PAC IAC IAC IAC PAC V-i V6/4-V V-i V7-i V4/2-i6 V4/2-I6 V-i V7-i

KV 14.2 – French Rondeau (3 parts, 1 major, 1 minor, da capo of 1Form Diagram 14.2: Sonatast) KV.14, mvt. 2

As in KV. 13, the violin/flute within KV. 14 is quite active, outlining a chordal countermelody and then answering the grace note motive in the fifth and sixth measures as shown in Figure 12.

Figure 12: Sonata KV. 14, Mvt. 2 Opening Theme

The second theme however is reversed from that of the keyboard as seen in Figure 13 beginning at measure twenty-nine. The violin/flute line first plays the thematic material from the third and fourth measures of the keyboard motive then plays the first two measures of the keyboard motive. Without the variances in instrumental timbre, the call and response idea could be lost.

Figure 13: Sonata KV. 14, mvt. 2 Second Theme

Both menuets are equally balanced, the first consisting of eight bars for the first half and

sixteen for the second, the second menuet containing eight measures within each half. Form

Diagrams 14.3a and 14.3b illustrate the outline of each menuet. The first menuet begins in C

Major then modulates to G Major within the sixth measure. However, the second half begins in F

Major for the first four measures, transitioning to G major within the next four measures, and

returns to C major.

! ! ! ! ! A! ! ! ! ! !!!!!!!!!A’!! ! ! ! ! !!!!!!!A! ! ! ! !!!!!!!!a! ! ! !!!!a’! ! !! !!a’’! ! !! !!!a’’’! ! ! !a!! ! ! a’’’!

! ! !!!! !5! ! !!!!!!!!!!!!9! ! !!!!!!!!!!!13! ! !!!!!!!!!!17!!!!! ! !!!!!!!!!!!!21! A A’ A !

!!C:! ! ! ! !G:! !!!!!!!!!!!C:! !!!F:! !!!!!!!!!!!D:! !G:! !!!!C:!

! ! ! ! ! !!PAC! ! ! !!!!!!!PC! ! ! !!!!HC! ! ! !!!!!!IAC!! ! PAC! a a’ a’’ a’’’ a a’’’ ! ! ! ! ! !!VHI! ! ! !!!!!IHIV! ! ! !!!!VHI! ! ! V4/6HI6! ! VHI! 5 9 13 17 21 !

KV14.3! C: àG: C: àF: D: àG: àC: ! FormIAC Diagram 14.3: PAC Sonata KV. 14,PC Meneutto I HC IAC PAC ! ! ! A! ! ! ! ! !!!!!!!!!!B! V6/4-I6 V-I I-IV V-I V4/6-I6 V-I !

! KV14.3 ! !!!!!!!!!!a!! ! !!!!a’!! ! ! !!!!b! ! !!!!!!!!!!!closing! ! ! ! !5! ! !!!!!!!!!!!!A 9! ! !!!!!!!!!!!! 13! ! ! B da!capo!! ! ! ! F:! ! ! ! C:!! !!!!!!!!!!D/dm:! ! F:!! ! ! !!!!!!!! HC! ! a !!!PAC ! ! a’ ! !!!!!!! ! ! b ! !!!PAC ! closing ! ! !!!!!!!I HV!! ! !!VHI !5 ! ! ! 9 !!!!!IV! H!!V4/3!! H!!V7!13H! I! da capo ! KV!14.4!! F: àC: D/dm: àF: ! HC PAC PAC ! I-V V-I IV - V4/3 - V7 - I ! ! KV 14.4 ! Form Diagram 14.3b: Sonata KV. 14, Menuetto II !

The second menuet, Menuetto II en Carillon17, is quite unique. Mozart intends for the performer and subsequent audience to envision the bells of a church tower. This is the first use of a specific tempo marking and the use of pizzicato in the violin/flute line (see Figure 14).

Figure 14: Sonata KV. 14, Menuetto II Opening Phrase

Sonata No. 6 in Bb Major, KV. 15:

The final sonata within Opus 3, KV. 15 in Bb Major, consists of two movements, Andate maestoso and Allegro grazioso. Both movements are a Type 2 sonata form, only including the tonic iteration of the second theme within the recapitulation. The first theme is used within the development, but does not return to the tonic key thereafter.

This particular movement varies from its predecessors. For the first time the violin/flute line is written independent to that of the keyboard which plays an accompaniment of dotted eighth-sixteenth notes within the first two measures while the violin/flute enters with the principal voice as seen in Figure 15.

17 Carillon is defined as a set of bells in a tower, played using a keyboard or by an automatic mechanism similar to a piano roll.

Figure 15: Sonata KV. 15 mvt. 1 Opening Phrase

After the initial two measures of the Allegro maestoso, the keyboard resumes its position as primary instrument. The alternation pattern is repeated a total of three times, the first two in

Bb major, the second leading into C major for the third repetition. The third iteration completes the modulation to C major and continues the movement toward F major. A dominant C7 chord and Medial Caesura conclude the first theme, including no transitional material between the first and second theme. The second theme remains in F major through the initial development section.

From F major, Mozart modulates through numerous keys before landing on a dominant, F7 chord, concluding the transition to the recapitulation thus harkening the return of the second theme in Bb Major.

! ! ! ! ! ! ! Exposition!! ! ! ! ! ! ! !!!!!!!!Development! !

! ! First!Theme!Area! ! ! !!!!!Second!Theme!Area! ! ! a! !!!!!!a’! ! a’’! !!!!!a’’’!! !!!!!!b!!!!!!! !!!!!!b! !! closing!! !!!!!a! ! !!!!!!c!! !!!!!!!!!!!!transition!!! !! ! ! !!!! !!!!!!!!!!5!! !!!!!9! !!!!!!!!!!13! !!!19! !!!!!!!!!!22! !!!!!25! ! !!!!!!!!31!! !!!!!35! ! !!!!!!!!!!43! !!!!!!!! Bb:!! ! ! !!!!!!!!F:!! ! !!F:!! ! ! ! ! !!!!!!F:! !!!!!!dm:!!!!!gm:!!!!!Eb/cm:!!!Bb:!!!!!!!!!! !!!!!!!!!!!!!!!!!!HC! ! HC!! !!!!!!!IAC!! HC! !!!!HC! ! HC! ! PC! !!!!!!!!!!!!IAC! ! !!!!!PAC!! !!!!HC! !!!!!!!!!!!!ii6HV4/2!! !!!!!!!!!!!VHV/V! !!!!V6/5HI!!!!!!!!!!It.6HV7! !!!V7HI! !!!!!!!!!!!!!!!V7HI! !!!!!!!!!!!IV6/4HI!!!!!!!!!!!!!!!!!!!!!vii°7Hi! ! !!!!V7HI! ! It.6HV7! ! ! ! ! ! ! !!Closing!(nonHrecapitulation)!! ! ! ! ! ! b! !!!!!!!!!b! !!!!!!!!!!closing!! !!!55! !!!!!!!!!!!!58! !!!!!!!61! Bb:! !!!!!! !!!!!HC!! ! !!!!!HC! ! PC! ! ii6HV6/4! ! ii6HV6/4! !!!!!!!!!IV6/4HI! ! ! KV.!15.1!! Form Diagram 15.1: Sonata KV. 15, mvt. 1

The initial theme, of KV. 15 movement two, as presented in Figure 16, is in Bb major is followed by the second theme in F major. The second theme enters after four iterations of the first theme. The second theme consists of relatively simple two bar phrases. The first theme returns within the development in F major, then modulated to Bb major with the new theme. The

‘c’ theme incorporates qualities from both the initial and secondary theme and is used throughout the remaining portions of the development. The recapitulation, as previously stated, only includes the second theme and closing area from the exposition. The finale, Allegro grazioso, also a Type 2 sonata, is indicated in Form Diagram 15.2.

! ! ! ! ! !!Exposition!! ! ! ! ! ! First!Theme!Area! ! ! !!!!!!Second!Theme!Area!! ! ! !!!!!!!!!!a!! !!!!a! !!!!!!!!!!!a’! !!!!!!a’! ! b!! ! b’! !!!!!closing!! ! ! !!!!!!!!!!5!! !!!9! !!!!!!!!!!14! !!!!!18! ! !25! !!!!!!!!!!!!33! ! 37! Bb:! ! ! ! ! !!!!F:! ! !!!!!!HC! ! HC! !!!!!HC! !!!!!!!!!!!!IAC! !!!!!!!!!!HC! !!!!!PAC!!!!!!!!!!!!!!!!!!! !!!!!!!!!!V6/4HV6!!!!!V6/4HV6!!!!!!V7/VHV! !!!!!!!!!!!V6HI!!!!!!!!V6/VHV7! !!!!!V7HI! ! ! ! ! ! ! ! ! ! !!!!!!Development!! ! ! ! ! ! ! !!!!!!!!Closing!! ! ! a!! !!!!!a! ! c! !!!!!!c! !!!!!!!!!!!c!! !!!!!!c! ! c!! !!!!!!!!!!!c!!!!!!! !!!!!!c! ! !!!!!b+b’!! ! ! ! ! !!!37! !!!!!!!!!!41! !!!!!!46! !!!!!!!!!!50! !!!54! !!!!!!!!!!58! !!!!!!62! ! !66! !!!!!!!!!!70! !!!!!!!74! ! !!!!!!!!!!!!88! F:! ! !Bb:! ! ! ! !!!!!Eb:!!!!!!!!cm:! !!!!F:! !Bb:! ! ! ! ! !V7HI!pattern! ! !!!!HC! ! IAC! !!!IAC! !!!!!!!!!!IAC! !!!IAC! !!!!!!!!!!!!IAC! ! ! !!!!HC! ! !!HC! ! !!!!!PAC! !!!!!!!!!!!!IHV6/5! !!!!!!!V6/5HI! !!V7HI! !!!!!V4/3HI!!!!!!V4/2HI6!! !!!!!V4/2Hi6! ! !!!!V6/5/VHV7!!!!!V6/5/VHV7! !!!!!ii6HV6/4HVHI! ! ! ! KV!15.2!! Form Diagram 15.2: Sonata KV.15, mvt. 2 ! !

The themes are graceful and petite, consisting of two measure phrases in 2/4. The texture of the Allegro grazioso lies in stark contrast to the first movement. The heavy use of dotted rhythms and full chordal structure is replaced by a one to one ratio between the melody and harmony.

Figure 16: Sonata KV. 15, mvt. 2 Opening Phrase

CHAPTER III

COMPARATIVE ANALYSIS ON ORIGIN OF FLUTE LINE

The following pages include side-by-side table comparisons of the origin of the flute line in the editions of Louis Moyse and Joseph Bopp to that of the original violin/flute line as found in the Neue Mozart-Ausgabe first edition. Publishers rarely include mention of these re- arrangements of the original composition. Through this comparison I intend to display the large amount of the original violin/flute lines Louis Moyse and Joseph Bopp do not maintain within their editions. A final table compares the total number of original measures preserved to that of complete measures per movement. For example, Table 16 highlights how Louis Moyse retains twenty-three and Joseph Bopp preserves twenty-nine out of the total sixty-eight measures from movement one of Sonata KV. 10.

Succeeding the tables, detailed commentary will only be provided for KV. 10 and KV.

13, the two sonatas for which I provide new transcriptions. Sonata’s KV. 10 and KV. 13 were selected as representation of compositional development by W.A. Mozart through an early and later sonata within Opus 3.

