Chamber Music

New Mozart Edition VIII/19/2 Quintets with Wind Instruments WOLFGANG AMADEUS MOZART Series VIII CHAMBER MUSIC WORK GROUP 19: STRING QUINTETS AND QUINTETS WITH WIND INSTRUMENTS SECTION 2: QUINTETS WITH WIND INSTRUMENTS PRESENTED BY ERNST FRITZ SCHMID 1958 International Mozart Foundation, Online Publications III New Mozart Edition VIII/19/2 Quintets with Wind Instruments Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications IV New Mozart Edition VIII/19/2 Quintets with Wind Instruments CONTENTS Editorial Principles ……………..………………………………………………..…….. VI Foreword………….…………………….………………………………………….…… VII Facsimile: Entry relating to the Clarinet Quintet in A KV 581 from the work catalogue in Mozart’s own hand XIV Facsimile: Title page of the first printing of the Clarinet Quintet in A KV 581………………………………… XIV Facsimile: First page of the autograph for a fragment of a Clarinet Quintet in B b KV App. 91 (516 c)…………. XV Facsimile: Second page of a sketch sheet with a fragment of an “Andante Rondo” in E b for Clarinet and String Quartet (for KV App. 91/516 c?)…………………………………………. XVI Facsimile: First page of the autograph for a fragment of a Quintet in F for Clarinet, Basset Horn and String Trio KV App. 90 (580 b)……………………………………...…….…… XVII Facsimile: Third page of a fragment of a Clarinet Quintet in A KV App. 88 (581 a)……………………………. XVIII Quintet in E b for Horn, Violin, two Violas and Bass KV 407 (386 c)……………………………………………. 1 Quintet in A for Clarinet, two Violins, Viola and Violoncello KV 581…………………………………………. 15 Appendix I: Allegro in B b for a Quintet for Clarinet, two Violins, Viola and Violoncello (fragment) KV App. 91 (516 c)... 41 II: Andante Rondo in E b for a Quintet for Clarinet, two Violins, Viola and Bass (fragment) for KV App. 91 (516 c)?................................................................................................................... 44 III: Allegro in F for a Quintet for Clarinet, Basset Horn, Violin, Viola and Violoncello (fragment) KV App. 90 (580 b)………………………………………………………………………………. 45 IV: Rondo for a Quintet in A for Clarinet, two Violins, Viola and Bass (fragment) KV App. 88 (581 a)……….. 50 International Mozart Foundation, Online Publications V New Mozart Edition VIII/19/2 Quintets with Wind Instruments EDITORIAL PRINCIPLES The New Mozart Edition (NMA) provides for research footnotes, all additions and completions in the music purposes a music text based on impeccable scholarship volumes are indicated, for which the following scheme applied to all available sources – principally Mozart’s applies: letters (words, dynamic markings, tr signs and autographs – while at the same time serving the needs numbers in italics; principal notes, accidentals before of practising musicians. The NMA appears in 10 Series principal notes, dashes, dots, fermatas, ornaments and subdivided into 35 Work Groups: smaller rests (half notes, quarters, etc.) in small print; slurs and crescendo marks in broken lines; grace and I: Sacred Vocal Works (1–4) ornamental notes in square brackets. An exception to II: Theatrical Works (5–7) the rule for numbers is the case of those grouping III: Songs, Part-Songs, Canons (8–10) triplets, sextuplets, etc. together, which are always in IV: Orchestral Works (11–13) italics, those added editorially in smaller print. Whole V: Concertos (14–15) measure rests missing in the source have been VI: Church Sonatas (16) completed tacitly. VII: Large Solo Instrument Ensembles (17–18) The title of each work as well as the VIII: Chamber Music (19–23) specification in italics of the instruments and voices at IX: Keyboard Music (24–27) the beginning of each piece have been normalised, the X: Supplement (28–35) disposition of the score follows today’s practice. The wording of the original titles and score disposition are For every volume of music a Critical provided in the Critical Commentary in German. The Commentary (Kritischer Bericht) in German is original notation for transposing instruments has been available, in which the source situation, variant retained. C-clefs used in the sources have been replaced readings or Mozart’s corrections are presented and all by modern clefs. Mozart always notated singly other special problems discussed. occurring sixteenth, thirty-second notes etc. crossed- Within the volumes and Work Groups the through, (i.e. instead of ); the notation completed works appear in their order of composition. therefore does not distinguish between long or short Sketches, draughts and fragments