Mozart, Wolfgang Amadeus

first edition of the G-major Piano Trio, K.496, 22 [piano], 7 [violin] pages, oblong and upright 4to (24 x 33.3cm [piano]; 32.7 x 24.3cm [violin]), engraved throughout, plate number 56, some modern pencil annotations to title, disbound, without violoncello part, very slight worming to inner and lower margins of violin part, traces of wax to first page of violin part, some damp-staining to piano part, edges trimmed, very slightly affecting the engraved surface of p.2 of the piano part

RISM M 6355; Haberkamp, p.265; Hoboken, xi 274

Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Rare: we have traced no copy of this edition at auction after 1959 (sale in these rooms of 12 May 1959, lot 217).  Haberkamp records only nine copies of the first edition, three of which are incomplete.

This is a beautifully engraved print of one of Mozart's finest chamber works, first appearing as Nr.3 in volume 5 of Hoffmeister's series "Prénumeration pour le Fortepiano" (no example, however, of the original wrapper with this title survives). Entered in the composer's own pocket thematic catalogue of his works (the "Verzeichnüss") under the date of 8 July 1786, the work thus belongs to one of Mozart's greatest periods of creativity, following, as it does, by only a few months the first performance of Le nozze di Figaro. The circumstances of the work's genesis remain a mystery, one compounded by the unusual fact that the autograph - one of the most important Mozart manuscripts still in private hands - is written throughout in two inks, red and black.