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 8 1 – 8 Violin/Flute line Violin/Flute line 9 – 13 beat 4a 9 – 14 Right hand piano Right hand piano 13 final sixteenth – downbeat sixteenth mm. 16 Violin/Flute line 16 – 21 15 Violin/Flute line 16 Right hand piano 17 – 21 Violin/Flute line Right hand piano 22 – 28 22 – 28 Right hand piano Right hand piano 29 – 36 29 – 36 Violin/Flute line Violin/Flute line 37 – first eighth 37 – downbeat Right hand piano of mm. 43 56 Right hand piano 43 – first sixteenth mm. 56 Violin/Flute line 56 – 61 56 – 62 Violin/Flute line Right hand piano 62 – 68 63 – 68 Right hand piano Table 10.1 Comparison of Flute Line Origin for Sonata KV. 10, mvt. 1

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 8 1 – 8 Right hand piano Violin/Flute line 9 – 12 9 – 12 Violin/Flute line Right hand piano 13 – 16 13 – 16 Right hand piano Violin/Flute line 17 – 20 17 – 19 Violin/Flute line Right hand piano 21 – 23 20 – 23 Right hand piano Violin/Flute line 24 – 27 24 – 43 Right hand piano Right hand piano 28 – 31 Violin/Flute line 32 – 39 Right hand piano 40 – 55 44-47 Violin/Flute line 48-55 Right hand piano Violin/Flute line 56 – 59 56-61 Violin/Flute line Right hand piano 60 – 66 62-66 Right hand piano Table 10.2: Comparison of Flute Line Origin for Sonata KV. 10, mvt. 2

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 22 1 – 4 Right hand piano 5 – 8 Violin/Flute line 9 – 16 Right hand piano 17 – 20 Violin/Flute line 21 – 22 Right hand piano

Right hand piano 1 – 26 1 – 4 Right hand piano 5 – 8 Violin/Flute line 9 - 10 Right hand piano 11 – 20 Right hand piano 21 – beat 2 Violin/Flute line mm. 24 24 beat 3 – 26 Right hand piano Table 10.3: Comparison of Flute Line Origin for Sonata KV. 10, Menuetto I and II

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 10 1 – 10 Right hand piano Violin/Flute line 11 – 17 11 – 17 Violin/Flute line Right hand piano 18 – 23 18 – downbeat Right hand piano mm. 22 22 – 23 Violin/Flute line Right hand piano 24 – 27 24 – 41 Right hand piano Violin/Flute line 28 – 31 Right hand piano 32 – 37 Violin/Flute line 38 – 44 42 – 46 Violin/Flute line Right hand piano 45 – 50 47 – downbeat Right hand piano mm. 49 49-50 Violin/Flute line Table 11.1: Comparison of Flute Line Origin for Sonata KV. 11, mvt. 1

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 8 1 – 8 Right hand piano Violin/Flute line 9 – 16 9 – 19 Violin/Flute line Right hand piano 17 – 30 20 – 30 Right hand piano Right hand piano 31 – 34 31 – 34 Violin/Flute line Violin/Flute line 35 – 54 35 – 38 Right hand piano 39 – 50 Violin/Flute line Right hand piano 55 – 68 51 – 68 Right hand piano Table 11.2: Comparison of Flute Line Origin for Sonata KV. 11, mvt. 2

Louis Moyse Origin of Measure (s) Measure (s) Joseph Bopp Origin Flute Line of Flute Line Right hand piano 1 – 8 1 – 8 Right hand piano Violin/Flute line 9 – 16 9 – 16 Violin/Flute line Right hand piano 17 – 20 17 – 20 Right hand piano Right hand piano 21 – beat 2 mm. 21 – 36 Right hand piano 28 Violin/Flute line 28 – 30 Right hand piano 31 – beat 2 mm. 34 Violin/Flute line 34 – 36 Right hand piano 37 – 48 37 – 40 Violin/Flute line 41 – 48 Right hand piano Table 11.3: Comparison of Flute Line Origin for Sonata KV. 11, mvt. Menuetto

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano Pick-up to 1 – beat 2 1 – beat 2 mm. 10 Right hand piano mm. 8 Violin/Flute line Beat 3 mm. 8 – beat Beat 2 mm. 10 – Violin/Flute line 2 mm. 12 beat 1 mm. 19 Right hand piano Beat 3 mm. 12 – 15

Violin/Flute line 16 – 18 Right hand piano 19 – beat 1 mm. 21 Beat 2 mm. 19 – Right hand piano beat 1 mm. 21 Violin/Flute line Beat 2 mm. 21 – 22 Beat 2 mm. 21 – 22 Violin/Flute line Right hand piano Mm. 23 – beat 2 23 – beat 3 mm. 26 Violin/Flute line mm. 38 27 – beat 2 mm. 40 Right hand piano Violin/Flute line Beat 3 mm. 38 – Beat 2 mm. 40 – Violin/Flute line beat 2 mm. 42 beat 2 mm. 42 Right hand piano Beat 3 mm. 42 - 45 Beat 3 mm. 42 – 44 Right hand piano Violin/Flute line 46 – 48 45 – 48 Violin/Flute line Right hand piano 49 – beat 1 mm. 51 49 – 52 Right hand piano

Violin/Flute line Beat 2 mm. 51 – beat 1 mm.52 Right hand piano 52 Table 12.1: Comparison of Flute Origin for Sonata KV. 12, mvt. 1

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – beat 2 mm. 16 1 - 16 Violin/Flute line Violin/Flute line Beat 3 mm.16 – beat 17 – beat 2 mm. 32 Right hand piano 2 mm. 20 Right hand piano Beat 3 mm. 20 – Beat 3 mm. 32 – Violin/Flute line beat 2 mm. 48 beat 2 mm. 40 Beat 3 mm. 40 – Right hand piano beat 2 mm. 48 Violin/Flute line Beat 3 mm. 48 – Beat 3 mm. 48 – Violin/Flute line beat 2 mm. 56 beat 2 mm. 72 Right hand piano Beat 3 mm. 56 – beat 2 mm. 60 Violin/Flute line Beat 3 mm. 60 – beat 2 mm. 72 Right hand piano Beat 3 mm. 72 – Beat 3 mm. 72 – Right hand piano beat 2 mm. 88 beat 2 mm. 88 Violin/Flute line Beat 3 mm. 88 – Beat 3 mm. 88 – Violin/Flute line beat 2 mm. 104 beat 2 mm. 112 Right hand piano Beat 3 mm. 104 – Beat 3 mm. 112 – Right hand piano beat 2 mm. 120 beat 2 mm. 120 Violin/Flute line Beat 3 mm. 120 – Beat 3 m. 120 – Violin/Flute line beat 2 mm. 128 beat 2 mm. 136 Right hand piano Beat 3 mm. 128 – Beat 3 mm. 136 – Right hand piano 143 143 Table 12.2: Comparison of Flute Origin for Sonata KV.12, mvt. 2

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 5 1 – 5 Right hand piano Violin/Flute line 6 – 11 6 – 11 Violin/Flute Right hand piano 12 – beat 1 mm. 16 12 – beat 1 mm. 16 Right hand piano Violin/Flute line Beat 2 mm. 16 – Beat 2 mm. 17 – Violin/Flute beat 2 mm. 20 beat 1 mm. 20 Right hand piano Beat 3 mm. 20 – 20 – 32 Right hand piano beat 2 mm. 24 Violin/Flute line Beat 2 mm. 24 – 38 33 – 38 Violin/Flute Right hand piano 39 – 44 39 – 44 Right hand piano Right hand piano 45 – 49 45 – 49 Right hand piano Violin/Flute line 50 – 55 50 – 57 Violin/Flute Right hand piano 56 – beat 1 mm. 57

Violin/Flute line Beat 2 mm. 57 – Beat 1 mm. 58 Right hand piano beat 1 mm. 58 Right hand piano Beat 3 mm. 58 – 58 – 63 Violin/Flute beat 1 mm. 59 Violin/Flute line Beat 2 mm. 59 – beat 1 mm. 62 Right hand piano Beat 2 mm. 62 - 64 – 78 Right hand piano Beat 1 mm. 70 Violin/Flute line Beat 2 mm. 70 – beat 1 mm. 74 Right hand piano Beat 2 mm. 74 – 78 Violin/Flute line 79 - 92 79 – 82 Violin/Flute 82 – 86 Right hand piano 87 – 92 Violin/Flute Right hand piano 93 - 98 93 – 98 Right hand piano Table 13.1: Comparison of Flute Origin for Sonata KV.13, mvt. 1

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 26 1 – 26 Right hand piano Right hand piano 27 – 70 27 – 30 Right hand piano 31 – 34 Violin/Flute 35 – 70 Right hand piano Table 13.2: Comparison of Flute Origin for Sonata KV.13, mvt. 2

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 8 1 – 8 Right hand piano Violin/Flute line 9 – 14 9 – 14 Violin/Flute Right hand piano 15 – 22 15 – 22 Right hand piano

Right hand piano 1 – 22 1 – 8 Right hand piano 9 – 14 Violin/Flute 15 – 22 Right hand piano Table 13.3: Comparison of Flute Origin for Sonata KV. 13, Menuetto I and II

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 4 1 – 4 Right hand piano Violin/Flute 5 5 Violin/Flute Right hand piano 6 – 14 6 – 8 Right hand piano 9 Violin/Flute 10 – 14 Right hand piano Violin/Flute 15 – 22 15 Violin/Flute 16 Right hand piano 17 Violin/Flute 18 Right hand piano 19 Violin/Flute 20 – downbeat mm. Right hand piano 23 Right hand piano 23 – 34 23 – beat 3 mm. 28 Violin/Flute 28 – 34 Right hand piano Right hand piano 35 – 38 35 – 48 Right hand piano Violin/Flute 39 Right hand piano 40 – 44 Violin/Flute 45 – 48 Right hand piano 49 – 57 49 – beat 3 mm. 53 Violin/Flute Line Violin/Flute 58 Right hand piano 59-66 Beat 4 mm. 53 - 66 Right hand piano Violin/Flute 67 – 73 67 – beat 3 mm. 72 Violin/Flute Right hand piano 74 – 86 Beat 4 mm 72 – 86 Right hand piano Table 14.1: Comparison of Flute Origin for Sonata KV. 14, mvt. 1

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 8 1 – 8 Violin/Flute Violin/Flute 9 – 20 9 – 28 Right hand piano Right hand piano 21 – 28 Violin/Flute 29 – 36 29 – 44 Violin/Flute Right hand piano 37 – 44 Violin/Flute 45 – 56 45 – 64 Right hand piano Right hand piano 57- 64 Violin/Flute line 65 – 72 65 – 72 Violin/Flute Right hand piano 73 – 80 73 – 80 Right hand piano Violin/Flute 81 – 96 81 – 104 Violin/Flute Right hand piano 97 – 104 Violin/Flute 105 – 116 105 – 124 Right hand piano Right hand piano 117 – 124 Violin/Flute 125 – 132 125 – 140 Violin/Flute Right hand piano 133 – 140 Violin/Flute 141 – 152 141 – 160 Right hand piano Right hand piano 153 – 160 Table 14.2: Comparison of Flute Origin for Sonata KV. 14, mvt. 2

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Right hand piano 1 – 8 1 – 8 Right hand piano Violin/Flute 9 – 16 9 – 16 Violin/Flute Right hand piano 17 – 24 17 – 24 Right hand piano

Right hand piano 1 – 16 1 – 8 Right hand piano 9 – 12 Violin/Flute 13 – 16 Right hand piano Table 14.3: Comparison of Flute Origin for Sonata KV. 14, Menuetto I and II

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Violin/Flute 1 – 2 1 – 6 Violin/Flute Right hand piano 3 – 4 Violin/Flute 5 – 6 Right hand piano 7 – 8 7 – 8 Right hand piano Violin/Flute 9 – 10 9 – 10 Violin/Flute Right hand piano 11 – 12 11 – 12 Right hand piano Violin/Flute 13 – 14 13 – 19 Violin/Flute Right hand piano 15 – 16 Violin/Flute 17 – 20 20 - 21 Right hand piano Right hand piano 21 – 30 22 Violin/Flute 23 – 28 Right hand piano 29 – 30 Violin/Flute Violin/Flute 31 – 32 31 – 41 Violin/Flute Right hand piano 33 – 34 Violin/Flute 35 – 36 Right hand piano 37 – beat 2 mm. 38 Violin/Flute Beat 3 mm. 38 – 44 42 Right hand piano 43 – 46 Violin/Flute Right hand piano 45 – 47 47 – 52 Right hand piano Violin/Flute 48 – 56 53 – 55 Violin/Flute 56 – 57 Right hand piano Right hand piano 57 – 66 58 Violin/Flute 59 Right hand piano 60 Violin/Flute 61 – 66 Right hand piano Table 15.1: Comparison of Flute Origin for Sonata KV.15, mvt.

