MOZART WOLFGANG AMADEUS: (1756-1791) In a previously ´ lost´ letter Mozart makes the first known reference to his ...

MOZART WOLFGANG AMADEUS: (1756-1791) In a previously ´ lost´ letter Mozart makes the first known reference to his masterpiece, the ´ Haydn´ Quartets

MOZART WOLFGANG AMADEUS: (1756-1791) Composer from the Electorate of Salzburg, a child prodigy, widely considered the greatest classical music composer of all time. Mozart died at the early age of 35 years, leaving his legacy for posterity, including masterpieces in all musical genre. An exceptionally rare and important A.L.S., Wolfgang Amadé Mozart, one page (with a postscript occupying the upper half of the second page of the bifolium), 4to, Vienna, 26^th April 1783, to [Jean-Georges] Sieber (´Monsieur!´), in German. Mozart writes to the music publisher Sieber to offer him some compositions, and also confirms that he is currently at work on six quartets, ´Es sind nun bereits 2 Jahre daß ich in Wien bin; - Sie werden vermuthlich wissen von meinen Sonaten auf Piano forte mit Begleitung einer Violin, welche ich hier bey Artaria und Compagnie habe Stechen lassen; - da ich aber mit dem hiesigen Stiche nicht allzusehr zufrieden bin, und wenn ich es auch wäre, Meinem LandsManne in Paris auch einmal wieder möchte etwas zukommen lassen ´ (Translation: ´ It has now been two years since I came to Vienna; you probably know about my sonatas for pianoforte with the accompaniment of a violin, which I had published here by Artaria and Company; however, since I am not very satisfied with the local engraving, and even if I were, I would also like to send something to my compatriot in Paris again´), continuing ´ wieder möchte etwas zukommen lassen, so mache ihnen hiemit zu wissen daß ich 3 Clavier-Concerte fertig habe, welche mit ganzem orchester als mit oboen und Horn – wie auch nur à quatro, können producirt werden´ (Translation: ´so I hereby inform you that I have three piano concertos that can be performed with a full orchestra, with oboes and horns, or just à quatro;´), explaining that Artaria would again like to engrave them, but instead offering Sieber the privilege, ´ ich will ihnen also, um alle weitläufigkeit zu vermeiden, den geringsten Preis sagen; - die geben mir 30 Lousid’or dafür, und damit ist unser Handel gemacht´ (Translation: ´so, to avoid any further discussion, I will give them to you for the lowest price; – you give me 30 Louis d'or for them, and that is the end of our business´). Mozart then proceeds to inform Sieber that he is presently engaged on another musical project, which the composer evidently regards as being highly important, and would become the famous ´Haydn´ Quartets, which he also offers to the publisher, ´schreibe ich nun a 6 quartetten auf 2 violin, viola und Baßo – wenn sie Diese auch Stechen wollen so gieb ich sie ihnen auch. – mit diesen bin ich aber nicht so wohlfeil – diese 6 quarten kann ich unter 50 Louis d‘or nicht geben´ (Translation: ´ I am now writing a set of 6 quartets for two violins, viola and bass – if you also want to engrave these, I will give them to you as well – However, I cannot let these go as cheaply – I cannot let you have these 6 quartets for under 50 Louis d'or´). The composer asks Sieber to send a reply if he is prepared to accept the offer and undertake the printing, adding that he will be able to provide an address in Paris where the music could be collected in exchange for Sieber´s payment. In his postscript Mozart requests that Sieber, ´belieben sie nur über ihren Brief eine Adresse Couvert zu machen mit folgender Adresse: A: Monsieur Monsieur Le Baron Raymund de Wetzlar a Vienne auf der hohen Brücke im kleinen Harbonsteinschen Haue´ (Translation: ´ Please put your letter in an envelope with the following address: A: Monsieur Monsieur Le Baron Raymund de Wetzlar a Vienne on the high bridge in the small Harbonstein house´). With integral address leaf (´Monsieur Sieber, Editeur de Musique, rue St: honoré, à l´hotel d´Aliger, Paris´) bearing two postal cancellations and lacking the original seal (circular area of paper loss and a lengthy, neat split to the central horizontal fold). A letter of salient content in which Mozart not only makes reference to his sonatas for violin and piano, and his pianoforte concertos, but also writes of having commenced composing what would become to be known as the ´Haydn´ quartets. Some very light, minor staining to the centre right area of the letter and with a few small, minor tears and light creasing to the edges, none of which majorly detract from the overall appearance of the letter, the text of which remains bold. About VG

Jean-Georges Sieber (1738-1822) German-born French musician and music publisher. Following his marriage in 1770 to Marie-Julie Regnault, who was trained in music engraving, Sieber began his publishing activities, initially publishing works by composers of German origin. These included over fifty symphonies and numerous chamber works by Joseph Haydn, as well as Mozart´s Symphony No. 31 in D major (K.297/300a), better known as the ´Paris Symphony´. It may have been the first of Mozart´s symphonies to be published when Sieber released their edition in 1779.

