This edition is a reproduction of an old XIX-century
edition. The reproduction is as faithful as possible:
however, I chose to remove pedal markings because of
reasons stated below.
I compared this old edition with the Neue Mozart
Ausgabe (NMA), which is considered to be the
"reference" edition and closely follows the autograph.
The present edition shows significant discrepances from
the NMA in slurs, dynamics and articulations in
general. For instance, while Mozart used distinctly
dots...(+)
This edition is a reproduction of an old XIX-century
edition. The reproduction is as faithful as possible:
however, I chose to remove pedal markings because of
reasons stated below.
I compared this old edition with the Neue Mozart
Ausgabe (NMA), which is considered to be the
"reference" edition and closely follows the autograph.
The present edition shows significant discrepances from
the NMA in slurs, dynamics and articulations in
general. For instance, while Mozart used distinctly
dots and strokes above noteheads to indicate staccato
and spiccato, in the present edition all Mozart's
strokes are changed into dots (e.g. Violin, bar 67 in
the Allegro have strokes above the last three G, and
the same for the following similar bars). The unknown
editor chose to extensively use pedal markings, which I
chose not to reproduce in this edition, considering
that Mozart never notated them explicitly in his
autographs and therefore we cannot know exactly how he
used the pedal (however, we do know that he enjoyed a
lot using it!).
An interesting article about the composition of this
beautiful violin sonata was written by Dennis Pajot and
published on the MozartForum
(http://www.mozartforum.com). You can read it at the
following address:
http://www.mozartforum.com/Lore/article.php?id=166
July 2005
Maurizio Tomasi
SHEET MUSIC