Louis Moyse Origin Measure (s) Measure (s) Joseph Bopp of Flute Line Origin of Flute Line Violin/Flute 1 – 24 1 – 24 Violin/Flute Right hand piano 25 – 36 24 – 32 Right hand Piano 33 – 36 Violin/Flute Violin/Flute 37 – 43 37 – 57 Right hand piano Right hand piano 44 – 51 Violin/Flute 52 – 61 58 – 61 Violin/Flute Right hand piano 62 – 73 62 – 87 Right hand piano Violin/Flute 74 – 79 Right hand piano 80 – 85 Violin/Flute 86 – 91 88 – 91 Violin/Flute Table 15.2: Comparison of Flute Origin for Sonata KV.15, mvt. 2

Louis Moyse: Total Measures per Joseph Bopp: Total Measures from movement Total Measures from Violin/Flute Line Violin/Flute Line Sonata KV. 10, mvt. 23 68 29 1 Sonata KV. 10, mvt. 25 66 18 2 Sonata KV. 10, 0 22 8 Menuetto I Sonata KV. 10, 0 26 8 Menuetto II Sonata KV. 11, mvt. 18 50 16 1 Sonata KV. 11, mvt. 28 68 27 2 Sonata KV. 11, 13 48 12 Menuetto Sonata KV. 12, mvt. 18 52 22 1 Sonata KV. 12, mvt. 48 143 87 2 Sonata KV. 13, mvt. 52 98 39 1 Sonata KV. 13, mvt. 0 70 4 2 Sonata KV. 13, 6 22 6 Menuetto I Sonata KV. 13, 0 22 6 Menuetto II Sonata KV. 14, mvt. 22 86 22 1 Sonata KV. 14, mvt. 88 160 72 2 Sonata KV. 14, 8 24 8 Menuetto I Sonata KV. 14, 0 16 4 Menuetto II Sonata KV. 15, mvt. 31 66 38 1 Sonata KV. 15, mvt. 51 91 36 2 Table 16: Comparison of Total Measures Derived from Original Violin/Flute Line

Table 16 provides a complete overview of measures preserved from the origin violin/flute line in the editions by Moyse and Bopp. Both editors chose to retain only a small portion of the original violin/flute line, instead choosing to highlight the flute by giving the flute the original right hand keyboard line. Louis Moyse, within his edition of Sonata KV.10, retains only forty- eight measures out of the total one hundred-eighty-two measures from the original violin/flute line. Joseph Bopp, for the same sonata, preserves a few more measures, sixty-three, from the original violin/flute line. In turn, Moyse keeps fifty-eight out of the total two hundred-twelve measures from Sonata KV.13, while Bopp only maintains forty-nine. Based upon the flute’s prominence in the editions of Moyse and Bopp, over that of the keyboard as in the first edition, much of the imaginative character Mozart created through interplay and color is lost.

The origin of the flute lines for Moyse and Bopp often correlate with each other and follow similar trajectories. However, there are points of departure. Diagrams 16 and 17 provide comparison for the origin of the flute line within Sonata KV.10, movement 1, as found within the editions of Moyse and Bopp. For example, the first movement of Sonata KV. 10 within Moyse’s edition, begins with the flute line originating from the right hand of the keyboard, while Bopp uses the original violin/flute line to begin his flute-specific part. The second phrase, measures 9-

14, thus diverge and switch, Moyse taking the flute line from the original and Bopp taking it from the right hand of the keyboard. This type of flip-flop editing continues until Moyse and

Bopp converge in measure seventeen, closing out the first section. Similar to the opening, Moyse derives the flute line from the keyboard right hand, while Bopp the original violin/flute line in their development sections. Within their recapitulations, Moyse keeps on the same trajectory as his exposition, while Bopp’s flute line is simplified in comparison to his exposition.

Keyboard Right Hand KRH KRH KRH KRH KRH Keyboard Right Hand KRH KRH KRH KRH KRH

a a’ a’ cont. b closing a a’ transition b closing a a’ a’ cont. b closing a a’ transition b closing 1 9 13 15 22 29 37 43 55 62

1 9 Violin/Flute 13 15Violin/Flute 22 29 37 Violin/Flute 43 Violin/Flute 55 62

Violin/Flute Violin/Flute Violin/Flute Violin/Flute Form Diagram 16: Origin of Flute Line within Sonata KV. 10, mvt. 1 edited by Louis Moyse

Keyboard Right Hand KRH KRH KRH KRH

a a’ b closing a a’ trans. b closing Keyboard Right Hand KRH KRH KRH KRH

1 9 15 16 17 22 29 37 56 63 a a’ b closing a a’ trans. b closing

1 Violin/Flute 9 15 16 17 V/F V/F22 29Violin/Flute 37 Violin/Flute56 63

Violin/Flute V/F V/F Violin/Flute Violin/Flute

Form Diagram 17: Origin of Flute Line within Sonata KV. 10, mvt. 1 edited by Joseph Bopp

When relating the origin of Moyse and Bopp’s flute lines to the thematic and harmonic function within the movement (compare with Diagram 10.1), discovered through analysis, both editors maintain relative consistency of line better within the development and recapitulation than their expositions. Moyse, within his exposition, reverts back to the keyboard right hand prior to the cadential phrase in measure 15. Joseph Bopp completes the second phrase in the keyboard right hand, however he oscillates between the violin/flute line and keyboard right hand at the opening of the ‘b’ theme in measure 15.

Another example is represented in Form Diagram 18 and Form Diagram 19. Moyse’s edition of KV. 13 movement two includes a flute line strictly originating from the right hand of the keyboard. Joseph Bopp also primarily uses the right hand of the keyboard to produce his flute line, except in measures 31-34. When relating the origin of Moyse and Bopp’s flute lines to the

thematic and harmonic function within this movement (compare with Diagram 13.2), Bopp may

be exemplifying the tonal shift to Bb minor through his alternation.

! Keyboard!Right!Hand!! ! !! ! Keyboard!Right!Hand!! !! !!!a!! ! b! !!!!!!!!!!!!a!! !!!!!!!!!!!!!a! !!!!!!!!a’! ! !!!!!!!!!b!!! !!!!!!!!!!!a!! !!!!!!!!b!! ! !!!!!!!a!! !! !!!!!!!!!! ! !11! ! !20! !!!!!!!!!!!!!!!27! !!!!!!!!!!!31! !!!!!!!!!!!35! !!!!!!!!!!!47! !!!!!!!!!!!55! !!!!!!!!!!!64! !! !!!a!! ! b! !!!!!!!!!!!!a!! !!!!!!!!!!!!!a! !!!!!!!!a’! ! !!!!!!!!!b!!! !!!!!!!!!!!a!! !!!!!!!!b!! ! !!!!!!!a!! !! !!!!!!!!! ! ! !11! ! !20! !!!!!!!!!!!!!!!27! !!!!!!!!!!!31! !!!!!!!!!!!35! !!!!!!!!!!!47! !!!!!!!!!!!55! !!!!!!!!!!!64! !! Form Diagram 18: Origin of Flute Line within Sonata KV. 13, mvt. 2 edited by Louis Moyse !! !! ! !!!!!!!!Keyboard!Right!Hand!! !! !! !! !!!!a!! !!!!!!!!! Keyboard!Right!Hand!b! !!!!!!!!!!!!a!! ! !!!!!!!!!!!!!a! !!!!!!!!a’! ! !!!!!!!!!b!!! !!!!!!!!!!!a!! !!!!!!!!b!! ! !!!!!!!a!! !! !!!!!!!!!! ! !11! ! !20! !!!!!!!!!!!!!!!27! !!!!!!!!!!!31! !!!!!!!!!!!35! !!!!!!!!!!!47! !!!!!!!!!!!55! !!!!!!!!!!!64! !! !!!a!! ! b! !!!!!!!!!!!!a!! !!!!!!!!!!!!!a! !!!!!!!!a’! ! !!!!!!!!!b!!! !!!!!!!!!!!a!! !!!!!!!!b!! ! !!!!!!!a!! !! ! ! ! ! ! ! !!!!!!!!!!!Violin/Flute!! !!!!!!!!! ! ! !11! ! !20! !!!!!!!!!!!!!!!27! !!!!!!!!!!!31! !!!!!!!!!!!35! !!!!!!!!!!!47! !!!!!!!!!!!55! !!!!!!!!!!!64! !! !! ! ! ! ! ! ! !!!!!!!!!!!Violin/Flute!! !! !! !! Form Diagram 19: Origin of Flute Line within Sonata KV. 13, mvt. 2 edited by Joseph Bopp !! !! !! ! ! Other than discrepancies between the origins of the flute line, both Louis Moyse and ! Joseph Bopp avoid many of the violin-specific techniques by deriving the flute line from the

keyboard instead. When the editors do engage a violin-specific attribute, such as triple-stops,

they do so differently. In movement one of Sonata KV. 10 Louis Moyse chooses to have the flute

play a Bb on beat three in measure twenty-one and resolves the Bb to A in measure twenty-

two.18 At the same cadence, Joseph Bopp has the flute play the leading tone, E-natural, of the

upcoming key F Major leaving it unsolved by having the flute continue, as Moyse did, to the A,

18 Measure twenty-one and twenty-two form a half cadence in F Major (V/V-V7). The Bb functioning as the seventh in the V7 (C7) chord.

found in the right hand keyboard part. The following three figures represent that changes between the three editions in regard to their treatment of the violin triple stops.

Figure 17a: Sonata KV. 10, mvt. 1, mm. 20-23, NMA Edition

Figure 17b: Sonata KV. 10, mvt. 1, mm. 19-24, Louis Moyse Edition

Figure 17c: Sonata KV. 10, mvt. 1, mm. 19-24, Joseph Bopp Edition

The cadence concluding the first section of KV.10/1 also varies between Moyse and Bopp.

Moyse chooses to have the flute play the tonic, F, while Bopp has the flute play the mediant, E- natural.

Figures 18b and 18c illustrate two additional approaches to dealing with double stops found within the second measure of Sonata KV. 15, shown in Figure 20a. Both Joseph Bopp and

Louis Moyse maintain the violin/flute line from the first edition. However, as shown in Figure

18b, Bopp omits the lower two pitches, A3 and F4, while Moyse creates an appoggiatura to be performed on the beat as denoted by the asterisk in Figure 18c. Bopp and Moyse each provide a solution to the double stop problem, yet in this particular case, Moyse achieves greater timbral consistency by simulating the roll of the violin bow between the three strings and pitches.

Figure 18a: Sonata KV. 15, mvt. 1, mm. 1-3, Neue Mozart Ausgabe edition

Figure 18b: Sonata KV. 15, mvt. 1, mm. 1-3, Joseph Bopp edition

Figure 18c: Sonata KV. 15, mvt. 1, mm. 1-3, Louis Moyse edition

Due to the presence of the pizzicato violin/flute line within Sonata KV. 14, most of the current editions for flute and keyboard switch out the right hand of the keyboard with the original violin/flute line, avoiding the string specific skill of pizzicato. Moyse and Bopp choose this approach.

