| Title | page | ||
|---|---|---|---|
• Preface [ Engl. Translation: ] |
 III - XIX |
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| • Ballet music for the pantomime “Les petits riens” K. Anh. 10 (299b). | 3-45 |
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Ouverture. Allegro |
3-14 |
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[ohne Bezeichnung] <nicht von Mozart> |
15 |
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[ohne Bezeichnung] <nicht von Mozart> |
16 |
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[ohne Bezeichnung] <nicht von Mozart> |
17 |
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[ohne Bezeichnung] <nicht von Mozart> |
18-19 |
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Agité <nicht von Mozart> |
20-21 |
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Menuet <nicht von Mozart> |
21 |
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Largo – Presto – Largo <nicht von Mozart> |
22-23 |
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Vivo <nicht von Mozart> |
24 |
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Andantino |
25 |
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Allegro |
25 |
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Larghetto |
26 |
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Gavotte. Allegro |
27-32 |
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Adagio <nicht von Mozart> |
33 |
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[ohne Bezeichnung] <nicht von Mozart> |
34-35 |
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Gavotte gracieuse |
36-37 |
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No. 16 |
37-38 |
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Passepied <nicht von Mozart> |
38 |
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Gavotte |
39-40 |
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Andante <nicht von Mozart> |
41 |
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Gigue <nicht von Mozart> |
42-45 |
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| • Gavotte in B flat for orchestra K. 300 Gavotte | 46-48 |
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| • Ballet music for the opera “Idomeneo” K. 367 <Ballet> | 49-102 |
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Chaconne. <Allegro> |
49-72 |
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Chaconne. <Allegro> |
49-60 |
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Larghetto |
61-63 |
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La Chaconne, qui reprend <Allegro> |
64-72 |
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Pas seul de Mr. Le Grand. Largo – Allegretto, sempre piano – Più Allegro – Più Allegro |
73-85 |
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Passepied – Mineur |
86-87 |
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Gavotte |
88-91 |
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Passacaille |
92-102 |
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APPENDIX: |
105-111 |
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a) Sketchleave Berlin [12-16] |
105-107 |
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[Ballet-Intermezzo] {12.}. |
105 |
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[Ballet-Intermezzo] {13.} Contredanse. Contredanse |
105 |
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[Ballet-Intermezzo] {14.} Contredanse. Contredanse |
107 |
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[Ballet-Intermezzo] {15.}. |
107 |
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[Ballet-Intermezzo] {16.} Tamburino. Tamburino |
107 |
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Sketches for a ballet. Facsimile and transcription b) Sketch sheet Paris [17-27] |
108-111 |
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[Ballet-Intermezzo] {17.} le forgeron travaille. Le forgeron travaille |
109 |
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[Ballet-Intermezzo] {18.} pour la femme. Pour la femme |
109 |
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[Ballet-Intermezzo] {19.}. |
109 |
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[Ballet-Intermezzo] {20.} un petit travaille il voit que sa femme n’est plup. il prende une autre danseuse. Un petit travaille |
109 |
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[Ballet-Intermezzo] {21.} il danse avec une autre danseuse. Il danse avec une autre danseuse |
109 |
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[Ballet-Intermezzo] {22.} sa femme vient. Sa femme vient |
109 |
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[Ballet-Intermezzo] {23.} Larghetto. la pantomime avec le chapeau. and.[ante]. Larghetto – And<ante>. La pantomime avec le chapeau |
109 |
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[Ballet-Intermezzo] {24.} andante Andante |
109 |
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[Ballet-Intermezzo] {25.} pantomime avec le baton. Pantomime avec le baton |