Baron Raimund Wetzlar von Plankenstern (1752-1810) provided Mozart with free accommodation in Vienna from December 1782 to February 1783 and also became the composer´s patron, providing financial assistance including the removal costs and rent for Mozart´s next residence. Wetzlar von Plankenstern was Godfather to Mozart´s first son, Raimund Leopold. It was in the home of Wetzlar von Plankenstern in Spring 1783, at the time of the present letter, that Mozart first met the opera librettist Lorenzo da Ponte (1749-1838) who wrote the libretti for three of Mozart´s most celebrated operas: The Marriage of Figaro (1786), Don Giovanni (1787) and Cosi fan tutte (1790).

Artaria & Co. was founded in Vienna in 1770 and became one of the most important music publishing firms of the late 18^th and 19^th century, associated with many leading names of the classical era. The company´s most important early collaboration was with Joseph Haydn, the composer publishing more than 300 works through Artaria. This important relationship helped Artaria to secure the rights to the works of other significant composers, most notably Mozart. During his lifetime Artaria was Mozart´s principal publisher (despite the disparaging remarks Mozart makes in the present letter).

The sonatas which Mozart first refers to in his letter represent the initial work of his ´mature sonatas´, in particular Violin Sonata No. 17 in C Major (K.296) which had been composed in March 1778 and was first published in 1781 as part of the composer´s Opus 2 collection. In 1783 an anonymous reviewer for the Hamburg Magazin der Musik observed that ´These sonatas are the only ones of their kind…. They are rich in new ideas, showing traces of the great musical genius of their author.... Moreover, the violin accompaniment is so ingeniously combined with the piano part that both instruments are continuously employed; and thus these sonatas demand a violinist as accomplished as the pianist´.

The three piano concertos Mozart next makes reference to are Piano Concerto No. 11 in F Major (K.413), Piano Concerto No. 12 in A Major (K.414), and Piano Concerto No. 13 in C Major (K.415). The three works were composed in Vienna from 1782-83 for subscription concerts that Mozart gave in the city.

Most importantly, Mozart then writes of having begun work on a set of six string quartets – the ´Haydn´ Quartets – the present letter understood to be the earliest reference to the compositions which would come to be regarded as being amongst Mozart´s most famous works, considered the ´established keystones´ of the chamber music repertoire. Dedicated to the composer Joseph Haydn, the ´father of the string quartet´ first heard the music across two gatherings at Mozart´s home on 15^th January and 12^th February 1785. Upon hearing them all, Haydn remarked to Mozart´s father, Leopold, ´ Before God, and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste, and, what is more, the most profound knowledge of composition´.

At the time of the present letter Mozart had in fact only completed one of the six quartets, String Quartet No. 14 in G Major (K.387). Composed at the end of December 1782, and also known as the ´Spring´ quartet, the work was also possibly edited in 1783. The following five quartets would be completed from June 1783 to January 1785. As it was reported on other occasions, Mozart had the exceptional capacity of maturing a work in his mind, both as a whole and in its small details at the same time. He often said having finished a work and when people asked for the score he said that it was finished but in his mind and that it was just a matter of transcribing it to the score, but had no time to do so. He could retain in his mind an immense amount of musical works with full detail and for each instrument. Therefore the remaining quartets would have been very much advanced and composed in Mozart´s mind at the time of writing the present letter.

Although Sieber´s reply to Mozart´s letter is lost, it would appear that he rejected the composer´s offer. Artaria & Co. announced the publication of all six quartets on 17^th September 1785, apparently having paid the composer 100 ducats for the publishing rights. Whilst this has a touch of irony to it, and the familiar tone of Mozart´s letter suggests that he felt confident in Sieber accepting his offer, perhaps the composer in fact knew all along that, should he be turned down by Sieber, Artaria would be ready and waiting in the wings to publish the works.

The content of the present letter has been published in numerous books, one of the earliest occasions being in July 1921 when it appeared in the Bulletin Français de la Société internationale de musique. At the time the letter was only known by a facsimile copy, the original assumed to have been lost, and is now being offered at auction for the first time, having been located in the archives of a distinguished French family.

One of the most important autograph letters of Mozart to have appeared at auction in recent years.

Only twenty-five autograph letters by Mozart (several of them incomplete, and most written to his father or other relatives) are recorded in the Auction and Book Sales Archive (ABSA), which incorporates the records of American Book Prices Current (ABPC), as having been sold at auction in the last fifty years.