are placed in an realisations. The NMA generally renders these in the Appendix at the end of the relevant volume. Sketches modern notation etc.; if a grace note of this etc. which cannot be assigned to a particular work, but kind should be interpreted as ″short ″ an additional only to a genre or group of works, generally appear in chronological order at the end of the final volume of indication ″ ″ is given over the relevant grace note. the relevant Work Group. Where an identification Missing slurs at grace notes or grace note groups as regarding genre is not possible, the sketches etc. are well as articulation signs on ornamental notes have published in Series X, Supplement (Work Group 30: generally been added without comment. Dynamic Studies, Sketches, Draughts, Fragments, Various). Lost markings are rendered in the modern form, e.g. f and p compositions are mentioned in the relevant Critical instead of for: and pia: Commentary in German. Works of doubtful The texts of vocal works have been authenticity appear in Series X (Work Group 29). adjusted following modern orthography. The realisation Works which are almost certainly spurious have not of the bass continuo, in small print, is as a rule only been included. provided for secco recitatives. For any editorial Of the various versions of a work or part of departures from these guidelines refer to the relevant a work, that version has generally been chosen as the Foreword and to the Critical Commentary in German. A comprehensive representation of the basis for editing which is regarded as final and rd definitive. Previous or alternative forms are reproduced editorial guidelines for the NMA (3 version, 1962) in the Appendix. has been published in Editionsrichtlinien musikalischer The NMA uses the numbering of the Denkmäler und Gesamtausgaben [Editorial Guidelines Köchel Catalogue (KV); those numberings which differ for Musical Heritage and Complete Editions]. in the third and expanded edition (KV 3 or KV 3a ) are Commissioned by the Gesellschaft für Forschung and given in brackets; occasional differing numberings in edited by Georg von Dadelsen, Kassel etc., 1963, pp. the sixth edition (KV 6) are indicated. 99-129. Offprints of this as well as the Bericht über die With the exception of work titles, entries in Mitarbeitertagung und Kassel, 29. – 30. 1981 , the score margin, dates of composition and the published privately in 1984, can be obtained from the Editorial Board of the NMA. The Editorial Board International Mozart Foundation, Online Publications VI New Mozart Edition VIII/19/2 Quintets with Wind Instruments FOREWORD While the series of Mozart quartets for one wind absence on his tour in the west, this was never instrument and three string instruments, in part a written. 3 It is unlikely that Mozart’s first concert response to the plethora of works of this kind piece for horn and orchestra, the Rondo in E b (KV disseminated in Mannheim circles, started with the 371), written in Vienna on 21 March 1781 and Flute Quartet in D (KV 285), written in Mannheim performed for the first time on 8 April in the same at Christmas time 1777 and ended prematurely with year at a musical evening given by Rudolph Joseph, the Munich Oboe Quartet of 1781, the quintets Prince Colloredo, 4 was intended for Leutgeb, who in written by the master for one wind instrument and spring 1800 told Konstanze Mozart that he knew 5 four string instruments appeared for the first time in nothing of the piece. the subsequent Vienna period and concluded with It may have been meant for the Viennese horn the Clarinet Quintet, a late work from autumn 1789. player Jakob Eisen (1756–1796), whose widow in These works also owe their origin to the personal 1800 still had in her keeping manuscripts her friendship of outstanding wind players. husband had received from Mozart. 6 On the other Unfortunately, we know today only two completed hand, Mozart shortly afterwards wrote for Leutgeb works of this genre from Mozart’s hand, the Horn the Horn Concerto in D (KV 412/386 b), 7 which J. A. Quintet, probably written at the end of 1782, and the André and later Alfred Einstein dated to 1782, Clarinet Quintet already mentioned. The genesis of although the Finale (KV 514) seems only to have the first of these was probably connected with other been finished in April 1787 from the incomplete 8 compositional work by the master for French horn, sketches of this movement made in 1782.

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