Spring 2018 NEWSLETTER of the Mozart Society of America

Home , Betulia liberata, Estates Theatre, Joseph Lange, Music of Friends, Neal Zaslaw, The Cardinal

Volume 22, Number 1 spring 2018 NEWSLETTER OF THE Mozart Society of America

Inside this Issue:

Conference Report: “Mozart and Modernity” 1 Reviews: Mozart 225: Announcements 2 The New Complete Edition 12 Edward Klorman Wins the Emerson Award 3 Introduction to the Set, by Emily Wuchner 12 MSA Donates Portrait to Estates Theater 3 W. A. Mozart, reviewed by Laurel E. Zeiss 12 “Ave verum corpus in Labrador,” by Sarah Eyerly 4 Orchestral Music, reviewed by Neal Zaslaw 14 “Mozart and His Fellow Prodigies in Giovenale Sacred Works, reviewed by Matthew Leone 15 Sacchi’s Della divisione del tempo (1770),” by Adeline Mueller 8

Conference Report: “Mozart and Modernity”

MSA’s seventh conference, “Mozart and Modernity,” was held Focusing on George Rochberg’s Music for the Magic Theater from October 20 to 22, 2017, at the University of Western (1965), Paul Corneilson explored the significance of Mozart Ontario. Members traveled from across Canada, the United to artists in the 1960s. Annie Yen-Ling Liu examined con- States, and China to attend. frontations between Chinese artists and Isaac Stern in the Fascinating themes emerged from the diverse papers that documentary filmFrom Mao to Mozart (1979), which follows were presented. Both Kevin Ngo and Mary Robbins explored Stern on a tour of China. Mozart’s notation and suggested how teachers and perform- The conference featured three “firsts” for the Society. ers might better interpret it. Other presenters offered reinter- The first was a presentation by librarian Brian McMillan on pretations of Mozart’s music. James DiNardo’s analysis of the UWO’s special collections in eighteenth-century music. This Kyrie from the C-minor Mass, K. 427, revealed the profitabil- was also the first conference to feature a rousing roundtable ity of applying form-function theory to the study of Mozart’s discussion. Led by panelists Nathan Martin, James Currie, sacred works. Drawing on topic theory and theories of mi- and Edmund Goehring, attendees discussed Wye Jamison mesis, Marina Gallagher suggested that Così fan tutte’s De- Allanbrook’s book The Secular Commedia: Comic Mimesis in spina can be understood as a modern, female counterpart to Late Eighteenth-Century Music (Berkeley: University of Cali- Don Alfonso. Adem Merter Birson argued for a reassessment fornia Press, 2014). Finally, the annual business meeting was of Die Entführung aus dem Serail in light of recent studies on included in the biennial conference, rather than at the annual cultural exchange between the Austrian and Ottoman em- AMS meeting. pires in the late eighteenth century. The conference provided a wonderful opportunity for Several papers explored reception history. Martin Nedbal members to reconnect with old friends and make new ones, discussed performances of Don Giovanni in Prague in the and in the evenings attendees enjoyed lovely dinners at lo- late nineteenth century, revealing how Angelo Neumann’s cal restaurants and musical and theatrical performances at production was influenced by political disagreements within UWO. The Society is grateful to Edmund Goehring for orga- the city’s German-speaking communities. Adeline Muel- nizing such an enjoyable and stimulating conference, and to ler situated the 1931 film Mozarts Leben, Lieben, und Leiden UWO for covering the complete costs. within Austrian efforts to portray Mozart as a national icon. —Christopher Lynch particularly challenging), proposals treating these works are Newsletter of the Mozart Society of America especially encouraged. Volume 22, Number 1 Topics should be proposed in abstracts of up to 300 words Spring 2018 and sent to Bruce Alan Brown at [email protected] by April ISSN: 1527-3733 30, 2018. One need not be an MSA member in order to sub- mit a proposal, but all speakers chosen must be members of TheNewsletter is published twice yearly (spring and fall) by the Mozart Society of America. Guidelines the Society by the time the session takes place. for submission are posted on the website: www.mozartsocietyofamerica.org. Editor: Christopher Lynch A Workshop on Mozart Performance Practice [email protected] Mozart composed his music in all genres and for all instru- Review Editor: Emily Wuchner [email protected] ments with five essential markings of expression (and occa- sional combinations of them). These markings indicate every Designed by Dean Bornstein note’s particular type of sound (for example, to be played at Mozart Society of America a lesser dynamic, or more lightly, or to move the music for- c/o Beverly Wilcox ward, etc.). However, because of the nature of today’s pianos, 435 G Street, Apt. 207 pianists who play Mozart’s music must cultivate a different Davis, CA 95616 application of weight to produce the five sound types that his markings indicate. Representing Mozart’s music according to the five types of sounds indicated by his use of expression markings is the sub- Announcements ject of a workshop, “Enjoying Mozart’s Five Types of Notes: A Workshop for Performers and Teachers,” to be held Saturday, July 28, 2018, in Austin, Texas. It will be presented by MSA MSA Panel at Mostly Mozart Festival member Mary Robbins, DMA, and is sponsored by the Mu- sic Teachers National Association (MTNA) and The Steinway “I pay no attention whatever to anybody’s praise or blame—I Piano Gallery of Austin. mean, until people have heard the work as a whole. I simply follow my own feelings.” In this statement in a letter to his father, written on Au- MSA at International Mozart Communities gust 8, 1781, Mozart evinces a strong independent streak Event in Salzburg with regard to musical style, an attitude in conformity with his recent rejection of continued service, under humiliating In January 2018, representatives from Mozart associations conditions, to the Salzburg court of Prince-Archbishop Col- from three continents came together to exchange infor- loredo. But Mozart could only go his own way to a limited mation and ideas during Mozartwoche in Salzburg. Board degree: of necessity (given the prevailing musical language), member Laurel E. Zeiss represented MSA at two Mozart he relied to a large degree on formal and stylistic conven- Communities events sponsored by the Salzburg Mozarteum tions even in the best of his works, and he enjoyed various Foundation. Delegates learned about the foundation’s activ- forms of patronage throughout his Viennese decade, even ities during the past year and about future initiatives from while mostly remaining a freelance composer. director of research Ulrich Leisinger and director of interna- For this year’s panel at the Mostly Mozart Festival, the tional outreach Franziska Föster. TheSachsische Mozart Ge- MSA Program Committee invites proposals for short papers sellschaft gave a presentation on its music education program (twenty minutes) that address the theme “Mozart the Mav- that included a lively rhythmic chant in honor of Mozart’s erick”—whether as an innovative composer who broke with birthday: “Mozart hat Geburtstag Heut. Gluck Wunsch!” (or at least stretched) musical traditions, or in terms of his Representatives also were treated to a short performance (largely) independent professional path. As this year’s Fes- by Lilli Lehmann Medal–winner Alice Hoffman, mezzo so- tival includes performances of several of the composer’s late prano, and had opportunities to share information about piano concertos, and of both the “Prague” and “Jupiter” Sym- their programs and publications. phonies (pieces that contemporary audiences considered

2 Edward Klorman Wins the Emerson Award has published and presented widely on topics in the performance of eighteenth-century chamber music. MSA was pleased to announce at the Octo- Inspired by Goethe’s famous description of a string quar- ber business meeting that Edward Klorman tet as “a conversation among four intelligent people,” Klor- has been awarded the Marjorie Weston Em- man’s book draws on a wide variety of documentary and erson Award for his book Mozart’s Music iconographic sources to explore Mozart’s chamber works as of Friends: Social Interplay in the Chamber “the music of friends.” Illuminating the meanings and his- Works (Cambridge: Cambridge University torical foundations of comparisons between chamber music Press, 2017). Klorman is assistant professor and social interplay, Klorman infuses the analysis of sonata at the Schulich School of Music, McGill University. He previ- form and phrase rhythm with a performer’s sensibility. He ously served on the faculty at The Juilliard School and Queens develops a new analytical method that interprets the vari- College (City University of New York), where he taught mu- ous players within an ensemble as participants in stylized sical analysis, chamber music, and viola performance. Com- social intercourse—characters capable of surprising, seduc- mitted to intersections between musical scholarship and per- ing, outwitting, and even deceiving one another musically. formance, he currently serves as co-chair of the Performance The book’s accompanying website (www.MozartsMusicOf and Analysis Interest Group of the Society for Music Theory. Friends.com) includes original recordings performed by the He has performed as a guest artist with the Borromeo, Orion, author and other musicians, as well as video analyses that and Ying Quartets and the Lysander Trio, and he is featured invite the reader to experience the interplay in time, as if on two albums of chamber music from Albany Records. He from within the ensemble.

