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Mozart's Eine Kleine Nachtmusik

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Mozart's Eine Kleine Nachtmusik Mozart’s Eine Kleine Nachtmusik: Behind the Editions Regaip Sen January 23, 2003 Introduction Kleine Nachtmusik was created, explain the discrepancies of the piece, and suggest an When I began comparing the facsimile of explanation for each. Mozart’s Eine Kleine Nachtmusik to current and widely-accepted editions, I expected to find few Mozart in 1787 discrepancies. Mozart is known for writing contrapuntally perfect compositions without any The circumstances of Mozart’s life in early 1787 need for revisions. However, I found that critical suggest that he wrote Eine Kleine Nachtmusik controversy is not always located in the (hereafter: EKN) for immediate sale. On April compositional process. The earliest commonly- 23, 1787, he had moved from his elegant used edition is the 1900 Breitkopf & Härtel apartment to a more economical location as a Gesamtausgabe, which is based on the first result of financial decline. As his father wrote to edition edited by Johann André in 1827. his sister on May 11, “your brother is now living Mozart’s autograph was not discovered until in the Landstrasse No. 224. He does not say why 1943 by Manfred Gorke, and the Eulenberg and he has moved. Not a word. But unfortunately, I Neue Mozart Ausgabe editions make use of both can guess the reason.” During that time, he had the autograph and the Gesamtausgabe. While written the quintets in C major (K.515) and G recent additions agree that the serenade was minor (K.516), which he immediately tried to written for a quintet, Eine Kleine Nachtmusik is sell on a subscription basis starting in July. performed by chamber groups and string Unfortunately, no one subscribed. On April 23, orchestras alike. In addition, Mozart’s usage of Cramer’s Magazin der Musik accused his new staccato dots and dashes is inconsistent (let alone music of being “too highly seasoned” ambiguous) in his autograph, and this has led to (Hildesheimer 199-202). If Mozart was in extremely different articulations among current desperate need of having pieces sold at the time, editions. Mozart also gave directions to repeat he probably would have taken the advice and sections near the beginning of a given movement written a less emotional piece than the two (for the first two movements), and subsequent quintets. The appearance of EKN after the editions have reprinted the indicated measures. failure of the quintet subscription suggests The most intriguing source critical problem in Mozart did exactly that. This serenade for this piece, however, is the fact that it is said to strings represents balance and elegance, have a missing minuet and trio movement. something that should have been much more While the serenade exists today as an Allegro, marketable at the time. Strangely enough, there Romanze, minuet and trio, and a finale, Mozart’s are no records of this piece being offered to the thematic catalogue lists its contents as “Allegro, public. If Mozart really began EKN as an Menuett und Trio.–Romance. Menuett und Trio, attempt at a marketable piece, he certainly und finale.” In order to understand the reason changed his mind by the time it was finished. If for each inconsistency of this piece, we must first Mozart did in fact change his mind about the examine the context in which the composition purpose of the piece, perhaps he made musical appeared. In this paper I will propose why Eine changes that would better fit his new purpose. 1 Corroboratively, the piece contains large-scale Present performances still vary in the number of discrepancies regarding both composition and performers utilized, but as Alfred Einstein performance. declares, “there is no reason why Mozart’s Kleine Nachtmusik may not be performed either Discrepancies in Ensemble Size orchestrally–with double basses–or as chamber music” (Einstein, 170). Many other The most apparent discrepancy in performances compositions were (and still are) performed with of EKN is that of the number of players. André’s varying numbers of players; in these cases, the first edition existed as a four-part score with an style of the work often determines the number of ambiguity as to whether Mozart intended the performers. In