Further adaptations within their transcriptions include changes in ornamentation, dynamics, articulation, range displacement, and other violin-specific techniques. With regard to ornamentation, Louis Moyse often notates appoggiaturas, acciaccaturas, and nachschlags that would otherwise be added at the discretion of the performer using the first edition. For example,

Figure 19a represents an excerpt from the NMA edition of the opening to KV. 10 and Figure 19b is the same excerpt, but from the edition by Louis Moyse.

Figure 19a: Sonata KV. 10, mvt. 1, mm. 1-3, NMA edition

Figure 19b: Sonata KV. 10, mvt. 1, mm. 1-3, Louis Moyse edition

As previously written, the origin of the flute line in Moyse’s edition comes from the right hand of the keyboard. Secondly, Moyse adds the necessary nachschlag’s after each half-note trill in the opening measure. What would have been an understood norm in Mozart’s time, Moyse notated. Moyse also includes direction for before-beat and on-beat ornaments. The single asterisk

(*) seen at the top of measure two indicates that the ornament should be played on the beat. If no asterisk is present, it is understood that the ornament should be performed prior to the beat.

In instances where Mozart included an ornament, Moyse notates the ornament in modern notation. Within Sonata KV. 10, movement two, Moyse continues to alter the articulation, dynamics, adds notated ornamentation and even alters the ornamentation as seen in Figures 20b verses that of Figure 20a. The NMA provides a performance suggestion at the top of measure sixteen where the appoggiatura (notated as a quarter-note) is indicated as a half-note resolving to the quarter. However, Joseph Bopp notates the ornamentation, but in the reverse to the suggestion made in the NMA edition. Louis Moyse concurs with Bopp in his later edition. The audible stress/release relationship between dissonance and resolution is lost.

Within the same excerpts, additional dynamic and articulation markings are present as well. Instead of maintaining the written forte as seen in first edition, Moyse indicates the suggestive dynamic level of mezzo forte. Moyse also includes a legato style marking for the left hand of the keyboard. Moyse throughout the movement incorporates slurs and staccati where

Mozart did not or only suggested the inclusion of slurs.

Figure 20a: Sonata KV. 10, mvt. 2, mm. 12-18, NMA edition

Figure 20b: Sonata KV. 10, mvt. 2, mm. 12-19, Louis Moyse edition

While Joseph Bopp’s edition does not go unaltered from the first edition, his edits are fewer than those of Moyse. Much of the ornamentation, articulation, and dynamic markings are unchanged from the first edition. The amendments Bopp makes often coincide with aiding the flute technically. As previously stated, within the Andante of KV. 10, Moyse notates much of the

ornamentation and includes one variance from the first edition. Joseph Bopp, as shown in Figure

21 does as well.

Figure 21: Sonata KV. 10, mvt. 2, mm. 12-23, Joseph Bopp edition

The opening five measures of Sonata No. 4, KV. 13 is a final example demonstrating the discrepancies between the NMA edition and that of Louis Moyse. The opening theme begins originally in the keyboard line dominated by trilled sixteenth-notes above a methodic eighth-note repetition. Moyse, as shown in Figure 22b, unlike that of Figure 22a, creates the flute line from the keyboard, adjusts the dynamic level from forte to a suggested mezzo forte, modifies the indicated ornament from trill to mordent, makes the duple slurs permanent, and also provides an articulation marking for the keyboard left hand.

Figure 22a: Sonata KV. 13, mvt. 1, mm. 1-6, NMA edition

Figure 22b: Sonata KV. 13, mvt. 1, mm. 1-8, Louis Moyse edition

After a thorough comparative analysis between the editions of Louis Moyse and Joseph

Bopp to that of the first edition the need to produce a transcription that holds the first edition and performance practice at the center of the editing process becomes apparent. Unlike these predecessors, the goal of my transcription is not to emphasize the flute specifically, but to

highlight the colors, textures, and timbres possible through a practical interpretation19.

Comparison of Figures 23 and 24 illustrates my approach. Figure 24 demonstrates an example of my new flute transcription versus that of Louis Moyse. My excerpt was created following the violin/flute line found within the Neue Mozart-Ausgabe edition and engaging historical performance practices. The opening eight measures reiterate the original violin/flute line, despite it being of a secondary nature to the more melodic line found in the right hand of the keyboard.

The dynamic marking corresponds to the first edition as well. This passage did not require any alterations of range to accommodate the flute.

Figure 23: Sonata, KV. 10 by W.A. Mozart, opening 9 measures as found in the Neue Mozart- Ausgabe edition

19 I use the term practical for my interpretation as a representation for adjusting pitches and techniques not possible on the flute from those as originally notated in the first and NMA edition.

Sonata No. 1 in Bb, Op. 3 KV. 10

W.A. Mozart Allegro . . œ . œ b4 . œ. œ j . œ. . œ. œ œ . œ. œ œ Flute &b 4 ‰ œ ‰ œ œ ‰ œ Œ ‰ œ Œ New Edition J . J J

f r Ÿ Ÿ Ÿ nœ œ™ œ . . . r Ÿ b4 ˙ œœ œ œ œ œ œ™ œœœ œ. œ. œ. Flute &b 4 ˙ œ œ ‰ J ‰ Louis Moyse Edition J (mf) . œ b œ œ œ œ œ œ œ. œ. . œ. œ œ Fl. &b Œ œ Œ

4 r Ÿ . . œ œ™ œ . . . b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. &b ‰ J

. . œ bb ‰ œ. œ œ œ Œ Œ œ œ œ œ œ œ œ. 8 œ Œ Fl. & J œ œ œ Ÿ r ™ . . . œ . . bb œ œ œœœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ Œ Fl. & J

Figure 24: Comparison of opening eight measures from Sonata KV. 10 between the New Transcription and the Louis Moyse Edition

CHAPTER III

NEW TRANSCRIPTIONS

Performance Practice:

In order to properly create and then perform a new transcription, historical context of the original edition is essential. It is therefore important at this junction to take a moment to discuss performance practice in the music of Mozart. The primary sources of performance practice regarding eighteenth-century composers are treatises, include A Treatise on the Fundamental

Principles of Violin Playing by Leopold Mozart, a treatise on keyboard playing, Essay on the

True Art of Playing Keyboard Instruments by C.P.E. Bach, and a flute treatise, On Playing the

Flute, by Joachim Quantz. The subsequent pages serve as a survey covering certain principle areas idiomatic to performance practice in Mozart’s compositions including character, tempo, repeats, dynamics, articulation, ornamentation, and general idiosyncrasies of notation. Musicians should consider the direct relationship between such aspects of music in order to fully exploit the full characteristics of the composition.

With regard to tempo, many musicians and composers during the eighteenth-century followed the guidelines presented by flutist Joachim Quantz. Within his treatise, Versuch Eisner

Anweisung die Flote traversiere zu spielen (1752), Quantz writes that the reference point for tempo is based on general descriptions of basic tempi of time signatures, tempo words, written descriptions of tempi based on the human pulse, “but the human pulse rate can be quite variable.”20 Therefore, many compositions include verbose tempo markings, such as Allegro appassionato or Allegro ma non troppo, accompanied with expressivo or dolce, meant to evoke an emotion or mood. However, Mozart held to the belief that the melodic idea itself should

20 Johann Joachim Quantz. On Playing the Flute (Boston, Massachusetts: Northeastern University Press, 2001), 288.

determine the ideal tempo.21 At a young age Mozart tended to keep tempo markings simple, employing only one or two word identifiers such as Allegro or Allegro Maestoso. Mozart does employ a consistent hierarchy of tempo indications and modifications, where the initial theme of a movement often implies the character and pace of the work.22 Since Mozart left no metronome markings his tempi must be determined from compositional clues and his letters.23 Changes in accompaniment patterns, articulation, harmonic language, or expressive gestures in many instances delineate shifts between tempo and character. With regard to Allegro Mozart took a more moderate speed,24 Andante and Adagio movements were performed at a more graceful, flowing tempo.25 All eighteenth-century treatises are consistent in emphasizing the importance of a steady tempo, except specific situations where dramatic punctuation within a phrase or between two consecutive phrases call for a change in tempi.

Time makes the melody, therefore time is the soul of music. It does not only animate the same, but retains all the component parts in their proper order. Time decides the moment when the various notes must be played, and is often what is lacking in many who have otherwise advanced fairly far in music and have a good opinion of themselves. This defect is the result of their having neglected time in the first instance.26

Similar to maintaining strict time, Mozart expected performers to respect every repeat he wrote.27 The music itself provides evidence for complying with written repeats beyond any documented evidence. Dramatic significance of music that begins a development section depends upon the prior repeat. Completing the harmonic cycle between two phrases, segments,

21 Simon P. Keefe, ed., The Cambridge Companion to Mozart (Cambridge: Cambridge University Press, 2003), 227-228. 22 Ibid., 227. 23 Eva and Paul Badura-Skoda. Interpreting Mozart on the Keyboard, trans. Leo Black (London, United Kingdom: Barrie and Rockliff, 1962), 28 24 Ibid., 30. 25 Ibid.,, Interpreting Mozart on the Keyboard, 30. 26 Leopold Mozart. A Treatise on the Fundamental Principles of Violin Playing, trans. by Editha Knocker (New York, New York: Oxford University Press, 1756/1985), I, II, 30. 27 Keefe, The Cambridge Companion to Mozart, 228.

or movements, such as that found within movement three of the first sonata, KV.10, provides further evidence for respecting all repeats.

Mozart was often particularly frugal in the use of dynamic indications. Many composers of the period, including Mozart, assume the movement begins forte unless otherwise specified.28

For these early sonatas, KV. 10-15, the lack of dynamic markings hints at his notion that the harpsichord would be the ideal keyboard instrument of choice, since the harpsichord had limited dynamic capabilities. His dynamics are often a substance of design, over that of color.

Notationally, Mozart generally placed dynamic markings to the left of the applied pitches. Simplified notation (p, f, pp, ff) used primarily today occurs less frequently in the music of the eighteenth-century. Instead, composers employed abbreviations followed by a colon, pia:

(p), for: (f), pianiss: (pp), and fortiss: (ff).29 Complications arise when editors use the simplified markings. For example, since Mozart often wrote dynamic markings to the left of the applied pitches, if f, replaced for:, the replacement indication may be placed where the original began instead of where it ended, causing a dynamic change several notes too early. Problems are not limited to placement of the dynamic markings. The character and content of Mozart’s music sometimes suggest the possibility of a crescendo or descrescendo where one is not written.

Although sharp contrasts in dynamics are integral to Mozart’s style, often, the outlying markings denote the starting and ending dynamic level.

The sharp dynamic contrasts under consideration includes the echo effect. Although

Mozart employed the effect less often than his contemporaries, as Quantz describes the echo effect as follows:

28 Keefe, The Cambridge Companion to Mozart, 229. 29 Ibid., 229.

When there are repeated or similar ideas, consisting of half or whole bars, either at the same pitch or transposed, the repetition of such a passage can be played rather softer than its first statement.30

Turk, in his piano methods of 1789, 1792, and 1804 also advocates for the use of echo dynamics.

The detail of Mozart’s staccati and slurs exemplify the importance of articulation clarity within his music. Slurs were never used to dictate phrasing.31 Within the eighteenth-century, non-legato was the fundamental articulation, with legato representing the expressive effect. The nineteenth-century reversed the articulations, correlating articulation with vibrato. Unarticulated pitches are normally performed with separation, depending on the expressive content. According to the practice during Mozart’s time, the absence of any articulation indicated a non-legato:

Normal onward movement is the opposite of both slurring and detaching: it consists of lifting the finger numbly from the preceding key just before one touches the next note. This normal onward movement is always taken for granted, is never indicated. For notes which are to be played in the usual way, i.e. neither detached nor slurred, one lifts one’s finger from the key a little earlier than the value of the note demands.32

There is also no point in concealing the inconsistencies in Mozart’s use of articulation. Einstein wrote:

…but the marking of the individual parts is very often inconsistent where uniformity is often required, and quite frequently he binds together in one passage a group of notes which are divided in corresponding passages…In such cases it is not always possible to distinguish sharply between oversight and deliberate intentions.33

Understanding performance practice principles and especially the rules regarding the smooth resolution of suspensions or dissonances can also help clarify correct articulation in playing

Mozart.34

30 Quantz, On Playing the Flute, 253. 31 Badura-Skoda, Interpreting Mozart on the Keyboard, 53. 32 Ibid., 54. 33 Einstein, Mozart: His Character, His Work, viii. 34 For an example, please refer back to pages 48 thru 51 of this document.