paint. In working this way, I really begin to study the structure of the subject’s face. There are few authentic portraits of Mozart that exist, and even though they may look rather different initially, certain physical traits are observable. The two portraits known as being the best representations of him are Joseph Lange’s (as confirmed by Constanze) and the family portrait by Johann Nepomuk della Croce (as confirmed by Nannerl). However, the one I chose to recreate was the posthumous one by Krafft. It was done under the supervision of Nannerl and based on the Croce as well as two additional smaller pieces in her collection. It has the physical charac- teristics as the above mentioned, but to me it is not only a beautiful portrait, but also a visual representation of all that is in his music. Mozart has been my favorite composer since I was a young girl. My love and admiration for his music have only deep- MSA Donates Mozart Portrait to Estates Theater ened with age and it is thrilling to think that I could, even in this humble way, create something to honor him and repre- In 2011, I was fortunate to be able to attend a performance of sent the Mozart Society as well. Le nozze di Figaro at the Estates Theatre in Prague. Ever since —Victoria Anne Koursaros then I wanted to honor both the music and Mozart himself by having a portrait of him hang in the theatre. With the 230th anniversary of Don Giovanni this past year, I thought it was Victoria Anne Koursaros is a Philadel- an appropriate time to create one. phia-based artist and MSA member. Her I have done reproductions of both the Barbara Krafft and portrait of Mozart, based on Barbara Krafft’s, the Joseph Lange portraits in the past and the method I use, was donated to MSA and presented to the be it for reproductions or of living subjects, is based in the Prague Estates Theater last year. traditional Old Masters technique of building layers of oil

3 Ave verum corpus in Labrador

Sarah Eyerly

In the summer of 2010, while completing research at the Ar- chives of the Moravian Church in Bethlehem, Pennsylvania, for a book chapter on the improvisation of hymns in Moravian mission communities in North America, I noticed a wooden card catalog in a dim corner of the reading room. Upon in- quiry, I was told by Gwyn Michel, codirector of the Mora- vian Music Foundation, that it contained a fairly complete record of the Foundation’s musical holdings in Bethlehem.1 I had heard that the musical collection in Bethlehem num- Figure 1. Organ part for Ave verum corpus/“Heilig time.” Scored bered over 10,000 manuscripts, so I was curious to see what for violins I and II, viola, cello and organ. Hebron congregation composers and pieces were represented in the catalog. As I collection, Makkovik, Labrador. Image courtesy of Tom Gordon. leafed through the faded index cards, I began to notice that a number of European composers were represented in the collection: Joseph Haydn, Ignaz Joseph Pleyel, Karl Heinrich Moravian history working at mission sites from Suriname to Graun, J. C. F. Bach, Johann Stamitz, George Frideric Handel, North Carolina to Labrador, I began to discover a network of and W. A. Mozart. The card entries for Mozart seemed espe- Mozart manuscripts that had been used since the eighteenth cially interesting, as there were a number of vocal excerpts, so century by the Moravians to transmit the musical culture of Gwyn helped me to retrieve both handwritten manuscripts the German-speaking world to the far reaches of the Atlantic and early printed volumes of Mozart’s works from the ar- world. chive’s vault. Interspersed with fragments of the Gloria from I was especially interested in the regular appearance of the the Mass in C Major, K. 257, were copies of Papageno’s part for motet Ave verum corpus in all of the North American col- the duet “Könnte jeder brave Mann” from Die Zauberflöte, K. lections. I wondered about its significance in the intensely 620, and of full scores and sets of parts for the Requiem, K. polyglot communities of the Moravian Atlantic, populated 626. Also present were sections of the Masonic cantata Laut by German, English, Delaware, Mohican, Arawak, and Inuit verkünde unsre Freude, K. 623, and choruses from Thamos, Christians, among others. Vocal works such as Ave verum cor- König in Ägypten, K. 345/336a, both in German and in English pus were typically performed in several different languages, translation. depending on the background of the performers and listen- As I read through the various manuscripts of texted works ers. Given the multi-ethnic nature of Moravian communi- by Mozart, I noticed that many had been subjected to sacred ties, one wonders who heard and performed these German-, retexting. This included contrafacted versions of the sacred English-, and Native-language contrafacts? What identities motet Ave verum corpus, K. 618, as well as Papagena and Pa- and meanings did these contrafacts carry for German-born pageno’s duet “Bei Männern, welche Liebe fühlen” from Die missionaries and indigenous musicians and audiences? And Zauberflöte, and Ferrando and Guglielmo’s duet “Secondate, what could these adaptations contribute to understanding aurette amiche” from Così fan tutte, K. 588. These contrafacts the transatlantic reception and performance of Mozart’s mu- were copied multiple times, in individual parts in several sic, especially in colonial settings? handwritten versions, spanning the late eighteenth through The literature on the performance practice of Mozart’s the late nineteenth century, when the fashion for such trib- works is vast. In writing for the readers of this newsletter, utary works died out in Europe and America. Many of the I certainly do not need to belabor this point. However, as I manuscripts contained multiple layers of penciled markings contemplated the various meanings and questions that arose from perhaps two or three generations of performers and from the Ave verum corpus manuscripts, it occurred to me singers, testifying to the frequency of use and variety of per- that one of their most important implications could be to formance occasions. Given the obvious signs that these man- highlight a shift in performance practice from the colonial uscripts were valued and very much a part of community life, musical centers of Philadelphia and New York to remoter I wondered if Mozart’s works were also performed in other locations such as the Moravian mission of Gnadenhütten in Moravian communities. As I reached out to other scholars of the Blue Mountains of Pennsylvania. What if we listened to

4 and harmonious, musically and aesthetically. Missionary Johannes Hagen described the “angelic voices” of a group of Mohican singers who had gathered in his house in Shek- omeko,4 and an anonymous German missionary noted that Nathanael, a resident of Wechquetank, a Delaware community near Gnadenhütten in the Blue Mountains, sang “his German and Indian verses so beautifully and clearly that one could feel that the Savior with his glistening wounds was near to him.”5 On another occasion, the same missionary com- mented on the “beautiful sounds coming through the thick woods and over the high mountains” as he heard the “brown brethren” of Gnadenhütten singing hymn verses.6 Other mission records describe missionaries and Native community members working together to create new texts and music for the use of their communities, even going so far as to hold group meetings at which “the unclear words and incompre- hensible matters could be corrected.”7 On several occasions, Figure 2. Soprano part for Ave verum corpus/“Uvlok tamna.” Sur- communal diaries and letters report that missionaries sought viving parts: SATB. Hebron congregation collection, Makkovik, instruction from Native teachers in the proper pronuncia- Labrador. Image courtesy of Tom Gordon. tion, rhythm, and inflection of Native-language texts for use in singing. Clearly, musical creation and performance were Mozart in Gnadenhütten, or in the mission of Nain, Labrador processes of cultural negotiation, and it is likely that Mohican (still one of the most remote inhabited parts of the planet), or Delaware styles of singing were not completely superseded rather than Philadelphia, New York, or even Vienna? How did by German-Moravian singing practices. As is true of most Mohican, Delaware, and Inuit voices sing Ave verum corpus? mission communities around the globe, indigenous cultures Although the specific nature and sounds of performance and performance practices are not erased when cultures practices, whether imported or indigenous, can be difficult blend or are imposed. Hybrid performance styles are usually to assess in historic Native communities, Moravian archival the result.8 records do demonstrate that Native musicians were adapt- The clearest evidence of hybridity in relation to specific ing Mozart’s musical works to their own tastes as early as performance approaches to Mozart’s works by Native mu- the eighteenth century. That the German-Moravian musical sicians comes from the Moravian Inuit communities of the style marked a substantial departure from familiar Mohican Labrador coast, where the music of Haydn, Mozart, and Bach, ways of singing is suggested by the comments of Martin, a among others, is still sung by Inuit choirs in Inuktitut from Mohican resident at the Moravian mission in Pachgatgoch, original eighteenth-century manuscripts. In fact, this music Connecticut. According to a communal diary, Martin was has been continuously performed in these remote communi- frustrated with learning to sing like the Moravians and ex- ties founded by the German Moravian church since the late claimed, “Hopefully in heaven it will be easier!”2 Despite his eighteenth century, often arriving in Labrador within twenty initial difficulties, Martin apparently persisted in learning to years of the European premieres. In the surviving Moravian sing differently. Several years later, the Pachgatgoch diarist churches of Nain, Makkovik, and Hopedale, collections of noted that late in the evening he heard “Brother Martin in hand-copied music manuscripts dating to the eighteenth and his house singing the Indian verse, ‘waneckk Paquaik’ [a Mo- nineteenth centuries preserve a legacy of European music hican version of the German hymn “Seiten Höhlgen”]. The that, after two centuries, has been transformed into a cen- moonlight was so beautiful we invited him . . . to sit in front tral feature of Labrador Inuit cultural traditions. The German of our door. And he played these verses and many others on missionaries who brought this music to Labrador are gone, his transverse flute. Soon several Indian boys were gathered but the music that they documented and translated into In- around him to listen.”3 Martin had apparently succeeded in uktitut, and the Latin alphabet that they created to preserve achieving an ideal of musical beauty that resonated with the the language, have endured.9 unknown German diarist of Pachgatgoch. According to Canadian musicologist Tom Gordon, who There are numerous other archival records from the has cataloged the nearly 15,000 manuscript pages of the Lab- Moravian missions that depict Native singing as successful rador congregation collections, a copy of Mozart’s Ave verum

