from the collection of the British Library
From 1784 forward, Mozart got his act together somewhat—he maintained a fairly meticulous thematic catalogue of his own compositions, in which he recorded certain details regarding composition and performance dates and forces for each new work, as well as incipits—short “previews” of the opening bars of each piece. 
This is the final page from that catalog. It records:
Die Zauberflöte.
La clemenza di Tito, which interrupted work on Die Zauberflöte.
Die Zauberflöte again, with Mozart indicating that he added an overture and the March of the Priests to complete the opera.
The Clarinet Concerto in A major.
The Masonic Cantata.
Mozart’s opening inscription on the first page states that the volume was to catalog all of his works from early 1784 until 1____, which suggests that he expected the catalog to run past the year 1800.
But the pages following this one are all blank. 

from the collection of the British Library

From 1784 forward, Mozart got his act together somewhat—he maintained a fairly meticulous thematic catalogue of his own compositions, in which he recorded certain details regarding composition and performance dates and forces for each new work, as well as incipits—short “previews” of the opening bars of each piece. 

This is the final page from that catalog. It records:

  1. Die Zauberflöte.
  2. La clemenza di Tito, which interrupted work on Die Zauberflöte.
  3. Die Zauberflöte again, with Mozart indicating that he added an overture and the March of the Priests to complete the opera.
  4. The Clarinet Concerto in A major.
  5. The Masonic Cantata.

Mozart’s opening inscription on the first page states that the volume was to catalog all of his works from early 1784 until 1____, which suggests that he expected the catalog to run past the year 1800.

But the pages following this one are all blank. 

26 June 2011 ·

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Curtis Lindsay
Pianist, composer,
expert in nonsense.



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