Inconsistencies, in Mozart’s music, are especially apparent with regard to the use of two signs, the dot and the stroke, both signifying staccati. Leopold Mozart’s treatise only mentions the stroke, yet after consulting Mozart autographs, both dots and strokes are used. Discrepancies arise in passages where two or more voices move in thirds, sixths, or octaves with one another, each using a different staccato notation. General consensus agrees that the stroke and dot are equal to Mozart, one occurring out of haste during composition.35

The significance of rendering Mozart’s staccati as strokes over dots in modern editions relates more to the current practice. Staccati dot execution today is short and light. However, the stroke and dot during the eighteenth and nineteenth-centuries had more than one meaning of execution.36 Possible renderings could include a more weighty articulation, akin to the modern accent (>), which does not appear in Mozart’s music, a stressed execution to the start of the note, or a lifted and spaced articulation. Understanding the variety of declamations possible is critical for performers, allowing the performer to determine the appropriate type of execution given character and context.

Ornamentation within Mozart’s music often reflects notational conventions of the

Baroque practice, however Mozart lived in a period of transition. Ornaments employed include oblique acciaccatura stroke between the notes of a chord to denote arpeggiation, over-dotting, executing a dotted eighth sixteenth rhythm as a quarter-eighth triplet in the context of other triplets, after-beats of trills are note always composed out (even though they are conventionally performed), turns are notated and executed in four or more different ways, and a single symbol is employed to represent both grace notes and appoggiatures. Differentiation between grace notes

35 Keefe, The Cambridge Companion to Mozart, 230. 36 Ibid., 230.

and appoggiatras is determined by their placement, either before or on the beat. The on-beat appoggiatura and pre-beat grace note are idiomatic to Mozart’s pieces.37

Further idiosyncrasies of Mozart’s notion include several habits in notating slurs and ties.38 Many slurs begin to the left of the first note affected than to the right causing editorial discrepancies. Also, combinations of ties and slurs are found in succession, rather than slurs under lengthy slurs. Slurs connecting grace notes and appoggiaturas to the principle note are selective. Despite Leopold prescribing in his treatise the universal execution of slurs between grace notes and appoggiatures even without notation, such convention is not evident in Wolfgang autographs. Mozart occasionally joins a slur to a previous slur, yet current editions often provide a single continuous slur. Although this may appear minimal, implications of accentuation in the more detailed notation is taken away. In the matter of notation, certain idiosyncrasies regarding

Mozart’s use of both a dot and a stroke convolute editorial choices.

Transcriptions for Flute and Piano:

I chose to transcribe two selections, KV. 10 and KV. 13, from W.A. Mozart’s Six

Sonatas Op. 3 KV. 10-15. The pieces total approximately thirty minutes of music, if all repeats are observed. Maintaining as much of the original violin/flute line was of upmost importance when transcribing the violin/flute line into an appropriate range for the flute. While maintaining the integrity of the original composition, this practice of adapting a piece to a different instrument was prevalent in the classical period. Staying true to the idioms of Mozart serve as the ultimate goal throughout the process of transcription. By engaging the analysis of each movement I ensured the adaptations within my transcriptions maintained the continuity of

37 Eva and Paul Badura-Skoda provide further discussion on ornamentation in Interpreting Mozart on the Keyboard. 38 Keefe, The Cambridge Companion to Mozart, 241-242.

melodic and harmonic progressions set forth by Mozart. Below I have outlined in detail how I addressed particular challenges.

1) DOUBLE/MULTI-STOPS: All of the six sonatas contain double/multi-stops for the

violin/flute line, primarily at phrase endings. Whenever a multi-stop was indicated, I

opted to properly resolve the previous pitch to a pitch within the upcoming chord. I chose

to ornament the chord through an arppegiated set of sixteenth-note graces only a select

number of times.

2) GRACE NOTES, TRILLS, ORNAMENTAL SYMBOLS: Original score grace notes,

port de voix,39 trills, and ornamental symbols are preserved throughout my transcription.

Proper performance practice for each type should be invoked.

3) DYNAMICS: All dynamic markings notated in the NMA remain the same in my

transcription.

4) ARTICULATION: All original articulation markings are notated in my transcription.

Those marked as dashed/dotted, specifically referring to slurs, have been notated as in the

NMA. The strokes found within the first edition and Neue Mozart-Ausgabe are notated

according to modern convention, within my transcription, as a dot in order to ensure the

articulation sounds short, light, and natural.

5) OCTAVE DISPLACEMENT: Due to the lower extended range of the violin, I often

chose to change the octave Mozart originally indicated to a register possible for the flute

and an octave that would ease execution and maintain balance with the keyboard. Figure

25, below, includes every instance where the octave was changed within my

transcriptions. Although not all octave displacements were necessary for playability by

39 Port de voix is an appoggiatura from below and above.

the flute, in order to maintain balance between the keyboard and flute or continuity of

line I went up an octave. Those instances have been marked with an asterisk (*).

Sonata Sonata Sonata Sonata Sonata Sonata Sonata Sonata KV. 10, KV. 10, KV. 10, KV. 10, KV. 13, KV. 13, KV. 13, KV. 13, mvt. 1 mvt. 2 Menuetto I Menuetto mvt. 1 mvt. 2 Menuetto I Menuetto II II mm.10 - mm. 2 beat mm. 9 – 17 mm. 1- 4 mm. 25 – mm. 3 beat Entire mm. 2 – 19 downbeat 2 – mm.5 mm. 28 2 – mm. 8 movement* mm.13* beat 2 mm.15 – mm. 6 beat mm. 11 – mm. 35 – mm. 13 – first pitch 2 – mm.8 19 mm. 39 mm. 22 mm. 17* beat 1* mm.22 beat mm. 24 – mm. 52 – mm. 29 4 to mm. 28 mm.31 mm. 55* beat 2 – mm. 34 mm. 41 – mm. 53 mm. 56 mm. 35 – 43* beats 3 and beat 2 – mm. 48 4 mm. 65 beat 1* beat 1* mm. 67 mm. 39 mm. 79 – mm. 49 beat 4 – beat 2 – mm. 89 beat 2 – mm. 68 mm. 47 beat 1* mm. 50 beat 1* mm. 49 mm. 95 mm. 63 – beat 2 – beat 2 – mm. 66 mm. 51 mm. 92 beat 1* mm. 53 beat 2 – mm. 55 mm. 65 – 66 Figure 25: All Octave Displacements within Transcriptions of KV. 10 and KV. 13 by Potts

Sonata I in Bb Major, Op. 3, KV. 10 W.A. Mozart transcribed by Elizabeth Potts

Allegro Ω œΩ j Ω Ω Ω œΩ œ œ bbc ‰ œΩ œ ‰ œ œ œ ‰ œΩ œ Œ Flute & J º J Allegro Ÿ™ b Ÿ Ÿ˙ œ œ œ œ œ œ œ &b c ˙ ‰ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Piano œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bbc

3 Ω Ω œ Ω bb ‰ œΩ œ œ œ Œ Œ œ œ œ œ œ œ œ Fl. & J

b Ÿœ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b ‰ J œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb

5 Ω Ω Ω œ Ω Ω œ bb œ œΩ œ œ œ Œ ‰ œΩ œ œ œ Œ Fl. & J

œŸ™ b œ œ œ œ œ œ Ÿœ™ œ œ œ œ œ œ &b ‰ J ‰ J Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb

2 7 Ω bb Œ œ œ œ œ œ œ œ œ Œ Fl. & œ œ œ

b œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ Œ

Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb

9 rK œ b œ œ nœ œ œ œ œΩ œ œ œ Fl. &b ∑

j b œ#œ œ œ œΩ œΩ œ nœ œ œ œ œ œ nœ œ œ &b nœ œ œ œnœ œ œ œ Pno. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

11 b w ˙ ˙ Fl. &b

Ÿ b œ œ œnœ œ œ œ œ œΩ œ #œ &b bœ œ œ œ œ œ œ œ œ œ ‰ J Pno. {?bb nœ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ

13 œ œ bb œnœ œ œ œ™ œ œ™ Œ Fl. & œ œ nœ™ œ œ

œ œ œ œ œ™ œ œ œ™ bb œnœ œ œ Œ & œ œ nœ™ œ œ Pno. ? b œ œ œ œ œ œ œ œ { b œ œ œ œ nœ œ œ œ œ œnœ œ œ œ œbœ œ œ nœ œ œ œ

3 15 w b w Fl. &b

b œnœ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ Pno. œ ? b nœ œ nœ { b œ œ œ œ œ œ œ œ

17 œΩ œ œ Ω œ Ω œ œ bb œ ‰ nœ œ ‰ bœ œ œ ‰ J ‰ Fl. & J J J

b œ nœ bœ œ œ &b ≈ œ œ œ œ œ œ ≈ œ œ œ œ œ œ ≈ œ œ œ œ œ œ ≈ œ œ œ œ œ Pno. ? œ œ œ œ { bb R R R R

19 b œ nœ œ œ œ œ nœ Fl. &b J ‰ J ‰ ‰ ‰ nœ ‰ ‰ œ ‰ ‰ nœ ‰ œ ‰ bœ Œ J J J J J J J J nœ œ j j bb œ nœ œ œ ≈ nœ ≈ œ ≈ œ ≈ œ nœ ‰ œ ‰ bœ Œ & œœ œœœ œœœ œnœœ œ œ œ nœ #œ œ œ œ œ œ œ œ Pno. œ œ œj œj {?bb ∑ R r R r ‰ ‰ œ Œ œ œ œ œ œ

22 œ b œ ˙ b œ Œ Œ œ œ Œ Œ œ œ Fl. & œ œ

Ÿœ™ œœ Ÿœ™ œœ œ b œœnœ œ œœ œœnœ œ œœ nœbœ jœ r r &b œœœœœ œ œœœœœ œ œ #œ nœ œ œ œ Pno. œ œ œ {?bb œ Œ Œ nœ œ Œ Œ nœ œ

4 25 ™ œ œ œ Ω œ bb œ J nœ™ J w œ ‰ œ œ ‰ œ Fl. & J œ

b œnœbœ j r b œ™ œ œ™ #œ œnœ œ r œ™ œ œ™ & œ œœœœ œœœnœ œ œ œ œ œœœœ œœœnœ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œœ œ {?bb œ œ œ œ œ œ œ œ œ œ œ nœ œ

28 œ™ œ œ Ω Ω œ bb Œ ™ ™ ‰ j Ω œ ‰ j œ ‰ j Ω œ œ Œ Fl. & œ ™ ™ œ œ œ œ œ º nœº º º º Ÿ Ÿ Ÿœ™ bb œ™ œ œ Œ ™ ™ ˙ nœœœ ‰ œ œ œ & œ œ™ œ œ ˙ J Pno. œ œœœ œœœ œ œ œ œ œœœ œœœ œœœ œœœ ? b œ œ œ Œ ™ ™ œ œ nœ œ œ œ œ œ œ œ { b œ œ

