Sonata No. 23 in D major, K. 306/300i - Flute and Piano

This International Music edition includes one full piano score and one flute part for Mozart's beloved Sonata No. 23, originally for violin and piano.

In the editor, Stephanie Jutt's own words: Flutists have long treasured the small body of repertoire for flute by W.A. Mozart the three flute concertos, the Andante for flute and orchestra, and the three quartets for flute and strings. Music of usch exuberant joy could only be written by Mozart. His music has sustained us, inspired us, and made us fall in love with music from the Classical era. For the orchestral flutist, every symphony and concerto are a joy to play. For the flutist in the opera pit, every Mozart opera is a delight and challenge, full of sublime melodies.

The early Mozart sonatas for flute or violin and piano, KV 10 - 15, written when he was just nine years old, represent Mozart's first works that include flute. They are lovely, simple sonatas that will not challenge a more advanced player. By contrast, the group of six sonatas for piano and violin, written circa 1778, called the "Mannheim Sonatas", and dedicated to Electress Maria Elisabeth of Austria, represent Mozart's first full-scale duo sonatas, with both parts being equally important. However, it's worth noting that the title of K. 301 - K. 306 is "SIX SONATES/Pour Clavecin Ou Forté Piano/Avec Accompagnement D'un Violon" which clearly keeps the starring role for the pianist.

The D Major Sonata, K. 306, written in Paris, is the longest and showiest of the Mannheim Sonatas, with three elaborate, fully-developed movements. The third movement Rondo, with an irresistible 6/8 section in the middle, has a long cadenza initiated by the piano at m. 187. The flute finally joins in the fun, and both flute and piano plunge headlong into a thrilling Allegro assai romp to the end of the sonata.

These transcriptions seek to expand the flute repertoire and makes new sonatas available to flutists who love Mozart. I hope they will bring great joy to players and audiences alike.

Note to the performer: in Mozart's day, accent markings were meant to be played with a much lighter tough than an accent in later eras, such as the Romantic or modern era. Stroke markings (carats) were indicated as staccatos and I have changed the original strokes markings to staccatos. Play these staccatos with a light touch. Crescendos were very rarely indicated by Mozart and are left to the performer's discretion. And of course, ti was sometimes necessary to shift registers to accomodate the range of the flute.