5 ing Ave verum corpus, to their own tastes as early as the late eighteenth century. Gordon has located important musical changes introduced by Inuit copyists in the various manuscripts that preserve the Ave verum corpus contrafacts.11 These changes appear to represent the aesthetic values and musical preferences of Inuit musicians. For musicians with a cultural and linguistic background containing no terms for arbitrarily measured units of time (days, months, years), the idea of meter and irregular note durations within a regular pulse were especially hard to assimilate, so Inuit copyists smoothed dotted rhythms. They also re-harmonized inter- vals and introduced harmonic changes that favored blended sonorities and clear, vibrato-less singing.12 The continuing cultural importance of performing this type of European-derived repertoire among the Labrador In- uit is all the more remarkable considering how the relation- Figure 3. Moravian church in Nain, Labrador. Photograph cour- ship between Moravian missionaries and the Inuit began. In tesy of Tom Gordon. the 1750s, the Moravians arrived on the Labrador coast and built a mission house near Makkovik, named Hoffnungsthal corpus arrived sometime in the late eighteenth or early nine- (Hopedale), but the settlement was quickly disbanded after teenth century on the SS Harmony, which sailed to Labra- several missionaries were killed in an Inuit attack. The Mora- dor every August to bring supplies and fetch trade goods. vians withdrew from Labrador until the early 1770s, when Decades of seal oil thumbprints on the margins of the four the British government granted them 100,000 acres of land surviving manuscript contrafacts of Ave verum corpus tes- at Esquimaux Bay. They returned to found the mission sta- tify to the generations of Inuit singers who have performed tion of Nain, followed by Okak (1776), and a new Hopedale this motet since its arrival. Gordon believes that the original (1782), built near an Inuit winter camp. Five additional set- manuscript was the Inuktitut contrafact “Heilig time” from tlements were founded in the early nineteenth century. the Hebron congregation collection (fig. 1).10 It is scored for At first the missionaries met with little success in convert- two violins, viola, cello, and organ, and may have been pre- ing the Inuit to Christianity, however, by 1818 over 600 Inuit pared by a Moravian missionary in Germany before being had converted. Music played an essential part in encouraging shipped to Labrador. After this manuscript arrived, a copy conversion. For the Moravians, music was the most effective was likely transmitted to other Labrador mission stations way to convey Christian theology, and Inuit converts learned and received a further retexting in Inuktitut as “Timinget to sing in four-part harmony and to play musical instru- pivluta.” An additional contrafact of Ave verum corpus was ments. By the 1820s, all young Inuit at the mission stations prepared in Hebron by an unknown Inuit musician, begin- were learning to play the violin, cello, trombone, and organ. ning with the text “Uvlok tamna” (fig. 2). Gordon has been The tradition of playing these European instruments, or sing- able to use watermarks to date some of these manuscripts, ing, was often passed through Inuit families, from father to including parts for the contrafact “Jesub timinga,” from the son and mother to daughter. The Bible and all texted music Hopedale mission station. The earliest part set of “Jesub tim- were translated into Inuktitut, and preserved in manuscripts. inga” dates from 1818. The most popular contrafact, “Opinak Since the British government and the missionaries them- ikkelijotit,” appears in manuscript form at all three Labrador selves discouraged native Inuit musical traditions, young In- missions, with the earliest watermarks dating to 1829 (fig. 3). uit found a musical outlet through European hymnody and According to Gordon, “Opinak ikkelijotit” is still being per- anthems. formed by the Nain church choir as part of the Good Friday Although the German missionaries left the Labrador coast liturgy, representing a continuous performance tradition of almost a century ago, and there is no longer external pressure Ave verum corpus dating back to the early nineteenth century. to perform European repertoire, the Moravian Inuit continue While the tradition of re-texting European music into to find value and cultural meaning in performing the mu- Inuktitut originated with Moravian missionaries, archival sic of Mozart and other European composers. According to records from the Labrador missions demonstrate that Inuit Gordon, this enduring tradition of performance is a power- musicians were adapting European musical works, includ- ful demonstration of the human capacity to transform even

6 externally-imposed cultural traditions into something that is still meaningful. As Gordon states in the documentary film notes Till We Meet Again: Moravian Music in Labrador: “I came to 1 The catalog of the Moravian Music Foundation (MMF) in North recognize that the Inuit of Labrador regard this [European Carolina has now been digitized and is available through the music], despite its European origins, despite the fact that it GemeinKat system: http://moravianmusic.org/gemeinkat-cata- was something that was imposed on them in a way by the log/. The catalog of the MMF in Bethlehem is scheduled to be missionaries, they regard this wholly as their own music. digitized. 2 Pachgatgoch Diary, March 9, 1749, 114/1, Records of the Mora- And, with good reason, because [for] over two hundred years, 13 vian Missions to the American Indians (MissInd), Moravian they’ve made it their own. It’s no longer what it started as.” Archives, Bethlehem. The Moravian Inuit have gradually transformed Ave verum 3 Pachgatgoch Diary, April 22, 1752, 114/6, MissInd, Moravian Ar- corpus and other pieces brought by missionaries into a musi- chives, Bethlehem. cal tradition that is both European and Inuit, demonstrating 4 Shekomeko Diary, March 7, 1745, 111/1, MissInd, Moravian Ar- the importance of considering the reception and adaptive re- chives, Bethlehem. 5 Wechquetank Diary, June 23, 1753, 122/3, MissInd, Moravian Ar- use of Mozart’s music on a global scale. That is perhaps the chives, Bethlehem. greatest contribution of the Moravians’ Mozart contrafacts to 6 Gnadenhütten Diary, May 24, 1747, 116/1, MissInd, Moravian Ar- Mozart studies. They represent an enduring legacy of trans- chives, Bethlehem. formation and adaptation, negotiation and survival. While 7 Gnadenhütten Diary, September 17 and 24, 1748, 116/4, MissInd, the historic archival records of Moravian communities do Moravian Archives, Bethlehem. present some evidence of diverging styles of singing, and cul- 8 For recent scholarship on transcultural musical exchanges in- volving vocal music and singing practices, see Linford D. Fisher, turally negotiated aesthetic considerations, we can infer from The Indian Great Awakening: Religion and the Shaping of Native the living performance traditions of Inuit singers and musi- Cultures in Early America (New York: Oxford University Press, cians that Native musicians were actively shaping European 2012); Olivia A. Bloechl, Native American Song at the Frontiers of repertories to suit their own tastes and musical styles. Al- Early Modern Music (Cambridge: Cambridge University Press, though Moravian missionaries clearly intended their transat- 2008); Glenda Goodman, “‘But They Differ from Us in Sound’: lantic network of music, instruments, and people to facilitate Indian Psalmody and the Soundscape of Colonialism, 1651–75,” The William and Mary Quarterly 69, no. 4 (October 2012): 793– the sense of a worldwide church body connected through 822; Patrick M. Erben, A Harmony of the Spirits: Translation and the performance of German music, the result was likely very the Language of Community in Early Pennsylvania (Chapel Hill, different from the ideal. Each performance of Mozart’s vocal NC: University of North Carolina Press, 2012); Gary Tomlin- works, whether in contrafacted or original versions, would son, The Singing of the New World: Indigenous Voice in the Era have invoked a variety of cultural and religious perspectives of European Contact (Cambridge: Cambridge University Press, and meanings, layer upon layer, resonating through the for- 2009). 9 The original instruments brought by missionaries are also still est or across the tundra. Mozart sounded very different on played, including a choir of trombones, a collection of string the peripheries of the Atlantic world. instruments, and the soft Moravian-style organs that are often used to play European chamber music and anthems. Sarah Eyerly is Assistant Professor of Musicol- 10 The Hebron mission is now closed, and the Hebron congrega- ogy and Director of the Early Music Program tion collection is currently housed in Makkovik, Labrador. at the Florida State University. She previously 11 Gordon has also found similar evidence for aesthetic shifts introduced by Inuit copyists in the transmission history of other taught at UCLA, the University of Southern contrafacts, including “Schöpfer Erlöser, Herr Himmels/Nâle- California, and Butler University. Her re- gak Jêsuse piulijivut/Pingortitsijok killangmik,” by the Dresden search interests include eighteenth-century sa- composer Johann Gottlieb Naumann. See Tom Gordon, “Found cred music, Native American hymnody, sound in Translation: The Inuit Voice in Moravian Music,” Newfound- studies, and the spatial humanities. She is currently working land and Labrador Studies 22, no. 1 (Spring 2007): 287–314. on a monograph entitled How the Moravians Sang Away the 12 For more information on the Labrador mission collections and the work of Inuit copyists, see Tom Gordon, “Found in Trans- Wilderness, for Indiana University Press’s Music, Nature, and lation.” For historical accounts of the Labrador missions, see Place series. She is also involved in a collaborative research Moravian Beginnings in Labrador: Papers from a Symposium project on the history and transmission of eighteenth-century Held in Makkovik and Hopedale, ed. Hans Rollman (St. John’s, hymn manuscripts in the Mohican language from Moravian NL: Faculty of Arts Publications, Memorial University of New- mission communities in eastern North America which is foundland, 2009). For those who cannot travel to coastal Lab- funded by an ACLS Collaborative Research Grant. She is pres- rador to hear a Moravian choir, Gordon is currently preparing a recording of historic and modern pieces from Nain, Hopedale, ident of the Society for Eighteenth-Century Music.