31 b j Ω œΩ œ œ Fl. &b ‰ œ Œ Œ œ œ œ œ œ œ œ œº º

b Ÿ j Ω &b œ™ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bb nœ œ

33 b œ œ œ j Ω œΩ œ œ Fl. &b œ œ Œ ‰ œ Œ º œº º º œº Ÿ ™ Ÿ b œ nœ œ œ œ œ œ œ™ j &b ‰ J œ œ œ ‰ œ œ œ Pno. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bb

5 35 bb Œ œ œ œ œ Œ ∑ Fl. & œ œ œº œ œ™ œœ

j b œ œ œ œ Ω j œ œ &b œœœœœ œ œ œ œ™ œœ Œ œ œœœœœ œ. œ œ Pno. œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ ? b œ œ nœ œ œ Œ œ œ œ œ œ œ œ œ { b œ™ œœ

38 b j b œœ œ œ œ œ œ œ œ œ Fl. & #œ º œ º w

b œ œ . j œ j œ &b œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ #œ œ

40 rK œ œ œ œ œ œΩ œ œ œ œ bb Œ Ó #œ œ Fl. & œ

b j b j œ œ œ & œ œ#œ œ œ œ œ. œ œ nœ nœ œ œ . Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ nœ œ

42 b w œ Fl. &b Œ Ó

œ œ œ bb rK œ œ rK œ œ nœ bœ œ #œ & œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ œ œ œ œ œ œ

6 r 44 #œ œ b r b Œ #œ œ ‰ Œ J ‰ nœ Œ Ó Fl. & J nœ œ

r #œ œ b r b #œ œ ‰ Œ J ‰ Œ ‰ nœ nœ œ œ bœ & J J œ #œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ œ œ nœ œ œ œ

46 r b j #œ œ œ b Œ r ‰ Œ J ‰ Œ Ó Fl. & #œ œ œ œ

r j #œ œ œ Ÿœ™ œ b r J nœ bœ œ #œ &b #œ œ ‰ Œ ‰ Œ ‰ J ‰ J Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ œ œ œ œ œ œ

r 48 #œ œ b r b Œ #œ œ ‰ Œ J ‰ nœ Œ Ó Fl. & J nœœ

r #œ œ b rœ J œ &b #œ J ‰ Œ ‰ Œ ≈nœnœ œ œ œ œ ‰ bœ œ #œ J Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ œ œ nœ œ œ œ

50 r j #œ œ Ω b r J j Ω œ œ Fl. &b Œ œ ‰ Œ ‰ ‰ œ œ Œ #œ œº Ω r œΩ œ j #œ œ Ÿ Ω œΩ b r J ˙ œ &b #œœ ‰ Œ ‰ Œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ œ œ œ œ œ œ

7 52 œ b j Ω œΩ œ œ œ œ œ œ œ œ Fl. &b ‰ œ œ Œ œ œ ‰ œ œ ‰ œº Ω œΩ œ œ œ b Ÿ˙ Ω œΩ œ œ œ œ œ œ œ œ œ œ &b œ ‰ ‰ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb œ œ œ œ nœ œ œ Œ

54 Ÿ w b œ Fl. &b ˙ œ Œ œ œ b Ÿ œ œ œ œ œ œ œ œ œ œ œ &b œ˙ œ Œ ≈ œ œ œ œ œ bœ Pno. œ œ œ œ œ œ œ œ {?bb nœ œ bœ œ œ œ œ œ

56 b j b œ œ œ ‰ œ œ œ Fl. & w œ º º

b &b œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. ? œ œ œ œ r r { bb œ œ œ œ œ ≈ ‰ Œ œ ≈ ‰ Œ

58 j j bb ‰ bœ œ œ j ‰ œ ‰ œ ‰ nœ ‰ j ‰ j ‰ Fl. & º œ J J œ œ

b &b ≈ œ bœ œ ≈ œ œ ≈ œ ≈ nœ ≈ œ ≈ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ Pno. r r œ œ œ œ {?bb œ ≈ ‰ Œ œ ≈ ‰ Œ R ≈ ‰ R ≈ ‰ R ≈ ‰ R ≈ ‰

8 60 bb j ‰ j ‰ j ‰ j ‰ j‰ j‰ Œ Œ Œ Fl. & nœ œ œ œ nœ œ bœ œ œ Ÿ b j j ™ œ &b ≈ nœ ≈ œ ≈ œ ≈ œ nœ ‰ œ ‰bœ Œ œœœœœ œœ œœœ œ nœ œ œ œ œ œ œœ œœ Pno. œ œ œ œ œ œ ? b r r r r œ { b œ ≈ ‰ œ ≈‰ œ ≈‰ œ ≈‰ j‰ j‰ œ Œ œ Œ Œ œ œ œ œ 63 bb Œ Œ œ ˙ œ™ œ œ Fl. & œ œ œ J œ™ J Ÿ œ œ™ œ œ œ œ œ œbœ r b œœœ œœ #œjœnœ œ r œ™ œ œ™ &b œœœœ œ œ œ œ œœœœ œœœnœ Pno. œ ? b Œ Œ œ œ œ œ œ œ œ œ { b œ œ œ œ œ 66 b œ j œ œ œ œ ™ ™ Fl. &b w œ ‰ ‰ œ œ œ Œ ™ œº œ œ œbœ r b #œjœ nœ œ r œ™ œ œ™ b œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ Œ ™ & nœ œ™ œ œ Pno. œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ { bb œ œ œ œ™ œ œ Œ ™

70 Sonata No. 1 Op. 3 KV. 10, mvt. 2

W.A. Mozart

Andante bb 3 œ œ œ œΩ œΩ œ œ ˙ œ œ Œ œ œ Flute & b 4 œ œ œ œ œ œ œ œ œ œ p AŸndante Ÿ Ÿ bb 3 œ™ œœ œ œ™ Œ œ œœ Œ œ™ œœ œ & b 4 œœ œœœœœ œ œ œ™œœœ Piano p ? 3 œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ { bbb 4 œ œ œ œ œ œ Œ œ œ œ

6 œ ™ ˙™ bb œ œΩ œΩ œ œ œ œ œ œ Œ Fl. & b œ J

Ÿ Ÿ Ÿ bb œ™ Œ œ œ œ Œ œ œ œ œœœœ & b œ œ œ œ œœ œ œ œ œ œ œ™ œ Pno. ? œ œ œ œ œ œ œ œ œ bœ œ œ { bbb œ œ œ nœ œ œ™ œ œ™nœœ œ œ œ

10 ™ ™ ™ ™ b ˙ ˙ ˙ ˙ Fl. &b b

Ÿ œ Ÿ œ b œ œ œ ˙ œ œœ œ œ œ œ ˙ œ œœ &b b nœ œ œ™ bœœ œ œ œ œ™ œœ œ œ Pno. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbb œ œ œ œ œ œ

2 14 ˙™ Ÿ Ÿ ˙™ b œ œ œ ™ Fl. &b b ‰ J œnœ nœ ˙ Ÿ j œ nœ Ÿ Ÿ œ b œ œ œ ˙ #œ œ œ œ ™ œ œœ &b b nœ œ œ˙ œ™ œ œ œ œ Pno. œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ { bbb œ œ œ œ œ œ œ 18 ˙™ Ω b œ œ œ œ œ Fl. &b b ‰ J œ nœ nœ ˙ œ ˙ nœ

3 3 f p f Ÿ Ω b œ œ ˙ œ œ œ œ œ œ œ œœœ œœ œ &b b ‰ J œ˙ nœ œ œnœ ˙ œ 3 3 f p f Pno. œ œ œ œ œ œ œ œ œ œœœ œ œ œ œœœ {?bb œ œ œ œ œ œ b

22 œ œ œ œΩ œ bbb œ Œ ‰ j Œ ™ ™ œ œ œ œ œ ‰ J œ Fl. & œ œ™ œ œ p p œœœ Ÿ Ÿ bb œ œœœœ œœœœ œ™ œ Œ ™ ™ œ™ œ œ Œ & b nœ œ œ œ™ œ œ p 6 6 p Pno. œ œ {?bb Œ ‰ œ œ Œ ™ ™ œ œ œ œ œ œ œ œ œ œ œ b J nœ

26 Ÿ Ω œΩ Ω Ω Ω b œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ Fl. &b b ‰ œ Œ ‰ J f Ÿ Ÿ Ÿ b ™ &b b œœœœœ œ œ œ Œ œ œœ œ œ™ Œ œœœœœ œ œ œœœœ œœ º º º œº Pno. f Ω ? œœœœœ œΩ œΩ Ω { bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ

3 31 œ Ω bb œ Œ ∑ œ ˙ ˙™ œ œ Ω œ œ ∑ Fl. & b œ œ œ p Ÿ Ÿ Ÿ b œ ˙ œ Ω Ω œ ˙ &b b œ Œ œb˙ bœ œ œ œ œ œ œ Œ œ œ œ œ Pno. p ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { b b œ Œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ

37 ™ Ω bb œ ˙ ˙ œ œ œΩ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. & b œ J J Ÿ Ÿ b œ œΩ ˙ œ Ω œ ™ &b b œ œ œnœ œ œ Œ ˙ œ œnœbœ. œ. œ. Pno. ? œ œ œ œ œ œ œ œ œ œ œ œ { bbb nœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ sim. 42 . . . Ÿ . . . b œ œ œ œ œ œ œ Ω œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. &b b œnœ J J

Ÿ Ÿ bbb œ œ Œ ˙™ bœ œnœbœ. œ. œ. œ œ & œ œ. œ. œ. œ œ œbœ. œ. œ. Pno. ? { bbb œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

47 Ÿ œ bb œ œ œ œ œ œΩ œΩ œ œ ˙ œ Œ Fl. & b œ œ œ œ œ œ œ œ œ Ÿ Ÿ Ÿ bb Œ œ™ œœ œ œ™ Œ œ œœ Œ & b bœ œ œœ œœœœœ œ œ œ™œœœ Pno. ? œ œ œ œ œ œ œ œ œ œ œ nœ œ bœœ œ { bbb œ œ œ œ œ œ œ œ œ œ œ Œ

4 52 œ™ bb œ œ œ œΩ œΩ œ œ œ œ œ Œ Fl. & b œ œ œ œ œ œ J

Ÿ œ Ÿ Ÿ bb œ™ œ œ œ™ Œ œ œ œ Œ & b œ œ œ œ œ œ œ œ œ œ œ Pno. œ œ Ÿ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { b b nœ œ œ™bœ œ™ œœ

56 Ω Ÿ œ œ œ Ÿ b ˙™ ˙™ J œ œ œ ˙™ Fl. &b b ‰

Ÿ Ÿ Ÿ Ÿ b œ j b b œ œ nœ œ bœ œ ™ & œ™ œ œ œ œœ œ œ ˙ œ œ œ ˙ Pno. œ œ {?bb œ œ œ œ œ œ œ œ œ ‰ œ œ b œ œ œ œ œ œ œ J œ œ œ

60 ™ ™ j 3 3 bbb ˙ ˙ ‰ œ œ Fl. & º œ œ œ œ œ ˙ œ f Ÿ Ÿ Ω 3 bbb œ œœ ‰ œ œ œ œ œ œ œ & œ™ œ œ œ œœ œ œ ˙ J œ œ œ ˙ œ œ Pno. 3 p f ? b œ œ œ œ œ œ œ œ œ œ œ œ œœœ { b b œ œ œ œ œ œ œ œ œ

64 b j b b Œ ‰ œ ™ œ Œ ™ Fl. & ˙ œ œ œ œ p f p 6 b 6 ™ &b b œ œ œ œ œ œ œ œ œ œ œ œ ™ Œ ™ œ œ œ ˙ œ œ œ œ œ œ œ œ Pno. p œ œ fœ pœ j U {?bb œ œ œœ œ Œ ‰ œ œ Œ ™ b œ

