||Wolfgang Plath (1930–1995)
||Neue Mozart-Ausgabe, Serie IX, Werkgruppe 27,|
Band 2: Einzelstücke für Klavier [NMA IX/27/Band 2] (pp.169)
Kassel: Bärenreiter-Verlag, 1982. Plate BA 4584.
This “urtext” or “scholarly” (scientific) edition was published at least 25 years ago in Germany and thus is public domain in its country of origin. Such editions are also public domain in Canada because they fail to meet the minimum ‘threshold of originality’ to qualify for copyright as an ‘adaptation’. It may not be public domain elsewhere, however. More information about this can be found here.
Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
||scan: score scanned at 600dpi|
filter: score filtered with 2-point algorithm explained in High Quality Scanning
I provide the original scanned version and the filtered, because the filter does some changes (smoothening, sharpening borders) and some portions of the scan get lost sometimes (when they are too small e.g.) - so you can choose your favorite. You may ask me for a manually cleaned version.
||Mozart, Wolfgang Amadeus
|Opus/Catalogue NumberOp./Cat. No.
|I-Catalogue NumberI-Cat. No.
|Year/Date of CompositionY/D of Comp.
|Composer Time PeriodComp. Period
Only 35 bars survives, the only source, is a portrait of Wolfgang in Verona by Saverio Dalla Rosa (1745-1821). Einstein’s attribution of the Molto Allegro was taken over by Deutsch but not by later scholars, at least not universally. Daniel Heartz was the first to suggest the work may not be by Mozart but by someone else, and in this he was largely followed by Wolfgang Plath, who edited the work for the Neue Mozart-Ausgabe. According to Heartz and Plath, the style of the work depicted is atypical of the composer, including stylistic inconsistencies – notably a weak opening gesture in a quasi-trio sonata texture juxtaposed with galant style writing, and formal and modulatory procedures, among them a full close in the tonic at the end of the opening statement and transitions that lack continuity. Heartz finds all of these characteristics in the works of Baldassare Galuppi (1706-1785), and suggests that he may in fact be the composer of the Molto Allegro.