[K366, 489]. Idomeneo Rè di Creta Opera seria in trè Atti... Idomeneus König von Creta eine ernsthafte Oper in drey Aufzügen mit italienischem und deutschem Texte im Klavierauszuge von A. E. Müller. [Piano-vocal score]. Wolfgang Amadeus MOZART.

[K366, 489]. Idomeneo Rè di Creta Opera seria in trè Atti... Idomeneus König von Creta eine ernsthafte Oper in drey Aufzügen mit italienischem und deutschem Texte im Klavierauszuge von A. E. Müller. [Piano-vocal score]

Leipzig: Breitkopf und Härtel [without PN], [1797]. Oblong folio. Half dark brown morocco with marbled boards, titling gilt to spine. 1f. (title), 190 pp. Typeset. With text in Italian and German.

Uniformly browned; slightly foxed; occasional small stains; some worming; one bifolium (pp. 149-152) loose and slightly soiled and frayed at outer edge; notation to final page slightly obscured at inner margin; occasional minor imperfections.

An uncut copy (except for title leaf).

Second edition, published just one year after the first. Köchel 6 p. 372. Haberkamp p. 163. Hoboken 11, 110. Hirsch IV, 40. RISM M4190.

The arranger of the piano-vocal score, August Eberhard Müller (1767-1817), served as Thomaskantor in Leipzig from 1801 to 1810 and as court Kapellmeister in Weimar thereafter.

Overture and 32 numbers, including 2 ballets. Libretto by Gianbattista Varesco after Antoine Danchet's "Idomenée," German version by Andreas Schachtner (1780). Mozart's setting of Varesco's libretto (based on a French opera by Danchet and Campra) was first performed on January 29, 1781 at the Residenz Theater in Munich.

"Having completed nine operatic works, Mozart, aged twenty-four, was commissioned to write an opera by the Elector Karl Theodor of Bavaria, formerly of Mannheim, who had moved to Munich in January 1778. He began work in Salzburg in October 1780 and moved to Munich in November to complete the work with the singers, several of whom he knew from Mannheim days. The opera was successful but there were no further performances in other houses and the amateur performance in Vienna took place five years later." Robbins Landon: The Mozart Companion, p. 248.

"Idomeneo sprang from a specific tradition and far outstripped it. The happy auspices under which it was created brought forth from Mozart a work so demanding that it could hardly be performed elsewhere. Even the Mannheim-Munich forces were probably not ready for its boldness. "Magnificent," "expressive," "novel," "powerful," "and "strange," its first auditors called it, with the dominating impression certainly the last. For all but a few the profundities of this opera eroica were too deep. In the decade Mozart had left to live, it had already became a work dispossessed. This is perhaps one of the reasons why he loved it especially among all his works." Heartz: Mozart's Operas, p. 34.

"There may not be here the delicate psychological detail that we find in Figaro and Cosi fan tutti, or the sublime naturalness and simplicity of Die Zauberflote -- these would both have been completely foreign to the general style of the opera -- but there is a monumental strength and a white heat of passion that we find in this early work of Mozart's and shall never find again. Idomeneo is the first and last 'opera seria' that represents the complete and mature Mozart." Dent: Mozart's Operas (2nd ed.), p. 45. Item #24774

Price: $1,250.00  other currencies

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