74 Sonata I Op. 3 KV. 10

W.A. Mozart Menuetto I œ bb3 œ œ œ œ œ œ œ œ ˙ œ œ Flute & 4 œ œ œ œ œ œ œ œ œ œ œ œ 3 f Ÿ Ÿ 3œ œ œ œ œ Ÿ b3 r r r ˙ œ œ œ ˙ œ œ &b 4 œ œ œ œ œ œ ˙ œ œ œ 3 3 Piano f œ œ œ œ œ œ 3 œ œ œ œ œ œ œ j œ {?bb4 œ Œ Œ ‰ œ œ œ

6 3 œ œ b r œ b œ œ œ œ ™ ™ œ œ œ Fl. & œ œ œ œœœ ˙™ ™ ™ œ œ œ œ œ º nœ nœ r Ÿ Ÿ b œ nœ œ nœ œœ ™ ™ œ œ œ &b œœ œ ™ ™ r r r œ œ ˙™ nœ œ œ œ œ œ ˙ œ œ Pno. œ œ3 œ œ œ œ œ œ ? b œ œ œ ™ ™ œ œ œ œ œ œ { b œ œ œ

12 œ ˙ œ œ œ œ Ω Ω Ω b œ œ œ œ œ œ œ Fl. &b Œ œ œ œ œ œ

Ÿ 3 b œ ˙ œbœ œ œ ˙ &b Œ r r r œ Œ nœœ œ œ œ œ ˙ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ Ω {?bb œ œ œ œ œ œ œ œ œ œ œ œ º º

17 r b œ œ œ œœœ U b œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙™ ™ Fl. & œ œ œ º 3 Ÿ Ÿ j Ÿ U b œ œ œΩ œ œ ˙ œ œ œ œ œœœ ™ ™ &b ˙ œ œ œ œ ˙ ™ œº 3 Pno. œ œ œ œ œ œ œ œ œ U ? b œ ‰ j œ œ œ œ œ ™ ™ { b œ œ œ ˙

75 Sonata I Op. 3 KV. 10

W.A. Mozart Menuetto II œ œ œΩ ˙™ ˙™ b 3 ...... ˙ œ œ Flute &b b4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 3 œ œ œ œ œ œ œ œ œ œ œ œ œΩ œ œ œ œ &b b4 œ ‰ J ‰ J Piano ? 3 œ ˙ nœ œ bœ œΩ œ { bbb4 Œ œ œ Œ œ Œ œ Œ œ œ Ω Ω 7 r œbœ œ œ b ™ œ œ œ œœ ™ ™ ™ bœ œ Fl. &b b ˙ ˙ œ nœ nœ ˙ ™ ™ œ œ r Ÿ b œ œ œ œ œ œ nœ œ œœœ œ ™ ™ ™ œ bœΩ bœΩ &b b ‰ J ‰ J œ ˙ ™ ™ œ nœ™œœœ Pno. ? œ œ ™ ™ œ œ { bbb Œ œ Œ œ œ œ œ ™ ™ ∑ Œ œ œ œ 13 œ œΩ œ Ÿ b œ œ œ™œœœ ˙ ...... Fl. &b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ÿ Ω Ÿ Ω œ œ œΩ œ œ bbb œ œ œ œ œ™nœœœ œ & œ™œœœ œ ˙ œ Pno. œ ? b œ œ j œ œ œ œ { b b ∑ Œ œ œ nœ ‰ œ œ Œ œ Œ 19 œ œ œΩ bb ˙ œ œ Fl. & b ˙™ ˙™ b Ÿœ œ œ œ œ œ œ œΩ œ œ œ œ &b b œ œ ‰ J œ ‰ J Pno. ? ˙ nœ œ bœ œΩ œ œ œ { bbb Œ Œ œ 2 23 U b ˙™ ˙ Copyright © 1764 r ™ Fl. &b b œ œ œ œ ™ œ œ œ œ ˙™ b œ œ œ œ r Ÿ U b b œ œ ‰ œ œ ‰ œ œ œ œ ™ & J J œ œ œ ˙™ Pno. œ œ œ œ œ U {?bb Œ Œ œ œ œ œ ™ b œ

Da capo Primo Meneutto

Sonata in F Major for Piano and Flute, Op. 3, KV. 13 W.A. Mozart Ÿ transcribed by Elizabeth Potts Allegro œ œ Ÿ Ÿ œ œ œ r œ œ œ œ b2 ∑ œ œ œ œ Œ Flute & 4 J f

Allegro Ÿ Ÿ Ÿ 6 œ œ œ r j œ r j œ œ œ œ œ œ œ œ 6 2 œ œ œ œ œ œ œ œ œ œœœœ &b4 œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ Œ Piano 2 f {?b4 ∑ ∑ ∑ ∑ ∑

6 Ÿ Ÿ Ÿ b Œ ∑ œ œ œ r j œ œ Fl. & œ œ œ œ œ œ œ œ

6 œ 6 &b œ œœœœœ ∑ ∑ ∑ ∑ œœ œ œ œ Ÿ Ÿ Pno. j Ÿ ∑ œ œ œ œ r j œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { b œ Œ œ œ œ œ œœ œœœœ œ

11 Ÿ Ÿ b Œ œ ‰ j œ ‰ j ‰ j Fl. & œ œ œ œ œ œ œ

œ Ÿ œ Ÿ œ b Œ œœ œ œœœœœ œœ œ œ œœ œ œ œœœœœ & œœœœœœ œœ œ œ œœ Pno. œ œ œ œ œ œ œ ? œœœœœ œ œ œ œ œ œ œ œ { b ‰ Œ ‰ J ‰ J ‰ J Jœ œ

2 15 Ÿ Ÿ œ ˙ b œ ‰ j œ nœ Fl. & œ œ œ œ

Ÿ Ÿ œ œ œœœœ œ œœœ#œœ œ œœœnœœ #œ &b œœœœ œ œ ‰ J nœœœœ œ œœnœ Pno. ? œ œ œ œ œ œœœœ œ œ œ œ œœœœ œ œ œ œ { b ‰ J œ œ œ œ œ

19 r ˙ œ Ω r b Œ Œ ‰ œ œ œœ œ œ œ œ Fl. & J r œ Ω œ œ œœœ œ œœœœnœ #œ œ œnœ œ œ œ nœ œ &b œœœnœnœœ #œ œnœ simile Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

23 Ÿ Ω r b œ™ nœ œ œ Œ ‰ œ œ œ œ œ œ œ œ Fl. & º œ œ œ J

r r œ œ œ œ œ œ œ œ œ œ r &b œ œ œnœ œ œ œ œ œ œ œ Pno. œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ {?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

27 œ œ œ œ b œ™ nœ œ œ œ œ œœœ J œ Fl. & º œ œº œœ œ œœ J J

œ œœœ bœ œ œ œ œ b r r œ œnœœ J J & œ œ œœ œ œ œ œ œ œ J Pno. œ œ œ œ œ œ œ œ œ ? nœ œœœ œ œ œ œ œ œœ œ œ œ œ œ { b œ œ œ œ œ œ œ œ œ nœ œ œ œ #œ œ

Ω Ω Ω 3 32 Ω Ω œ Ω œ Ω Ω œ œ œ Ω Ω nœΩ œœœ j œΩ œ œ œΩ œ œΩ œ œ Ω œ œ œ œ œ œœ œœ Fl. &b œ œΩ ≈ ≈ ≈nœ ≈ ≈ ≈ ≈

œ œ œ b œœ œœ œ œ œ œ œ nœ œ œ œ œ œ nœ & œ œ œ œ œ Pno. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { b œ œ nœ œ œ œ œ œœœœ œœœ œ 37 œ Ω œ nœ œ œ #œ œ œ œ œ J œnœ œ Fl. &b J œ nœ

Ÿ œœ œœœ œœœ œœœ œ œ œΩ œ œœœœœœ œœœœœœ &b œ nœ œ œ œ œ nœ bœ œœœ nœ Pno. 6 6 ? œ œ œnœ œ œ œ œ œœœ œ œ { b Œ œ œ œ œ œ œ œ œ

41 b œ œ nœ œ ≈ Œ ™ ™ ∑ Fl. & œ œ œ œ œ ™ ™ Ÿ Ÿ Ω œœ œ œ œ b œ œnœ œ œœœbœ œ œ œ œœœœnœ œ ≈ œ Œ ™ ™ œ œ œ & œ œ œ œ œ œ œ œ œ œ Pno. 6 6 ? œ œ œ œ œ œ œ œ œ œ œ { b œ œ œ œ œ œ œ œ ≈ œ œ œ œ Œ ™ ™ ∑

46 œ Ÿ Ÿ Ÿ b œœœœ j œ œ œ œ Œ œ Œ Fl. & œ œ œ œ œ j Ÿ r j œ r œœ œ œ œœœœ 6 6 b œ n œ œ œ œ œ œ œœnœœ & œœ œœœœ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ œ nœ œ œ œ œ œ œ œ œ Pno. œ 6 ? nœœœœ { b ∑ ∑ ∑ Œ œ œœ œ 6

4 51 Ÿ Ÿ Ÿ œ œœ r œ œ b ∑ œœ œ nœ œ œ œ œ Œ Fl. & J

b ∑ ∑ ∑ ∑ Œ ‰ & œœœœ Ÿ Pno. Ÿ j Ÿ œnœœ œœ‰ ? œ œœ r j œ r œœ œ œ œ œ œœœ œ { b œœ œ n œ œ œ œ nœ œ œ œ œ œ œœœ œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ Jœ 56 Ÿœ Ÿ œ Ÿœœ œ Ÿ b œ ‰ œ œ ‰ œ œ œ‰ J ‰ J œ œ #œ Fl. & œ œ J J sf Ÿ Ÿ Ÿ Ÿ b nœœ nœœ œ œ nœ#œœ bœ & œ œœ œ œœ œœ œ œ œœ œ ∏ œœ œ œœ œ œ œ œœ œ ∏ œ œœ œ œœ œ œ ∏ #œ ∏ Pno. ∏ ? œ œ œ œ œ j œ œ œ sœf { b œ ‰ œ œœ ‰ œ nœ œ‰ œ œœ‰ œ #œ œ J J œ œœ J œ sf 61 œ #œ œ b œ J #œ œ œ #œ œ™ œ œ™ œnœ™ œ Œ Fl. & J J J œ sf Ÿ Ÿ 6 6 œ œ œ r r r r œœ b œ nœ œ j œ œ nœ œ j Œ œ œ & œœœ œœ ∏ œœœ œœ œ œ œ œ œ ∏ œ œ œ ‰ œ œ œ œ ∏ #œ œ ∏ J j ∏ j Pno. œ œ #œj sf œ œ #œj œnœ™ ? œ œ œ œ œ œ œ œ œ œ ™ œ œ™ œ œ { b œ J ‰ Œ sf 66 Ÿ 6 Ÿ 6 œ œ b œ bœ œ œ œ œ œœœ Ω bœœ œ œ œ Ω œ œ œ œ Fl. & œœ œ œ œœœœœœœ sf 6 œ Ÿ œ œ b œbœœ ≈ œœ bœœœ≈ œœœ bœ œ œ nœœœœœœ≈ œnœœ œ œ ‰ œ & œ œ œœœœœ œ J 6 sf 6 Pno. œ œ 6 œ œ œ œ 6 ? œ œ œ œ bœ œ œ œ œ œ { b Œ nœ œ œ œ sf

5 71 b ˙ ˙ œ œ Œ Fl. & œœœ œ œ œ œœœœœ œ œœœœœ œœœœ œœœ &b œœ œœœœ œ œœœœœ œ œœœœœœ œ#œ

