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Wolfgang Amadeus Mozart - Piano Sonata In C KV.279

Art.nr: HN600

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Wolfgang Amadeus Mozart - Piano Sonata In C KV.279 Komponist: Wolfgang Amadeus Mozart Antall sider: 20 Sjanger: Classical Instrument: Piano Utgivelsesår: 1992 Utgiver: G. Henle Verlag Utgavenummer: HN 600 ISMN: 9790201806006 This “No. 1” of Mozart’s eighteen total piano sonatas is nevertheless not the very first one that he composed. It is well known that the “Wunderkind” Mozart had previously written at least four piano sonatas (K. Anh. 199 202), though these have never surfaced. And the sequence 1 6 of the piano sonatas K. 279 284, which were probably composed in Munich at the beginning of 1775, is based solely on Mozart’s retroactive numbering of them (with just the manuscript of the first movement of the first sonata having been lost). In the family correspondence these six sonatas are, incidentally, characterized many times as the “difficult sonatas.” That can scarcely be meant in atechnical sense, but, as the editor of the Henle Urtext edition, Ernst Herttrich, surmises, might rather have alluded to their enormous “aesthetic, interpretive demands,” given that “Mozart furnished … the six sonatas with exceptionally rich dynamic and articulation markings … more than any of his previous works.”

Informasjon

Wolfgang Amadeus Mozart - Piano Sonata In C KV.279


  • Komponist: Wolfgang Amadeus Mozart
  • Antall sider: 20
  • Sjanger: Classical
  • Instrument: Piano
  • Utgivelsesår: 1992
  • Utgiver: G. Henle Verlag
  • Utgavenummer: HN 600
  • ISMN: 9790201806006

This “No. 1” of Mozart’s eighteen total piano sonatas is nevertheless not the very first one that he composed. It is well known that the “Wunderkind” Mozart had previously written at least four piano sonatas (K. Anh. 199 202), though these have never surfaced. And the sequence 1 6 of the piano sonatas K. 279 284, which were probably composed in Munich at the beginning of 1775, is based solely on Mozart’s retroactive numbering of them (with just the manuscript of the first movement of the first sonata having been lost). In the family correspondence these six sonatas are, incidentally, characterized many times as the “difficult sonatas.” That can scarcely be meant in atechnical sense, but, as the editor of the Henle Urtext edition, Ernst Herttrich, surmises, might rather have alluded to their enormous “aesthetic, interpretive demands,” given that “Mozart furnished … the six sonatas with exceptionally rich dynamic and articulation markings … more than any of his previous works.”

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