7 Makkovik, and Hebron, which will be issued by the Research back_on_track/. Gordon and his colleague Tim Borlase of Me- Centre for the Study of Music, Media and Place at the Memorial morial University of Newfoundland, as well as Inuit elders in University, Newfoundland, under the title “Ahâk, Ahâk! Mora- Labrador, have also collaborated with Canadian filmmaker Ni- vian Music of the Labrador Inuit.” Although the recording will gel Markham to produce a documentary film about the contem- not include a contrafact of Ave verum corpus, those interested porary performance traditions of Moravian Inuit communities: in the music of Haydn will be able to listen to a 1966 recording Till We Meet Again: Moravian Music in Labrador, produced by of the Nain church choir singing “Imgerkattigekta,” an Inuktitut Nigel Markham and Mary Sexton, directed by Nigel Markham contrafact of the chorus “The Heavens Are Telling,” from The (Lazybank Productions, 2012). Creation. For more information on the audio publication series, 13 Tom Gordon, interview by Nigel Markham, Till We Meet Again: “Back on Track,” see https://www.mun.ca/mmap/research_pub/ Moravian Music in Labrador. Quotation lightly edited for clarity.

Mozart and His Fellow Prodigies in Giovenale Black’s website Mozart: New Documents.3 Sacchi’s footnote Sacchi’s Della divisione del tempo (1770) provides insight into the ways Mozart was received in Milan in 1770, in the midst of his first Italian journey. If, as I argue Adeline Mueller elsewhere, the child Mozart was often interpreted by critics as another puer doctus, or child scholar,4 in this instance Mo- zart the adolescent is understood as one in a succession of In 1770, the Milanese mathematician, music theorist, biog- legendary improvisers and sight-readers. rapher, and member of the Barnabite order Giovenale Sac- In what follows, I provide each section of the footnote in chi (1726–89) published a treatise entitled Della divisione del a translation by John Rice, a portion of which appears in the tempo nella musica nel ballo e nella poesia (On the Division entry in Mozart: New Documents. (The original Italian can of Time in Music, Dance, and Poetry; Milan, 1770). Della di- be seen in facsimile in fig. 1.) Along the way, I will offer some visione is probably most familiar today to dance historians, biographical context on the musicians mentioned alongside due to its treatment of rhythm in music, dance, and poetry.1 Mozart. However, Della divisione is also a source of a little-known fragment of Mozartiana. Silvio Antoniano In the treatise’s final chapter, Sacchi recalled a visit with Silvio Antoniano, who was later a cardinal, and is highly his fellow Milanese, the theorist and composer Giorgio An- praised in the superb dialogue De claris pontificiarum toniotti (ca. 1692–1776), author of L’Arte Armonica: or, A epistolarum scriptoribus of Mons. Filippo Buonamici, be- Treatise on the Composition of Musick (London, 1760). Ac- gan around his tenth year to make and to sing improvised cording to Sacchi, Antoniotti (then in his seventies) sat at the verses, accompanying himself on the lyre [lira da braccio], harpsichord, and Sacchi placed “the first poem that came to which he played magnificently. hand” in front of him. Antoniotti immediately improvised an introduction, recitative, and aria, singing to his own ac- Silvio Antoniano (1540–1603), a Roman priest, musician, companiment, adding musical jokes and asides as he went. and pedagogue, was the first of the legendary improvisers Antoniotti’s improvisation delighted Sacchi and his other and sight-readers in Sacchi’s gallery. His prodigy status was guest, a fellow priest named Girolamo Carboni. Yet Carboni cemented in the papal secretary Philippi Bonamici’s (1705– lamented that no one would believe his eyewitness account 80) De claris pontificiarum (Rome, 1753). The phrase “aureo of Antoniotti’s incredible feat, due to the ephemeral nature dialogo” appears to have been used to refer to the classical of the improvisation. Recounting this exchange, Sacchi ob- dialogues of Plato or Cicero, and De claris employed the con- served that those who do not know musical notation could ceit of a conversation between Bonamici and several of his never hope to repeat the kinds of difficult tests that expert secretary colleagues. Bonamici mentioned Antoniano just maestros such as Antoniotti perform without the slightest once in De claris, but described him as having “raised the difficulty.2 In a footnote to this sentence, Sacchi described five expectations of the greatest of men while a very young man, other such master extemporizers, all of whom showed their almost a child, when he sat in an assembly of the most illus- talent early in life. Among the five is Mozart. trious men and poured out a great number of verses from the This Mozart reference was only recently brought to light Latin.”5 This feat earned Antoniano the nicknameIl poetino, by Peter Keenan, and published on Dexter Edge and David at least according to several eighteenth- and nineteenth-cen-

8 Figure 1. Pages 214 and 215 of Giovenale Sacchi’s Della divisione, showing the full footnote in the original Italian, with reference to Mozart and other improvisers.

tury sources.6 In an article on sixteenth-century Italian po- motte’s country of origin is uncertain; he may indeed have et-singers, Philippe Canguilhem refers to Antoniano as “the been born in Mechelen, Flanders, and was reported to have most famous improviser of the era,” and mentions his prac- studied with Felice Giardini in London. But from 1764 he was tice of singing to the lira da braccio, a common instrument a traveling performer, appearing in Southampton, London, for the accompaniment of solo and improvised song.7 Vienna, Prague, Leipzig, Naples, and Milan, often under the moniker “the young Englander.” Franz Lamotte Chappell White writes that “the only two specific aspects In the last few years in Milan two amazing boys have been of Lamotte’s performance noted by contemporaries were his seen: one, in 1768, a thirteen-year-old named Francesco skill with double stops, mentioned in the Memoires secrets della Motta, and a native (if I remember correctly) of [1775], and his staccato bowing, which Mozart [in a 1783 let- Malines [Mechelen], who played at sight the most difficult ter] said was the feature Viennese audiences remembered.”9 violin sonata with the greatest perfection and grace, and in But even before those two references, Lamotte was renowned addition to that spoke several languages and had a knowl- for his sight-reading abilities. Othmar Wessely describes a edge of several areas of mathematics. famous Prague performance in 1767 in which Lamotte performed a violin concerto in a sharp-heavy key at sight.10 Here Sacchi turned to the more recent past, citing the ex- Charles Burney identified him in 1773 as “the best solo player amples of Franz Lamotte (ca. 1751–80) and Mozart (see be- and sightsman, upon the violin, at Vienna,” and related a low). The pairing of these two can be traced back to 1766, story in which Lamotte sight-read a solo by the violin teacher when Johann Adam Hiller mentioned Lamotte in the same Pietro Nardini from manuscript after hearing it just once, article in Wöchentliche Nachrichten und Anmerkungen die with such skill that Nardini declined to take him as a stu- Musik betreffend in which he first introduced Mozart.8 La- dent.11 Ernst Ludwig Gerber affirmed Burney’s description