111 |
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[Ballet-Intermezzo] {26.} elle lui dit de se mettre en genoux lui ne veut pas obeïr – d’abord il se mette en genoux – elle lui dite de baiser la main – lui baise la main – ils font la paix Elle lui dit |
111 |
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[Ballet-Intermezzo] {27} Gigue. Gigue |
111 |
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| • Chasse in A for orchestra (Fragment) K. Anh. 103 (320f; 299d). | 112-113 |
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Chasse |
112-113 |
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Mineur |
113 |
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| • Subsequent changes by Mozart in the autograph of the ballet music for the opera "Idomeneo". 1. For “No. 1 Chaconne”. a) Between measure 129 and measure 130 deleted measures (= original {?} draft for measure 123ff.) K. Zu 367/01. | 114 |
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| • <Subsequent changes by Mozart in the autograph of the ballet music for the opera "Idomeneo". 1. For “No. 1 Chaconne”> b) Between measures 147 and 148 deleted measures (first version of the conclusion of No. 1 and beginning of a not continued original No. 2) K. Zu 367/01. | 115 |
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| • <Subsequent changes by Mozart in the autograph of the ballet music for the opera "Idomeneo"> 2. For “No. 2” Between measures 65 and measures 66 deleted measures K. Zu 367/02. | 116 |
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| • <Subsequent changes by Mozart in the autograph of the ballet music for the opera "Idomeneo"> 3. For “No. 5 Passacaille”. a) Fragment of a second (later) version of the measures 38ff. K. Zu 367/05. | 116-117 |
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| • <Subsequent changes by Mozart in the autograph of the ballet music for the opera "Idomeneo"> 3. For “No. 5 Passacaille”. b) Between measures 71 and measure 72 deleted measures. Pas de deux K. Zu 367/05. Pas de deux | 118-119 |
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| • Music for a carnival pantomime for two violins, viola and bass K. 446 (416d). | 120-127 |
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Scena I. Pantalon and Colombine zanken sich. (Pantalon and Colombine bicker) [ohne Bezeichnung] – Coda |
120 |
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Scena II. Der Dottore kommt. (The doctor comes) Maestoso. Maestoso |
120-121 |
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Scena III. Pant:[alon], Pierò and Dottore liegen auf der Erde. (Pantalon, Pieró and the doctor are lying on the ground) Allegro Allegro |
121 |
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Scena IV. D:[ottore] und C:[olombine] steht unbeweglich. Bei der Rep.[etition] geht Dott:[ore] langsam auf die Knie. (Dottore and Colombine stand steadily. During the repitition the doctor slowly gets on his knees.) Poco adagio staccato. Poco adagio staccato |
122 |
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Scena V. Pan:[talon] und Pierò bringen das Tischel. (Pantalon and Pieró bring the small table.) Andante molto. Andante molto |
122 |
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Scena VI. Colom:[bine] ist ganz traurig. Pierò sagt sie soll zum Tische sitzen. – Endlich geht sie. – Und Pierò setzt sich auch auf einen Stuhl um zu schlafen. (Colombine is very sad. Pieró says she should be at table. - Finally she leaves. - And Pieró sits on a chair in order to sleep.) Adagio Adagio |
122 |
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No. VII. Harlequin guckt aus dem Kasten heraus. (Harlequin peeks out of the cabinet.) Allegro Allegro – Adagio – Allegro – Adagio – Primo Tempo – Allegro – Primo Tempo – Allegro – Adagio – Allegro – Allegro assai |
122-124 |
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Scena VII. P.[antalon] und D.[ottore] geht ab. Pierò kommt mit Waffen (Pantalon and the doctor exit. Pieró comes with arms.) |
124 |
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Scena VIII. No. X. Pierò geht auf und ab, sieht den Türken. (Pieró walks back and forth, sees the turk.) Larghetto. Larghetto |
124 |
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No. VIII. Allegro maestoso |
125 |
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No. IX. Più Allegro |
125 |
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No. XI. Allegro – Presto |
125 |
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No. XII. Maestoso |
125-126 |
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No. XIII. Pierò fürchtet sich vor dem toten Arlequin (Pieró is afraid of the dead Arlequin). Adagio – Risoluto – <Tempo primo> – <Risoluto> |
126-127 |
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No. XIV. Marcia – Allegro |
127 |
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No. XV. |
127 |
