298
298
Mozart, Wolfgang Amadeus
COSÌ FAN TUTTE: O SIA LA SCUOLA DEGLI AMANTI...WEIBERTREUE ODER DIE MÄDCHEN SIND VON FLANDERN...IM KLAVIERAUSZUGE VON SIEGFRIED SCHMIEDT. [KV 588], LEIPZIG: IN DER BREITKOPFISCHEN MUSIKHANDLUNG, [1794].
Estimate
1,5002,000
JUMP TO LOT
298
Mozart, Wolfgang Amadeus
COSÌ FAN TUTTE: O SIA LA SCUOLA DEGLI AMANTI...WEIBERTREUE ODER DIE MÄDCHEN SIND VON FLANDERN...IM KLAVIERAUSZUGE VON SIEGFRIED SCHMIEDT. [KV 588], LEIPZIG: IN DER BREITKOPFISCHEN MUSIKHANDLUNG, [1794].
Estimate
1,5002,000
JUMP TO LOT

Details & Cataloguing

Music, Medieval and Renaissance Manuscripts and Continental Books

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Mozart, Wolfgang Amadeus
COSÌ FAN TUTTE: O SIA LA SCUOLA DEGLI AMANTI...WEIBERTREUE ODER DIE MÄDCHEN SIND VON FLANDERN...IM KLAVIERAUSZUGE VON SIEGFRIED SCHMIEDT. [KV 588], LEIPZIG: IN DER BREITKOPFISCHEN MUSIKHANDLUNG, [1794].
FIRST EDITION. 3 volumes in one, 78, 80 and 82 pages, oblong 4to (c.25.5 x 30cm), type-set music, cast list in volume 3, early nineteenth-century brown calf-backed marbled boards, red-gilt title-label to spine, lacking engraved memorial frontispiece, 2 leaves from first volume (pp 41-44) supplied in early (perhaps contemporary) manuscript, some browning, upper margins trimmed, occasionally affecting paginations
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Literature

Haberkamp, pp.333-334; Hirsch, iv 166.

Catalogue Note

First edition of the piano-vocal score; the full score was not published until 1810 (also by Breitkopf & Härtel). The three-volume format does not reflect Mozart's division of his opera into two-acts. Act 2 begins half-way through volume 2: page 53.

The last of Mozart’s collaborations with the Italian librettist Lorenzo da Ponte, the story of two young men who disguise themselves in order to test their fiancées’ fidelity. "Da Ponte’s libretto is a marvel of witty, concise, and symmetrical dramatic construction - a standing rebuttal to those who believe that all opera librettos are fustian and second-rate stagecraft… In the music, all the conflicting strains of mockery and tenderness, of sincerity and inconstancy, are fully reconciled. Delicious in its parody, ravishing in its lyricism, Così holds laughter and sympathy in a perfect equilibrium that, in critic Joseph Kerman’s phrase, celebrates ‘the mystery of feeling itself.’” (N. Zaslaw and W. Cowdery, The Compleat Mozart: a guide to the musical works of Wolfgang Amadeus Mozart (1990), pp.64-65).

Music, Medieval and Renaissance Manuscripts and Continental Books

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London