9 in 1790, asserting that in 1767 he heard Lamotte in a private ful application to the Accademia Filarmonica, while July had concert in Leipzig at which “he gave a hint of what Burney seen Mozart receive the Order of the Golden Spur from the would say of him five years later.”12 Pope. These or other similar concerts or accounts are the likely Black reminds us that Sacchi knew Count Firmian and origin for Sacchi’s remark in the Della divisione footnote, Padre Martini, and that a copy of Della divisione at the Uni- though I have not yet found corroboration of Lamotte’s skill versity Library, Glasgow, bears Mozart’s signature; so the two with languages or mathematics. Leopold Mozart mentioned may very well have met during one of Mozart’s periods in Lamotte twice in the surviving correspondence: in a letter Milan. While I have not yet been able to establish the exact from Rome in 1770 (describing how long Lamotte had to month(s) in which Sacchi’s Della divisione was completed wait to be presented at court in Naples) and another pass- and published, it seems that any of these public demonstra- ing reference from home in 1777. But it is unclear whether tions before, during, or after the Milan sojourn could have the Mozarts ever met Lamotte.13 From 1766 or 1767 until his been the source or sources of Sacchi’s description. death, Lamotte was employed as a violinist in Maria Theresa’s Hofkapelle. Two Prodigies of the Foundling Hospital In these [boys] the power of natural disposition is appar- Mozart ent; nevertheless none of them lacked instruction; on the The other, in this year 1770, at probably the same age, a contrary they had excellent teachers. In the Foundling native of Salzburg, and called by the name Amadeo Mo- Hospital in London are two blind brothers, little boys who zart, who not only executes at sight any keyboard com- play the following game. When one of the boys is sum- position with absolute precision, but also improvises arias moned elsewhere, an aria is sung to the other one. With and charming sonatas on themes proposed to him, as well little pieces of wood he notates it on a tablet, and goes as fugues as beautifully composed as could be done with away. The first boy is recalled: he touches [the tablet] with complete leisure. his hand and recognizes the aria; approaching the keyboard, he executes it perfectly. Sacchi’s knowledge of Mozart’s ability to improvise arias, sonatas, and fugues doubtless came from the public demon- This final reference is the most difficult to identify. The strations and examinations that marked the Mozarts’ first Ital- organist John Stanley (1713–86), blind since birth, was a ian tour in 1769–71. Their first sojourn in Milan lasted from governor of the Foundling Hospital from 1770.18 The two January 23 to March 15, 1770. Mozart gave several private and “brothers” to whom Sacchi refers were probably not brothers, public concerts during this stay, with one highlight being a but rather two of a group of young blind musicians whom concert at Count Karl Joseph Firmian’s residence on March Stanley taught at the Foundling Hospital, perhaps Thomas 12, attended by—according to Leopold’s account—“over Grenville (1746?–1827) and John Printer (1756?–1815).19 John 150 members of the leading aristocracy…, foremost among Richard Prescott writes of this group of musicians and their whom were the duke, the princess, and the cardinal.”14 “interdependent working and teaching relationships,” which Mozart’s reputation as a sight-reader and improviser pre- led to the promotion of music instruction for both sighted ceded even his arrival in Milan, however. His sojourn in and blind children at the Foundling Hospital.20 Mantua earlier in January gave rise to the following account The engraving table described by Sacchi is referred to as in the Mantua Gazette: “The said famous little boy in the a “music board” in the Foundling Hospital minutes, but its course of some two hours gave proofs of his amazing talent, origins are unknown, and it may indeed have been a collab- sight-reading at the harpsichord various sonatas by several orative invention that predated even Stanley’s associations worthy composers.”15 In a concert there on January 16, seven with the institution.21 The apparatus may have resembled, of the fourteen numbers on the program were either sight- or even inspired, the composition board created for Maria read or extemporized by Mozart.16 And during their very Theresia von Paradis (1759–1824) by her collaborator Johann next stop after Milan, Bologna, Mozart twice composed a Riedinger in the 1780s (now in the collection of the Kuns- fugue on the spot for Padre Martini, a feat about which Leo- thistorisches Museum in Vienna). While I have not yet found pold boasted, “He has also been most comprehensively tested an account of the public demonstration Sacchi described, it here, and this increases his fame throughout Italy, because must have made its way to Italian readers through reports Padre Martino is the idol of the Italians and speaks of Wolf- in one or more periodicals or travel narratives. What is re- gang with such admiration and did all the tests with him.”17 markable here is that the “game” or trick is presented not That fall, Martini would write in support of Mozart’s success- primarily as an example of musicians overcoming blind-

10 ness, but as simply another in Sacchi’s list of extraordinary 7 Philippe Canguilhem, “Singing poetry in compagnia in six- instances of musical memory and sight-reading. Mozart, for teenth-century Italy,” in Voices and Texts in Early Modern Italian Sacchi at least, was part of this august lineage of “sightsmen,” Society, ed. Stefano Dall’Aglio, Brian Richardson, and Massimo Rospocher (Abingdon: Routledge, 2017), 119. to use Burney’s term. His primary claim to fame in 1770, in 8 Hiller, Wöchentliche Nachrichten und Anmerkungen die Musik other words, was his extraordinary skill as a performer and betreffend (Leipzig: November 25, 1766), 174. a creator of beautiful music that vanished as soon as it was 9 See also Chappell White, From Vivaldi to Viotti: A History of heard—two legendary aspects of his music-making that we the Early Classical Violin Concerto (Langhorne, PA: Gordon and can never fully recover, only approximate. Breach, 1992), 317. “Tell [Heinrich Marchand] that he ought to concentrate hard on staccato-playing, for it is just in this particular that the Viennese cannot forget Lamotte.” MBA, vol. 3, 295; LMF, 862. Adeline Mueller is Assistant Professor of Mu- 10 Othmar Wessely, “Lamotte, Franz,” Grove Music Online, http:// sic at Mount Holyoke College. She has pub- www.oxfordmusiconline.com. lished articles on Mozart in the journals Eigh- 11 Charles Burney, The Present State of Music in Germany, the Neth- teenth-Century Music and Opera Quarterly, erlands, and United Provinces (London: Becket and Co., 1773), and guest-edited an issue of Opera Quarterly vol. 1, 365–66. 12 “Und schon damals ließ er das von sich vermuthen, was D. on Die Zauberflöte. Mueller also contributed Burney 5 Jahre später von ihm sagt.” Ernst Ludwig Gerber, His- an essay on the score to Fritz Lang’s silent film torisch-Biographisches Lexicon der Tonkünstler (Leipzig: Breit- Die Nibelungen for the edited volume Wagner and Cinema kopf, 1790), vol. 1, A–M, 777–78. (Indiana University Press, 2010). Her forthcoming book, Mo- 13 MBA, vol. 1, 366, and vol. 2, 133; LMF, 146 and 382; see annota- zart and the Mediation of Childhood, examines Mozart’s role tion in Cliff Eisen, et al., In Mozart’s Words, “Franz Lamotte,” in social and cultural transformations of childhood during the http://letters.mozartways.com, Version 1.0 (HRI Online, 2011), accessed December 20, 2017. See also Paul F. Rice, Venanzio Austrian Enlightenment. Other forthcoming publications in- Rauzzini in Britain: Castrato, Composer, and Cultural Leader clude contributions to the edited volumes Dance and the En- (Rochester: University of Rochester Press, 2015), 74. lightenment, Mozart in Context, and The Cambridge Com- 14 MBA, vol. 1, 320; LMF, 118. See also Anthony Pryer, “Mozart’s panion to The Magic Flute. Operatic Audition: The Milan Concert, 12 March 1770: A Reap- praisal and Revision,” Eighteenth-Century Music 1, no. 2 (Sep- tember 2004): 265–88; and Ruth Halliwell, The Mozart Family: notes Four Lives in a Social Context (Oxford: Clarendon Press, 1998), I would like to thank Bruce Alan Brown for his thoughtful com- 147. ments on an early draft of this article. I am also grateful to John 15 “Verona, 9 January,” Gazzetta di Mantova (January 12, 1770), Rice for sharing his translation with me. translated in MDB, 105. Original Italian in MDL, 95–96. 16 Program of concert at Teatro Scientifico, Mantua, January 16, 1 See for instance Kathleen Kuzmick Hansell, “Theatrical Ballet 1770, translated in MDB, 106–07. Original Italian in MDL, 96– and Italian Opera,” in Opera on Stage, ed. Lorenzo Bianconi and 97. Giorgio Pestelli (Chicago: University of Chicago Press, 2002), 17 MBA, vol. 1, 328; LMF, 123. 249–50; and Ferruccio Tammaro, “Sacchi, Giovenale,” Grove 18 Malcolm Boyd and A. G. Williams, “Stanley, John,” Grove Mu- Music Online, http://www.oxfordmusiconline.com. sic Online, http://www.oxfordmusiconline.com. See also John 2 Sacchi, Della divisione, 213–14. Richard Prescott, John Stanley, “A Miracle of Art and Nature”: 3 David Black, “Giovenale Sacchi on Mozart the Prodigy,” Mozart: The Role of Disability in the Life and Career of a Blind Eigh- New Documents (January 20, 2018), https://sites.google.com/ teenth-Century Musician (PhD diss., University of California, site/mozartdocuments/documents/1770-sacchi, accessed March Berkeley, 2011). 2, 2018. Black credits Peter Keenan with bringing the source to 19 Malcolm Boyd, “John Stanley and the Foundling Hospital,” light. See Keenan, Towards an Understanding of Mozart’s Use of Soundings 5 (1975), 73. Tempo and Proportion: Temporal Strategies in the Finales of Le 20 Prescott, John Stanley, 31–32. See also Michael W. G. Jenkins, nozze di Figaro (master’s thesis, University of Glasgow, 2017). John Stanley: His Life and Instrumental Works (PhD diss., Uni- 4 Adeline Mueller, “Mozart and the Mediation of Childhood” versity of Auckland, 1975). (forthcoming, 2020). 21 Prescott, John Stanley, 32. 5 Bonamici, De claris pontifiarium, 123. 6 See for instance Giammaria Mazzuchelli, Gli scrittori d’Italia cioè notizie storiche, e critiche… (Brescia: Bossini, 1753), vol. 1, pt. 2, 856; and The Biographical Dictionary of the Society for the Diffusion of Useful Knowledge, vol. 3 (London: Longman, 1843), 80.