Pno. œ œ œ œ {?b œ œ œ œ œœœœ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ simile r 75 œ œ r ™ Ω Ÿ œ œ œœ œ œ œ œœ œ œ œ œ Fl. &b Œ ‰ J œ Œ ‰ J

r Ω œ œ œ œ r r b œ œ œ œ œ œ œ œ œœ œ œ œœ œ r & œ œ œ œ œ œ œº œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?b œ œ œ œ œœœœ œœœœ œ simile r 80 Ω œ œ ™ Ω œ œ œœ œœ œ œ œ œ œ œΩ œ œ œœœ J Fl. &b œ œ œœœ J

b œ œœœ bœ & r r œ œœœ J œ œ œ œ œ œ œ œ œ œ œ œ œ J Pno. ? œ œ œ œ œ œ œ œ œ œ œ { b œ œ œ œ œ œœœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ω œ Ω 85 œ œ œ œ œœœ Ω Ω œΩ œ Ω œ Ω œΩ œ Ω œœ Ω Ω œ b J œ œœ ≈œ ≈œ ≈œ ≈œœ Ω ≈ Ω œ Fl. & J œ œ œ bœ œ œ œ œ œ œ œ œ &b J œœ œœ œ œ œ œ œ œ œ œ Pno. {?b œ œ œœ œ œ œ œ œ œ œœ œœœœ œ œœ œœœœœ œœœœœœœ #œ œ œ œ œ œ œ œ œ

6 90 œ Ω œ œ œ Ω b ≈ Ω œ ≈ œ œ nœ œ œ œ œ Fl. & œ œ œ J J œ

œ œ œ œ œ Ÿœ 6 b œ œ œ œœœœ œœœ œœœ œœœ œ œº œœ & œ œ œ œ œ œœœbœ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ { b Œ

94 œ œ™ b œ œ Œ ™ Fl. & œ œ œ œœ œ œ

œ œœœœ œ 6 œ œœœœ œ œ œ b œ#œœ nœ º nœœœ œ#œœ nœ nœ ≈œœ œ œ Œ ™ & œΩ œœœ œœbœ œΩ 6 6 Pno. œ œ œ œ ? œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ { b ≈ Œ ™

82 Sonata No. 4 Op. 2 KV. 13

W.A. Mozart

Andante b b ˙ œ œnœ œ œ œ œ œ œ nœ œ œ œ Flute &b b C Ó œ œ œ Ó p Andante b b œnœ œ œ œnœ œ œ œ &b b C ˙ œ œ œ œ œ œ œ œ œ œ œ œ Ó Piano p ™ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ J œ œ œ œ { bbbbC nœ œ p

5 œ b b ˙ œ œnœ œ œ œ œ ˙ nœΩ nœ œ Fl. &b b Ó Ó

Ÿ Ÿ b b ˙ œ œnœ œ œ œ œ œ œnœ œ œ œ™ œœ &b b œ œ œ nœ Ó Pno. Ÿ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ { bbbb œ œ nœ œ nœ œ

9 œ œ œ b b ˙ œ œ œ w w Fl. &b b Ó ™ Ÿ b b˙ œ œ œ œ œ œ œ œ œ œ œ ˙ bœ bœ œ ˙™ &b bb

Pno. œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ {?bb b b simile

2 13 ...... b b w œ œ œ œ œ œ œ œ Fl. &b b w

b ˙™ Ÿ œ œ œ œ œbœ œ œ bœ œ œ œ ˙ &b bb œ œ œ ˙™ Pno. œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb

17 Ω œ œ œ œ b b . . . . œ. œ. œ. œ. œ œ œ œ œ œ Fl. &b b œ œ œ œ Œ ‰ J œ b b œ œnœ œ œbœ œ œ Ÿ œ Ÿ ˙ œ œ œ &b b œ œ œ œ ˙ œ™ œœ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb œ

21 œ œ œ Ω œ œ b b œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ Fl. &b b Ó

œ r œ œ b œ œ œ œ œ œ œ œ œ œ œ Ÿ ˙ œ œ œ œ œ œ œ œ œ &b bb œœ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ { b bb

25 r Ÿ œ œ œ œ b b œ œ œ œ ™ ™ ˙ œ œ œ Fl. &b b œœ œ ˙™ Œ ™ ™ Ó

r œ œ b œ œ œ œ œ Ÿ ˙ œ œ œ œ œ œ œ œ œ &b bb œœ œ ˙™ Œ ™ ™ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ ™ ™ œ œ œ œ œ œ { b bb œ Œ ™ ™

3 29 œ j œ œnœ œ œ b b œ œ œ œ œ œ œ ˙ œ œ œ Fl. &b b œ Ó Ó

œ œnœ œ œ œnœ œ b b œ œ œ œ œ j ˙ œ œ œ œ &b b œ œ œ œ œ Ó bœ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ J œ œ { b bb ‰

33 œ œ œ j œ b b œ nœ œ œ nœ œ œ w bw Fl. &b b Œ Ÿ œ ˙™ œ œ b b œ œbœ œ œ œ j œ bœ ˙™ &b b œ œ œ Ó Pno. œ œ œ œ œ œ œ œ nœ œ œ œ œ œ ? œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb Œ simile 37 ...... b b w w œ œ œ œ bœ œ œ œ Fl. &b b Ÿ œ b ˙™ œ œ ™ œnœ œ œbœ œ œ œbœ œ œ ˙ &b bb œ ˙ Pno. œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ ? nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb

41 b b œ. œ. œ. œ. œ. œ. œ. œ. ˙ œ œ ˙ œ Fl. &b b œ

b bœ œnœ œ œbœ œ œ &b bb nœ bœ œ œ ˙ œ œnœ œ œbœnœ œ œbœ œ œ ˙ Pno. œ œ œ œ œ œ œ œ ? nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb nœ œ œ œ

4 45 œ b bn˙ œ œ nœ œbœ œ ˙ œ œnœ œ œ œ œ Fl. &b b œ œ Œ

b ˙ Ÿ œnœ œ œ œnœ œ &b bb œ œ œ œ Ó ˙ œ œ œ œ Pno. œ ? œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbbnœ œ œ œ œ

49 œ œ b b œ œ nœ œ œ nœj œ ˙ œ œnœ œ œ Fl. &b b œ œ œ Ó Ó

b œ œnœ œ œ œnœ œ b b œ œ œ œ œ j Ó ˙ œ œ œ œ & b œ œ œ œ œ Pno. ™ œ ? œ œ œ œ œ œ œ™ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb nœ œ

53 b b œ ˙ nœΩ nœ œ Fl. &b b Ó ˙™ nœ w

Ÿ ™ Ÿ b b œ œ™ œœ ˙ bœ œ œ ˙™ &b b œ œ œ nœ Ó Pno. ? œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ { bbbb œ œ bœ nœ nœ œ

57 bb b w œ. œ. œ. œ. Fl. & b w œ. œ. œ. nœ.

b Ÿ bœ œnœ œ œbœ œ œ &b bb ˙™ œ œ œ ˙™ nœ bœ œ œ ˙ Pno. œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ { bbbbnœ œ œ œ simile

5 61 Ω œ œ œ œ bbbb œ œ œ œ Œ ‰ œ œ œ œ nœ œ Fl. & œ. œ. œ. œ. . . . . J

Ÿ Ÿ b b œ œ œ œ ˙ œ œnœ œ &b b nœ bœnœ œ œbœ œ œ ˙ œ™ œœœ œ œ nœ Pno. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbbnœ œ œ œ œ

65 œ Ω b b œ œ nœ œ œ œ œ œ œ nœ ˙ Fl. &b b Ó

b œ œ nœ œ œ r Ÿ œ nœ œ &b bb œ œ œ œbœ œ œ œ œ œ ˙ œ Pno. œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { bbbb œ

68 œ Ÿ b œ nœ œ œ r U b b œ œ œ œ œ Œ ™ Fl. & b œ œ œ nœ ˙™ ™

œ r Ÿ U b b œ œ œ œ œ nœ œ œbœ œ œ ™ &b b œ œ œ ˙™ Œ ™ Pno. œ œ œ U ? b œ œ œ œ œ œ œ ™ { b bb œ œ œ Œ ™ œ ˙™

87 Sonata No. 4 KV. 13

W.A. Mozart Menuetto I nœ œ œ œ 3 œ œbœnœ œ œ œ#œ œ œ Flute &b4 ∑ Œ Œ Œ Œ 3 œ œbœ œ œ &b4 #œnœ œ Œ Œ #œnœnœbœ œ œ Œ Œ œ œ#œnœ#œnœ Piano 3 œ œ {?b4 ∑ Œ œ œ œ Œ Œ Œ œ œ œ Œ Œ

6 œ#œ œ œ œ œ œ œ œ œ ˙ œ ™ ™ œ œ œ œ œ œ Fl. &b œ ™ ™ ∑

b Œ Œ œ œ œ œ ˙ ™ ™ œ œ & œ œ œ œ#œnœ œbœ œ œ Pno. º ? ™ ™ œ œ { b Œ œ œ œ œ ™ ™ œ Œ Œ œ œ œ œ œ œ 11 œ œ œ Ÿ œ œ œ œ œ œ œ œ œ ˙™ Fl. &b Œ Œ ∑ Ÿ œ œbœ b œ œ œ œ œ œ j ™ œ#œnœ & œbœnœbœnœ œ œº œ ˙ Pno. œ j œbœ œ œ {?b œ Œ Œ œ œ ˙ nœ ‰ œ œ Œ Œ œ

16 bœnœnœ œ œ œ œ œ œ œ œ œ#œ œ œ#œ œ œ œ Fl. &b Œ Œ Œ Œ œ œ &b œ Œ Œ #œnœnœbœ œ œ Œ Œ œ œ#œnœ#œnœ œ Œ Œ Pno. ? œ œ œ œ { b Œ œ œ Œ Œ Œ œ œ œ Œ Œ Œ œ œ

2 Menuetto II 21 œ™ œ œ Ÿ ˙™ j b œ œ ™ b3 ∑ ‰ œ œ#œ œ œ Fl. & & 4 º Ÿ j œ b œ œ œ œ ™ b3 ‰ œ œ œ œ œ œ & œ œ ˙™ & 4 º #œ Pno. 3 3 ™ {?b œ œ œ œ ™ {?b4 ˙™ #˙™ œ œ

25 œ œ œ j œ œ œ œ œ œ œ j b Œ Œ ‰ œ Œ Œ Œ œ nœ nœ ˙™ ™ Fl. & º j œ nœ œ j œ œ Ÿ b ‰ œ œ œ #œ œ ‰ œ œ œ œ œ nœ™ œœœ j ˙™ ™ & º º #œ #œ #œ Pno. ™ ™ œ {?b#˙™ ˙™ ˙™ œ nœ œ œ œ œ ™ œ œ

b ™ ˙™ œ nœ œΩ b˙™ œ œ œ œ ‰ œ ‰nœ ‰ n˙ œ Fl. & º J J J ™ j &b ™ ‰ j#œ œ #œ œ ‰ jœ œ œ ‰ œ ‰ œ ‰ j œ œ œ #œ œnœ bœ œ œ #œ œ œ œ J œ ˙ #œ Pno. ™º º ? ™ ˙ ˙ œ ˙™ ˙ œ œ œ bœ nœ œ { b ™ ˙™ ˙™ nœ

j œ j b ∑ ‰ œ œ #œ œ œ Œ Œ ‰ œ œ œ œ Fl. & º º œ j œ j nœ œ b ‰ œ œ œ œ œ œ ‰ œ œ œ œ #œ œ & º #œ º Pno. ™ {?b ˙™ #˙™ #˙™ œ œ œ

3 b œ Œ Œ œ ™ Fl. & ˙ œ º œ œ œ œ ˙™ ™ œº nœ œ œ œ Ω œΩ œ œ œ œ Ω œ œ œ œ ˙™ ™ &b ‰ J #œ œ œ œ #œ #œ ™ Pno. ˙™ œ œ œ œ {?b œ œ ™ œ œ œ Da capo Menetto I

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