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1. Adagio+ 2. Fuge
3. Adagio
4. Rondo
Amadeus Suite is a result of Stamm’s studies about Mozart’s organ music. Besides the three well-known pieces KV 594, 608 and 616 and other pieces for keyboard without special assignment, which suggest the performance on an organ, I could find among the many fragments left by Mozart some, which had been designed for organ or — like fugue fragments — are suited for organ. Some of thoses themes were so concise, that continuing them in Mozart’s late style seemed a charming idea to me. In his latest years Mozart had reached a new freedom of formal conception and harmonic modulation.
1. Adagio- 2. Fuge The first three measures of the introducing Adagio are the fragment of an Adagio d minor KV Anh. 34 (385h) in the style of a French ouverture. According to this form it seemed obvious to continue with a Fugue, for which fragment KV 375h seemed suited.
3. Adagio begins with a fragment in b minor without KV number (m. 1-5), a theme which reminds much of Adagio in b minor KV 540 for piano, perhaps a previous attempt of the latter. M. 11-13 have been taken from an Adagio in d minor „für ein Orgelwerk” (there forming m. 4-7).
4. Rondo begins with nine measures of the fugue fragment KV Anh. 33 and 40 (383b). Mozarts notation ends with the theme entrance in the bass. The final Rondo begins with nine measures of the fugue fragment KV Anh. 33 and 40 (383b). Mozarts notation ends with the theme entrance in the bass. Regardless of why he left the sketch unfinished, the theme seemed to dance-like for a normal fugue construction. Therefore I used it as a introducing fugato leading to a new theme — o formal synthesis found several times in Mozart’s works. As a third theme the fragment of a Menuett in D major KV Anh. 34 (385h II, KV 6: 576a) has been integrated.