Mozart composed his penultimate Pianosonata K.570 in February 1789. The perfection of writing and its essential and frank character immediately made it a rather popular piece. This also explains why in some anonymous arrangements of the nineteenth century an accompanying violin part appears (the part of the piano remains unchanged), an undeniable indication of the fame it enjoyed. In the transcription the original key of B flat major, for obvious reasons of playability and extension, was transferred to D major. The Sonata is composed of three movements; among these, the second stands out. Here, moments of ineffable grace alternate passages of an agonizing chromatism that already forebode feverish romantic atmospheres. A masterpiece at the same time disturbing and poignant. The transcription process took many years of hard work; the reason was especially a passage of 8 bars in the first movement which, due to a highly idiomatic type of writing, did not allow themselves to be caged in the lesser possibilities of the guitar.
In the end, inspired by the transcription strategies of the great guitarists of the 19th century (but also of the Baroque composers), I simply decided to rewrite the passage in the way I would have proposed to Mozart if he had decided to compose the Sonata for guitar and I had been the editor. All this even required an Appendix with an alternative version, but in the end, I am very satisfied with the final result. The articulations (indicated with the full bow) and the dynamics are those present in the Urtext. Obviously, in compliance with the performance practice of that time, I took responsibility for adding the articulation where the composer had left it to the general knowledge of it and good taste of the performer (indicated through the bow with an intermittent line). Therefore, you can, if you want, change it as you wish.