11 detailed discussions of the operas from W. A. Mozart by Cliff Eisen Reviews Idomeneo onward. Short essays on performance practice, primary-source In addition to recordings, the Mozart materials, and Mozart’s personal in- 225 collection includes a beautifully il- Mozart 225: The New Complete Edition. struments further supplement the dis- lustrated, substantive overview of Mo- 200 compact discs. London: Decca cussion and repertoire. In a small paper zart’s life and music authored by Cliff and Deutsche Grammophone, 2016. volume is a copy of the “K Book,” which Eisen. adheres to the structure and numbering Eisen organizes his account of Mo- Neal Zaslaw uses in his upcoming edi- zart’s life and creative activities into Introduction tion of the Köchel Catalogue (see Za- three parts: the first is titled “Mozart Packed tightly into a twenty-three- slaw’s review on pp. 14–15). In addition on the Road, 1762–1773”; the second pound, green square box is the most to the title of the work, place where it focuses on what Eisen calls Mozart’s recent compilation of Mozart’s life and was written, and the Köchel number, “‘short’ Salzburg decade,” the years music—published in celebration of the the listing also guides listeners to the 1773–1780 (p. 50); and the final segment 225th anniversary of the composer’s corresponding CD in the collection and concentrates on Mozart’s years in Vi- death. Released in October 2016 in a volume in the Neue Mozart-Ausgabe. enna. In all three sections, Eisen seeks joint effort by Decca Classics, Deutsche Several images printed on cardstock to counter the traditional narrative of Grammophon, and the Salzburg Mo- round out the collection, giving listen- Mozart’s life: that he was an exploited zarteum Foundation, the Mozart 225 ers a look at the music and the man. The child prodigy who endured a period of collection boasts impressive numbers: images include several passages from “servitude” to “an unappreciative Arch- 200 CDs with 240 hours of music per- the lied “Als Luise die Briefe,” K. 520, as bishop” from which he broke free only formed by 600 world-class perform- well as the Canon for 4 voices, K. 228; to fall prey to the “fickle Viennese pub- ers. And in just ten days and sleepless a facsimile of a letter from Mozart to lic” whose neglect led to the composer’s nights, you could hear Mozart’s entire his father dated February 15, 1783; and financial ruin and “terminal decline” catalogue. The CDs are divided roughly a small portrait (perhaps the final por- (p. 123). Eisen argues that, contrary to into five primary categories—Cham- trait of Mozart) done in silverpoint by prevailing views, Mozart’s life was “on ber, Orchestral, Theatre, Sacred, and Dorothea Stock. Finally, listeners also the whole a successful negotiation— Private—as well as fragments, doubtful have access to several digital resources both professionally and personally—of works, arrangements, and works com- via the Mozart 225 website, including the complex eighteenth-century world” pleted by other composers. The record- access to a PDF or app edition of Mo- (p. 123). The author weaves in many ings included on the collection span zart’s libretti and a commentary. primary sources, including some less- previous decades and listeners will find To review Mozart 225, we divided it er-known ones, to support his points. multiple versions of a piece through roughly based on genre and encouraged The high number of primary sources is what the publisher labels as “historic” reviewers to consider the overall collec- one of the companion volume’s many and “classical” performances. Notably, tion of recordings and their significance strengths. the collection includes a recording of to the repertoire rather than individual Part I of Eisen’s essay stresses the ed- “Per la ricuperata salute di Ofelia”—a pieces or tracks. In this issue, we feature ucational nature of the family’s travels recently discovered collaboration be- reviews of the biography, orchestral and demonstrates how influential these tween Mozart and Salieri. music, and sacred music. Reviews of trips were to Mozart’s development as Beyond the CDs, the collection in- Mozart’s theater, private, and chamber a composer. While many portrayals of cludes several resources that encourage music will appear in the fall 2018 issue. Mozart’s early life focus on the young listeners not to just listen to the mu- —Emily Wuchner prodigy’s musical feats and his seem- sic, but to engage with it in a variety of ingly magical abilities, Eisen provides ways. The collection contains two beau- a fuller picture of the Mozart family’s tifully illustrated books: a new biogra- journeys: what archeological sites they phy by Cliff Eisen, as well as a book that visited, the technological innovations accompanies the CDs. This volume, ti- they encountered, and the cultural dif- tled “Die Musik,” contains short essays ferences they had to negotiate. Eisen to preface the categories of the collec- concludes this portion of the essay by tion, track-by-track commentaries, and stating that as a result of these travels

