Please Select a Manuscript

from various manuscripts indexed as K. 393(2–5)     push button

Almost every composer who worked in the international Italian style wrote solfeggi, and Mozart was no exception. The solfeggi known as K. 393 may have been connected with the vocal preparation of his bride Costanze (the marriage took place August 4, 1782 in Vienna) for a performance of Mozart's Mass in C Minor (K. 427) the next year in Salzburg. In this regard Mozart was following the model of the Naples-trained Johann Adolf Hasse, many of whose solfeggi are presumed to have been written for his wife, the great singer Faustina Bordoni. In comparison to Neapolitan solfeggi, Mozart's are somewhat longer, contain more cadenzas, and modulate more frequently, although there are only three surviving Mozart solfeggi as evidence. Only the first two are complete, the third was given a bass by the editors of the nineteenth-century complete edition of Mozart's works. The addition of the bass indicates that, even in the late nineteenth century, it was still common knowledge that solfeggi had accompaniments. The "Exercises" (Esercizj) included as the fourth solfeggio are generic vocal drills on typical sixteenth-note patterns.