Mozart, Wolfgang Amadeus. (1756–1791). La Clemenza di Tito [Piano-vocal score] Opera seria . Ernsthafte Oper in Zwey Akten . Klavierauszug von A.E. Müller. [K. 621]. . Leipzig: Breitkopf & Härtel. [1824]. Oblong folio. Contemporary paper boards. 1f. (title), (i)-vi (cast and full libretto), 1-88 pp. Lithographed. [PN] 3610. Marbled binding worn and rubbed with small loss to upper spine edge, upper joint split with full separation of upper board and blank endpages. Scattered moderate foxing and browning throughout. Ownership signature "E. Marshall / 1824" to upper right corner of title. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105.
A good early edition of Mozart's last opera, completed after the bulk of Die Zauberflote was written and first performed at the National Theatre in Prague on September 6, 1791. Comissioned to celebrate the coronation of Emperor Leopold II as the Kind of Bohemia, the opera "was composed in a style more austere than that of Da Ponte Operas or Die Zauberflote...its style is appopriate to its topic. La Clemenza di Tito, compared with the preceding operas, is no less refind in craftmanship, and it shows Mozart responding with music of restraint, nobility, and warmth to a new kind of stimulus." (New Grove, 12: 722)
Mozart, Wolfgang Amadeus. (1756–1791). La Clemenza di Tito [Piano-vocal score] Opera seria . Ernsthafte Oper in Zwey Akten . Klavierauszug von A.E. Müller. [K. 621]. . Leipzig: Breitkopf & Härtel. [1824]. Oblong folio. Contemporary paper boards. 1f. (title), (i)-vi (cast and full libretto), 1-88 pp. Lithographed. [PN] 3610. Marbled binding worn and rubbed with small loss to upper spine edge, upper joint split with full separation of upper board and blank endpages. Scattered moderate foxing and browning throughout. Ownership signature "E. Marshall / 1824" to upper right corner of title. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105.
A good early edition of Mozart's last opera, completed after the bulk of Die Zauberflote was written and first performed at the National Theatre in Prague on September 6, 1791. Comissioned to celebrate the coronation of Emperor Leopold II as the Kind of Bohemia, the opera "was composed in a style more austere than that of Da Ponte Operas or Die Zauberflote...its style is appopriate to its topic. La Clemenza di Tito, compared with the preceding operas, is no less refind in craftmanship, and it shows Mozart responding with music of restraint, nobility, and warmth to a new kind of stimulus." (New Grove, 12: 722)