12 and his father’s tutelage, Mozart was “a have been exaggerated. He further as- Cambridge Companion to Mozart. modern, enlightened man of his times” serts that scholars have magnified how In addition to Eisen’s musical biog- (p. 43). However, while this is unques- neglected and unpopular Mozart’s mu- raphy, the companion volume contains tionably true of his father Leopold, it sic was in the late 1700s. While it is true two shorter essays by scholars associ- seems less true for Wolfgang based on that north German writers criticized the ated with the Mozarteum in Salzburg. the evidence supplied here. composer’s music as too complex, writ- The first, “The Musical Correspondence Part II (“Salzburg, 1773–1780”) pres- ers elsewhere praised his works. In fact, of Wolfgang Amadeus Mozart” by Anja ents a fairly balanced portrait of Leop- “within days of [Mozart’s] death,” Eisen Morgenstern, provides an admirably old and Wolfgang’s relationship. Eisen writes, “obituaries appeared in newspa- clear overview of the surviving Mo- shows that rather than being perceived pers across Europe” (p. 123). Therefore, zart family letters. Morgenstern rightly as a harsh, exploitative taskmaster, Leo- Eisen joins Christoph Wolff in arguing points out that many of Leopold’s let- pold and his parenting were praised in that Mozart was poised for even greater ters to friends and family in Salzburg contemporaneous documents. In fact, musical and financial success at the were intended to be read aloud and several imply that Leopold actually time of his death. Therefore, Eisen joins shared with other households and that, might have been too lenient with his Christoph Wolff in arguing that Mozart even though a substantial number of talented son. Eisen also wisely reminds was poised for even greater musical and epistles exist, the correspondence is far readers that Leopold himself did not financial success at the time of his death from complete. A second essay, “Por- follow his parents’ wishes—he was dis- (see Wolff,Mozart at the Gateway to his traits of Mozart” by Christoph Gross- missed from university for insubordi- Fortune: Serving the Emperor, 1788–1791 pietsch, places the portraits that the nation and pursued music rather than [New York: W. W. Norton, 2012]). Mozarteum considers “authenticated” law and philosophy. The author also At times, Eisen’s interpretation of into biographical context (p. 86). De- attempts to redress misconceptions the primary sources could be more nu- spite the number of apparently authen- about musical life in Salzburg as well anced. For instance, Eisen takes Leo- tic likenesses of Mozart that survive, as relations between Archbishop Col- pold’s account of the quarrel over La Grosspietsch concludes, “what Mozart loredo and the Mozarts. Colloredo may finta semplice (which the author quotes really looked like is something that we have been a “difficult employer,” but at length) at face value. More informa- will never truly know” (p. 89), a con- the Mozarts were in turn troublesome tion about how imperial opera com- clusion that the accompanying illustra- employees who regularly ignored the missions were customarily handled tions bear out. Archbishop’s musical and professional would lend more balance. Similarly, Throughout the volume, numerous expectations (p. 81). Eisen successfully Eisen asserts that Empress Maria The- color reproductions of eighteenth-cen- demonstrates how “both sides were at resa’s famous warning to her son that tury paintings, prints, and documents fault” for “the breakdown of Wolfgang’s the Mozarts were “‘useless people . . . complement the text and help bring relationship with his native city” (p. 83). [who] go about the world as beggars’” the places that Mozart lived in and vis- During Part III (“Mozart in Vienna, was “ill-conceived and inaccurate” (p. ited and the people he worked with to 1781–1791”) Eisen argues that many ac- 28). Yet his own essay illuminates what life. Each section of Eisen’s essay com- counts of Mozart’s final years are inac- behaviors might have prompted her mences with a biographical overview curate. Contrary to popular belief, Mo- assessment. A few pages after Eisen that then leads into a discussion of Mo- zart’s letters show that he was upbeat makes this claim he quotes Leopold’s zart’s musical output and style during and actively engaged with family and April 14, 1770 letter from Rome, which that period of his life. References to spe- friends during his final months, not reveals how Leopold manipulated cir- cific works pepper the text. These to- isolated and hounded by premonitions cumstances in order to gain access to gether with the accompanying Köchel of death. Additionally, the composer’s Cardinal Pallavinci—access that others index make it easy to listen to the works letters suggest that he was far from des- easily could have viewed as undeserved. Mozart wrote at each stage of his life. titute; he was able to retain a servant, It is also worth noting that while Paul With its rich use of primary sources and for example. The author also addresses Moseley’s preface to the Mozart 225 col- fresh look at themes prevalent in Mo- what he believes are misperceptions lection states that Eisen’s biography is zart scholarship, Eisen’s book comple- about the music from the composer’s “new,” some of this material has been ments and enhances the entire set. final decade. Eisen claims that the po- published elsewhere (p. 4). Much of —Laurel E. Zeiss litical implications of Mozart’s Le nozze Part II, for example, repeats material di Figaro and his Masonic activities from Eisen’s chapter on Salzburg in the

13 opposed to “works”) that is realistically gineers, and Tonmeistern of the original Orchestral Music (CD Nos. 50–101) performable is included: all his signifi- recordings. Program notes are found in cant fragments and sketches, works fin- Volume II (see below). I own two sets of recordings of Mozart’s ished by others, plus arrangements (of The considerations behind the choice “complete” works. One of them—178 both his own and others’ works). New of recordings to reissue are outlined by recordings have been made of several CDs in 59 double jewel boxes with thick Moseley: performable fragments, some on Mo- booklets—was issued by Philips in time zart’s own instruments at the Salzburg Mozart 225 avoids dogmatic adherence for the bicentennial of Mozart’s death Mozarteum Foundation, including the to performances given solely on ei- in 1991; the other—170 audio CDs in first recordings of his recently donated ther period or traditional instruments. paper sleeves plus a CD ROM contain- “Costa” violin. (p. 3) ing vocal texts and libretti, housed in a . . .Using the recordings of Deutsche sturdy box measuring roughly 12 x 5 x 5 Both older sets contain primarily re- Grammophon, Decca, ASV and twelve other labels, more than two-thirds of the inches—was issued by Brilliant Classics issues of recordings from the archives, selected recordings are different from in time for Mozart’s 250th birthday in topped up by as many new recordings as the 1991 [Philips] edition. . . .Period- and 2006. The former was a costly luxury were needed to fill in lacunae, presum- modern-instrument performances are product, the latter a low-priced, “ge- ably where no recording, or perhaps no nearly always kept separate, not least for neric” alternative, which I purchased a adequate recording, was available. Both reasons of pitch. (p. 4) decade ago for a bit over $100. sets also licensed recordings from other “Complete” is in quotation marks firms. Philips’ archive is of course deep Ensembles involved include the En- above because a consensus about what and wide and, accordingly, their set con- glish Concert (Trevor Pinnock) and the that word must mean when applied to tains many oldies-but-goodies, often Academy of Ancient Music (Christo- such a large, varied corpus of works is performed by resonant names. The Bril- pher Hogwood), which between them not possible. Does it include more than liant Classics set comes from a smaller, account for some forty symphonies one version of works that have two or newer company, so inevitably the re- and isolated symphony movements three of them? Does it include frag- cordings are on average more recent composed by Mozart between 1764 mentary works completed by others and the performing artists mostly from and 1776, on seven discs. Then comes (Requiem!), or even fragments in their younger generations. When I need a re- a single disc from the English Baroque fragmentary state? Does it include Mo- cording for a class, lecture, or research, Soloists (John Eliot Gardiner) with four zart’s arrangements of other composers’ I compare the recordings from the two symphonies plus a symphonic min- compositions? And what about works sets. As a generalization, what I find is uet from 1778–1782. A remaining eight of questionable provenance, those that that both sets offer more-than-adequate symphonies (1779–1788) are distrib- have not been convincingly demon- sound-quality, whereas when it comes uted between Pinnock and Hogwood strated to be either authentic or the op- to artistic qualities, sometimes I prefer with an assist from the Orchestra of the posite and have often been the object of the one from the earlier set, sometimes Eighteenth Century (Frans Brüggen). heated scholarly debate? the one from the later set, and occasion- The last disc in the set contains alter- This third traversal of Mozart’s oeu- ally neither. nate versions of three symphonies that vre was issued for 2016, for the 225th My assignment is to review those survive in two authentic versions, here anniversary of his death. The obvious CDs of Mozart 225 that contain or- performed by Hogwood (K. 132 and question, then, is this: what can a new chestral music, a category that is itself K. 297) and Les Musiciens du Louvre “complete” set of Mozart recordings of- divided into six subcategories: Sympho- (Marc Minkowski) (K. 550). fer that the earlier ones lacked? nies (CDs 50–61); Serenades, Diverti- Then we jump to CDs 88–98 (“Sup- In his introduction to the collection menti, Cassations (62–68); Dances (69– plementary Recordings”) and 99–101 (found in Volume I), Paul Moseley, the 73); Concertos (74–87); Supplementary (“Classic Performances”). The former producer of Mozart 225, neatly answers Performances (88–98); and Classic category includes three discs with seven my questions about completeness as Performances (99–101). Each CD is in symphonies—the most famous ones— follows: a handsome cardboard sleeve, and the conducted by Sándor Végh and Claudio discs come with a 116-page booklet that Abbado. The three discs of Classic Per- How complete is Complete? The answer serves as an annotated table of contents formances include recordings of four is: to a level never before attempted. For the first time, all Mozart’s “work” (as of works, movements, and performing late symphonies played by the Berlin forces, as well as the dates, venues, en- Philarmoniker (Karl Böhm), the Lon-

