Rondo in A major, K.386 (Mozart, Wolfgang Amadeus)
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Manuscript fragments: bars 105-110, 116-119, and 133-135.
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Autograph manuscript, n.d.
Fragments of two leaves. The first fragment is from f.6, containing the lower portion of bars 105-110. The second fragment is from f.7, containing the upper portion of bars 116-119 and 133-135.
Autograph manuscript, n.d.
Two two surviving sections of f.6 (comprising the lower half of the leaf) joined together. Juilliard's portion, still missing until c.2005, contains music not present in either version found in NMA. Cipriani Potter's arrangement differs from the autograph in several respects at this point (notably in bar 105). [Note that the only scan I could find of the other portion of this leaf, in the University of Western Ontario, contains notable creases.]
This file is part of the Sibley Mirroring Project.
12 staves: 1=blank / 2–3=Violins / 4=Viola / 5–6=Oboes / 7=2 Horns in A / 8–9=Pianoforte / 10=Cello / 11=Contrabass / 12=blank
Corresponds to bars 136–145 [recto] and bars 146–154 [verso] of the full work.
Arrangements and Transcriptions
For Piano solo (Potter)
Philip Cipriani Hambly Potter (1792-1871)
London: Coventry & Hollier, n.d..
This arrangement, made by Cipriani Potter sometime before 1838, is still the primary source for some still-missing sections of Mozart's autograph.
|Alternative Title||Concert Rondo|
|Composer||Mozart, Wolfgang Amadeus|
|Year/Date of Composition||1782|
|Average Duration||8 minutes|
|Instrumentation||Piano (solo) + 2 Oboes, 2 Horns, 2 Violins, Violas, Cellos, Double Basses|
The autograph manuscript of this rondo was sold by Mozart’s widow to the publisher André, who did not publish the work as the last page of the manuscript was missing. He therefore sold it to buyers in England, and it eventually came into the possession of Sterndale Bennett. In 1838 Cipriani Potter made an arrangement of the entire work for solo piano, which included an ending of his own devising.
The manuscript was eventually dismembered into many fragments, which have resurfaced from time to time: Alfred Einstein could only locate two leaves (bars 136–71) and had to rely on the reduction by Potter for the remainder; some time later by 1956 A. Hyatt King had discovered another three leaves in England, allowing Charles Mackerras and Paul Badura-Skoda to create a performing version in 1963 incorporating one further full leaf and another partial one that they uncovered, accounting for bars 1–78, 118–32, and 136–71. The Piano concertos, volume 8 in the New Mozart Edition (NMA V/15/8, published 1960) includes a facsimile of bars 155–61 (Vorspann, page XXXV) and a partial reconstruction utilising the arrangement by Potter (pp. 173–87)
Finally, Alan Tyson recovered four of the last seven leaves in a miscellany in the British Library. These had been missing since before 1799, and represent bars 225–69 (Potter’s arrangement diverges here and finishes after 252 bars).