Sonata #22 in A(KV305/293d)

Sonata No. 22 in A Major, K. 305/293d
Composed by Wolfgang Amadeus Mozart (1756-1791)
for Flute and Piano (Originally for Violin and Piano)
Transcribed and Edited by Stephanie Jutt
Published by International Music Co.
Includes score and flute part

Preface:
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. The sheer beauty, intricacy of the phrases, and the exuberant joy that can only be written by Mozart has sustained us, trained us and made us fall in love with music from the classical period.
As an orchestral flutist, every symphony and concerto is a joy to play. As an opera musician, every Mozart opera is a delight, a challenge and full of the melodies that make a musician’s life sublime.
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, and they are lovely, very simple sonatas that will not challenge the more advanced player. On the other hand the group of six sonatas, called the “Mannheim Sonatas,” written circa 1778, K. 301-306, represent Mozart’s first full-scale duo sonatas, with both parts being equally important, and featuring a two-movement form not otherwise encountered in Mozart.
In this A Major Sonata, it was sometimes necessary to shift registers, or trade parts with the piano to preserve the shape and flow of the phrases. The second movement is a theme and variations, an intricate conversation between flute and piano. It’s worth noting that the title of K. 301-306 is “SIX SONATES/Pour Clavecin Ou Forté Piano/Avec Accompagnement D’un Violon” which clearly puts flutists in the supporting role rather than a soloist’s role.
These transcriptions expand the flute repertoire and make new sonatas available to flutists who love Mozart. I hope it will bring great joy to players and audiences alike.
Note to the performer: in Mozart’s day, accent markings are meant to be played with a much lighter touch 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 to staccatos. Crescendos and diminuendos were very rarely indicated by Mozart, and are left to the performer’s discretion.
– Stephanie Jutt, August 2019