14 don Symphony Orchestra (Benjamin the AAM’s symphony recordings, yet new Köchel Catalogue is Breitkopf & Britten), the Symphonieorchester des his name appears nowhere on the CD Härtel of Leipzig and Wiesbaden. B&H Bayerischen Rundfunks (Eugen Jo- sleeves or in the booklet. was the publisher of the original edition chum), and the Royal Concertgebouw Unlike Paul Moseley’s reasonable of the venerable catalogue (1864) as well Orchestra (George Szell). Resonant summary of the Mozart 225 project, as of its revisions (1905, 1937, and 1964). names all! the advertising for the project puffs When corporations allow admen (and What to make of this? Large univer- the results as being not only complete, women) to represent their products to sity, conservatory, or public libraries but the nearest thing to official, defini- the world without oversight of those may already own many of these record- tive, unparalleled, authoritative, and in who have created those products, the ings. (Publicity for the entire project re- short, the last word. This tiresome tactic outcomes can be unfortunate. ports that in “240 hours of music, Mo- has long been employed to pedal cul- —Neal Zaslaw zart 225 features over 5 hours of newly tural goods. Part of the desired aura of recorded material.”) Nevertheless, re- definitiveness and—dreaded word!— search libraries may wish to provide authenticity is produced by hints that Sacred Works (CD Nos. 153–170) access to recordings that (using Paul great, new scholarship went into it. As Moseley’s distinction) belong to Mo- described in a press release from the If one were to give an overview of Mo- zart’s “work” even if not to his “works.” Mozarteum: “The 200 CD Complete zart’s most significant contributions to Libraries that allow their CDs to circu- Edition was created in partnership with music, it may be reasonably expected late may findMozart 225 a convenient the Salzburg Mozarteum Foundation that certain genres would be invoked way to replace worn copies or even to and Mozart expert, Professor Cliff Eisen more readily than others. Indeed, it add second copies. Fanatical collectors of King’s College London,” and the CDs would seem virtually unimaginable to of CDs or of Mozartiana will naturally are accompanied by “two major and discuss Mozart’s musical legacy without want Mozart 225. People who have all lavishly illustrated hardback books mentioning his landmark contributions the worldly goods they require for sur- including a radical new full-length bi- to opera, symphony, piano concerto vival may imagine it as a handsomely ography by Cliff Eisen plus a work-by- and sonata, and string quartet. Mozart’s wrapped box under a Christmas tree. work commentary from Mozart experts sacred compositions, though—with And there will (one hopes) be a new worldwide.” I agree wholehearted with the exception of a handful of classics generation of listeners who don’t al- the characterization of Eisen and Ulrich like the Krönungsmesse, K. 317, and the ready own, or have access to, these or Leisinger of the Mozarteum as leading Requiem, K. 626—have generally occu- other performances, and who, perhaps, experts on all things Mozartean, and I pied a secondary place in the compos- may envision this as their starter set. look forward to reading what they’ve er’s oeuvre by comparison. The release There are, however, certain things written. But what to make of the press of the Mozart 225 collection, however, that bother me, which I limit to matters release asserting that the tout ensemble has given music lovers a fantastic op- of which I have first-hand knowledge. includes portunity to explore this particular When the contract with Decca for the side of Mozart’s musical personality in a separate new ‘K book,’ exclusive to Mo- symphony recordings by the Academy zart 225, presenting the numbering of its totality. Boasting standout perfor- of Ancient Music was signed in 1978, the Salzburg Mozarteum Foundation’s mances by some of the finest Mozart in- there was a stipulation that credit for forthcoming new edition of the Köchel terpreters of the past few decades, and the leadership of those performances— Catalogue of Mozart’s works. featuring alternative versions of sev- on the recordings themselves, on the eral pieces, the eighteen CDs of sacred accompanying packaging and booklets, As the author of the forthcoming works in Mozart 225 constitute an ex- and in the publicity—would read “Jaap new version of “K,” who has spent cellent display of Mozart’s approaches Schröder, Concert master — Premier twenty-five years researching and writ- to the sacred musical genres of his era. violon — Konzertmeister; Christo- ing it and is now engaged in reading Taken as a whole, Mozart’s sacred pher Hogwood, Continuo,” in identical early proofs of its German translation, I works chart a fascinating trajectory fonts of the same size. In those early feel obliged to report that I knew noth- through the composer’s life and artis- days of early-music musicking, having ing of this until the publicity began to tic development. In works such as the the experienced Schröder training and flow. Contrary to what the publicity Waisenhausmesse, K. 139/47a, and the leading the strings was a boon. He had says (but as Moseley correctly states in Regina coeli, K. 108/74d, written just be- much to do with the early success of his remarks), the actual publisher of the fore Mozart reached his teenage years,

15 one senses the young prodigy develop- convince, as the conductor exercises far his life. Moreover, the impressive lineup ing strategies for setting longer texts, too much restraint with his musicians. of strong yet diverse interpretations, guided as much by his own inspiration The soloists for virtually every piece are and the inclusion of several alternative as the conventions of Austrian sacred also universally excellent, but Emma performances, greatly heighten the ap- music (and most likely, in the case of K. Kirkby’s stunning execution in the Re- peal of this segment of the collection. 139, his father’s supervision). With the gina coeli, K. 127, and Exsultate, jubilate, Regardless of the place Mozart’s sacred Missa brevis, K. 192/186f, written less K. 165/158a, as well as Sylvia McNair’s works may occupy in his historical leg- than a decade later, however, one can hauntingly expressive “Et incarnatus acy, Mozart 225 has ultimately done discern a greater creative initiative—the est” from the Mass in C minor, deserve considerable justice to this portion of more prominent role of the orchestra in special praise. composer’s extensive musical output. the “Kyrie” and “Gloria,” and the strik- In an effort to be as complete as —Matthew Leone ing modulations in the “Agnus Dei,” possible, Mozart 225 has included a suggest a maturing composer in com- number of alternative versions and per- mand of a variety of musical and ex- formances of several pieces, as well as ar- pressive devices. By the time we reach rangements and editions of unfinished the works of the later Salzburg and Vi- works. Some of these performances are ennese periods, Mozart’s compositional simply alternate renditions of the same 4 virtuosity is now fully apparent. In the piece, as executed by different soloists Missa longa, K. 262/246a, Misericordias or ensembles. However, the inclusion of The fall 2018 issue of the Newsletter Domini, K. 222/205a, and the Mass in both the 1773 and 1780 versions of Ex- will feature reviews of the remainder of C minor, K. 427/417a, Mozart alternates sultate, jubilate on a single disc makes Mozart 225: musical styles, textures, and perform- for intriguing listening, as one can coming forces with astonishing frequency, pare the two side by side and trace how Private Music and Miscellaneous but always with nuanced sensitivity to Mozart rethought the piece seven years Works, reviewed by Murl Sickbert Jr. the text, weaving a tapestry of sound after its initial composition. As for the that simultaneously delights, moves, arrangements, a fair number of them— Italian Operas, and amazes. for example, Richard Maunder’s recon- reviewed by John Platoff As masterful as Mozart’s sacred works structions of several movements from may be on their own, it helps consider- the Mass in C minor—are modern cre- German Operas, ably that Mozart 225 features a superb ations that perhaps reveal more about reviewed by Lisa de Alwis array of conductors, ensembles, and so- a twentieth-century understanding of loists for virtually every piece. Many of Mozart’s music than about the music Chamber Music, these interpretations seem to strive for itself. But listening to the autograph reviewed by Edward Klorman a balance between dramatic expressiv- manuscript version of the incomplete ity and refined, technically sound ex- Requiem, a fragmentary score contain- 4 ecution. In general, the performances ing little more than the choral parts and directed by Neville Marriner and es- continuo, is a sobering reminder of how pecially Herbert Kegel lean toward the much of Mozart’s final (and arguably former, while the renditions under Ste- most famous) sacred composition was phen Cleobury and George Guest lean left unfinished at his death. toward the latter. On the other hand, While the recordings of Mozart’s John Eliot Gardiner’s interpretation of best-known religious works will likely the Requiem, with its striking dynamic attract the most attention, the sacred shifts and driving tempos, is one of the music in Mozart 225 is all well worth most intense and dramatic I’ve ever listening to. From the youthful Salz- encountered, rivaling even Marriner’s burg experiments to the sophisticated 1991 recording with the Academy of masses of the later years, the sacred St. Martin in the Fields. Only Leopold works yield several insights into Mo- Hager’s monochrome performance of zart’s compositional strategies and mu- La Betulia liberata, K. 118/74c fails to sical development at various points in