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Sacred Drama/Oratorio
Die Schuldigkeit des ersten Gebots (allegorical drama, K. 35), 1767
Grabmusik (cantata, K. 42), 1767
La Betulia liberata (oratorio, K. 118), 1771
Operas
Apollo et Hyacinthus (K. 38), 1767
La finta semplice (K. 51 [46a]), 1768
Bastien und Bastienne (K. 50 [46b]), 1768
Mitridate, re di Ponto (K. 87 [74a]), 1770
Ascanio in Alba (K. 111), 1771
Il sogno di Scipio (K. 126), 1771
Other Works: Miscellaneous keyboard music, chamber music, masses, etc.
Eisen, Cliff, Problems of Authenticity among Mozart s Early Symphonies: The Ex-
amples of K. Anh. 220 (16a) and 76 (42a), Music & Letters 70 (1989): 505 16.
Composers Born between 1700 and 1800 93
Kchel, Ludwig Ritter von, Chronologisch-thematisches Verzeichniss smmtlicher Tonwerke
Wolfgang Amade Mozart s (Leipzig, Germany: Breitkopf & Hrtel, 1862; 6th ed., ed.
Franz Giegling [Wiesbaden, Germany: Breitkopf & Hrtel, 1964]).
Landon, H. C. Robbins, ed., The Mozart Compendium (London: Thames & Hudson,
1990).
Mozart, Wolfgang Amadeus, Neue Ausgabe smtlicher Werke, ed. Internationale Stiftung
Mozarteum Salzburg (Kassel, Germany: Brenreiter, 1955 2007); also available on-
line at http://dme.mozarteum.at.
Sadie, Stanley, Mozart: The Early Years (New York: Oxford University Press, 2006).
Tyler, Linda, Bastien und Bastienne: The Libretto, Its Derivation, and Mozart s Text
Setting, Journal of Musicology 8 (1990): 520 52.
Sound Recordings
All works in Mozart Edition, various performers. Philips 422 501-2PME6 et seq.
(1990 91).
Thomas Linley the Younger (5 May 1756 5 Aug. 1778)
Son of the composer Thomas Linley Sr. (1733 95), Linley Jr. became promi-
nent as early as 25 July 1763, when he sang and played a violin concerto in a
concert at Bath. It is unclear whether he himself composed the concerto, but
he did compose several altogether, of uncertain date, although only one of
them survives. He also composed a set of six violin sonatas in 1768 and a sev-
enth sonata the following year, but all but one of them are lost. The surviving
one, in A major in three movements, is in the British Library, London (R.M.
21.h.10). It displays considerable compositional skill, while its emphasis on
technical virtuosity and brilliance indicates Linley s already outstanding abilities
as a violinist. He died in a boating accident at the age of only twenty-two.
Beechey, Gwilym, Thomas Linley, Junior. 1756 1778, The Musical Quarterly 54
(1968): 74 82.
Joseph Martin Kraus (20 June 1756 15 Dec. 1792)
Four short, rather Italianate symphonies appear to date from 1769 to 1772,
while Kraus was in Mannheim (see Van Boer s [1998] thematic catalogue).
Two (VB 37 and 38) are described as pantomimes rather than symphonies,
suggesting they may have originated in some ballet or other theatrical enter-
tainment. The first of these is a three-movement work in D; the second, in
G, has two short middle movements a Tempo di marcia in C and an Adagio
in F, creating a rather unusual key scheme. Of the other two symphonies, a
94 Chapter 7
Sinfonia buffa in F (VB 129) has three movements, and the symphony in A (VB
128) is the longest of the four, consisting of a full four movements with minuet
and trio placed third, as was to become the norm later. Works:
Symphony (Pantomime) in D
Symphony (Pantomime) in G
Sinfonia buffa in F
Symphony in A
Van Boer, Bertil H., Joseph Martin Kraus (1756 1792): A Systematic-Thematic Catalogue
of His Music (Stuyvesant, N.Y.: Pendragon, 1998).
Franois-Joseph Darcis (c. 1760 c. 1783)
Viennese by birth, but with a French father, Darcis became prominent as a
keyboard player in Paris from about the age of ten. Nearly all of his compo-
sitions date from the six-year period 1770 to 1776 (see list of works). Most
were published in Paris; Le bal masqu is preserved only in a manuscript in the
Bibliothque Nationale, Paris (Rs. F 308). Two further airs, probably from
the same period, are found in the same library (Rs. F 482).
Darcis fled to Russia in 1777 and wrote little thereafter. Thus he is one
of the few composers to have attained greater prominence as a child than as an
adult. His style displays attractive melodic writing and has been compared with
early Mozart. His stage music seems to have pleased the public well enough,
for both Le bal masqu and La fausse peur were performed several times. Music
critics were generally less favorable toward these works, although the airs in
La fausse peur were praised as agreeable and effective. There has been no
detailed study of Darcis s music in recent times, however. Works:
Six keyboard sonatas (Op. 1), c. 1770
Le bal masqu, one-act comedy with ariettes, first performed on 31 March
1772
Six keyboard sonatas with violin ad. lib. (Op. 2), 1773
Petits airs de Lucile et de Julie arrang pour le clavecin (Op. 3), 1773 [ Pobierz całość w formacie PDF ]