Already our first volume of original piano works by Mozart’s youngest son made the music world take notice. The second volume now completes the collection of works by this composer who is often underestimated. At the time, Franz Xaver Mozart was described as follows: "His playing is clear, precise, expressive and full of intellect and emotion". Unlike masters of the keyboard such as Moscheles or Hummel he was not primarily a virtuoso, which is why his works are also attractive for amateurs. Alongside numerous individual works this volume also contains several cadenzas for piano concertos by his famous father, which we are able to publish for the first time thanks to the autographs.
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Preface
Franz Xaver Wolfgang Mozart (1791– 1844), who appeared before the public during his lifetime as “W. A. Mozart Son”, began his training as a pianist possibly as early as 1795 with Franz Xaver Duschek in Prague, but at the latest in 1798 with Johann Andreas Streicher in Vienna. He also took composition lessons with Sigismund Neukomm and Johann Georg Vogler. Following his … more
Critical Commentary
About the composer
Franz Xaver Mozart
Austrian composer and pianist. In addition to his compositions for piano (including concerti, sonatas, polonaises) he wrote song cycles, chamber music, and other things. His transcriptions of works by his father are important in the reception history of Wolfgang Amadeus Mozart.
| 1791 | Born in Vienna on July 26, the youngest son of Wolfgang Amadeus Mozart. His mother Constanze set him on an early path toward a career in music. In Prague he receives his first piano lessons from Franz Xaver Niemetschek, and in Vienna he is taught by Johann Nepomuk Hummel, Antonio Salieri, and Johann Georg Albrechtsberger, among others. |
| 1802 | His Piano Quartet in G minor, op. 1, is published. |
| 1808–10 | In Pidkamin, Galicia, near Lemberg (Lviv), he is appointed personal music teacher to the children of Count Baworowski. |
| from 1813 | Works as a freelance composer and teacher. |
| 1818 | Genesis and publication of his Piano Concerto in E-flat major, op. 25. |
| 1819–22 | An extended artistic tour takes him through the metropolises of Europe, including Prague, Copenhagen, Warsaw, Berlin, Venice, and Salzburg. |
| 1826 | He founds the St Cecilia Choir of Lviv. |
| 1838 | Back in Vienna he gives concerts and teaches. Ernst Pauer is among his pupils. |
| 1841 | He is named honorary music director of the Salzburg Cathedral Music Society, and of the Mozarteum. His inaugural winter concert that year popularizes Chopin’s works in Vienna. |
| 1842 | He performs in Salzburg as part of ceremonies to consecrate the monument honoring his father. |
| 1844 | Dies in Carlsbad (Karlovy Vary) on July 29. |
About the authors
Rolf Koenen (Fingering)
As a pupil, Prof. Rolf Koenen, born in 1946 in Duisburg, had already had contact with Ewald Zimmermann, the first editor at the young publishing house. He studied the piano at the Folkwangschule in Essen with Detlef Kraus, with Ludwig Hoffmann in Munich and with Maria Tipo in Florence.
He gave concerts in a permanent duo partnership with Hansjörg Schellenberger, who was later to become the solo oboe player with the Berlin Philharmonic, and made several recordings with the Deutsche Grammophon-Gesellschaft, with Denon and Sony. Other chamber music partners included András Adorján, Stefan Dohr, Wolfgang Schulz, Claes H. Ahnsjö. Following a teaching position in Munich, Rolf Koenen was appointed as a professor at the Berlin University of the Arts in 1982.
To have these works now complete in a two volume set is most welcome. Certainly there are individual works that will sit very well within mixed recitals.
Vooral de ietwat weemoedige mineurstukken zijn bijzonder mooi door hun harmonische vondsten ..., exotische toonsoorten ..., orkestrale textuur ... en Chopineske figuraties ...
Elsewhere in this fascinating anthology we have some well-crafted if rather anonymus teaching pieces for elementary players, and excellent cadenzas for the piano concertos K467, 450, 466 (finale) and 503 from his father's oeuvre. ... This is a revelatory and laudable issue in every respect.
Questa nuova edizione renderà in parte giustizia al "figlio di Amadeus".
Henle's preface and general editing is excellent.