addition, the fact that a double piece for a string orchestra or a quintet. bass simply doubles the cello for the entire Breitkopf & Härtel indicated “Violino I” and serenade may appear out of place for a chamber “Violino II” for the violin parts. When the piece today, but this was also typical in the autograph was discovered, however, Mozart’s eighteenth century. While most agree that the own heading indicated “2 violini,” which some serenade is more appropriate for a chamber interpreted as two solo violins. H.F. Redlich, in group, the presence of oppositely-stemmed notes the preface to the Eulenberg edition, called for a on the same beat in parts of EKN strongly quintet because Mozart “asks for ‘2 Violini…’, suggests that the instruments should go into and not for [‘]Violino I, Violino II…’” (Redlich, divisi instead of playing double-stops: ii). However, Mozart entered '2 violini' in his occurrences of such notes in the autograph are own thematic catalog for symphonies as well as listed in Table 1. All subsequent editions chamber pieces. Such an entry thus tells us transcribe these notes as double-stops. nothing about the number of players per part. Table 1. Occurrences of Divisi in Autograph measures instrument 5 violino 2 9 violino 2 24 to 26 both violins 27 violino 2 39 to 40 both violins Allegro 47 to 48 both violins 112 violino 2 violino 2 and 131 viola 133 violino 2 135 to 136 violino 2 Menuett 8 to 9 viola 10 to 11 viola 72 viola 76 to 77 violino 2 Rondo 78 to 79 viola 148 viola 164 viola 2 If Mozart truly intended this piece for one slash in the second violin part indicates that the instrument per part, the stemming of these second violin doubles the first an octave below. measures would appear contradictory! To me In addition to the slashes, Mozart employed two this indicates that Mozart was toying with the abbreviations, which are tracked in the chart idea of whether or not the piece should be for an below as “vp” and “cp.” While “colla parte” was orchestra or small ensemble. If he had published often used in scoring to indicate doubling of a EKN, he might have adjusted these neighboring instrument, the two abbreviations incongruencies to indicate a serenade for string here most likely stood for “violino parte” and quintet. “cello parte”. The “vp” appears only in the second violin section, and editions realize them Markings for Doublings of Parts as doublings of the first violin part. The “cp” appears in the viola section, and editions realize Numerous blank measures in the autograph are them as doublings of the cello part. Table 2 filled in by doubling another part in subsequent indicates where these symbols appear. Some of editions; the four types of markings Mozart these symbols are followed by blank measures placed at the start of these blank areas indicate for that part, which indicates that the initial this solution. The double slash (//) in the second doubling will also be applied to the blank violin’s part indicates that the second violin measures. doubles the first. The 8va next to the double Table 2. Symbols indicating doublings in Autograph measure blank Symbol indicated measures part vsym 1 2,3,4 2nd violin csym 1 2,3,4 viola csym 21 viola csym 26 27 viola 8va // 28 29 2nd violin // 30 2nd violin csym 39 40 viola csym 47 48 viola csym 51 52,53 viola vsym 51 52,53 2nd violin Allegro csym 56 57,58,59 viola vsym 56 57,58,59 2nd violin vsym 70 71 2nd violin 8va // 101 2nd violin // 102,103 2nd violin csym 112,113 viola csym 120,121 2nd violin vsym 124,125 2nd violin vsym 126 2nd violin csym 136 137 viola vsym 136,137 2nd violin 8va // 1,2,3 4 2nd violin // 5 6 2nd violin 3 csym 2,3 4 viola Menuett 8va // 9,10 11 // 12 13 8va // 26,27 28,29 csym 13 14-17 2nd violin 8va // 22,23 2nd violin 8va // 48 2nd violin // 49 2nd violin csym 58 59 viola vsym 58 2nd violin // 59,60 2nd violin Rondo csym 71 viola vsym 82 83 2nd violin 8va // 114 2nd violin // 115,116 2nd violin csym 123,124 viola vsym 123,124 2nd violin csym 130,131 viola vsym 130,131 2nd violin Mozart used “dal segno” directions to indicate autograph: André’s edition gives mostly dashes, repetitions. He placed a curved cross-hatch and Breitkopf & Härtel’s gives only dots. The symbol in the second measure of the Allegro, Neue Mozart Ausgabe edition attempts to follow and at measure 99 he gave the following Mozart’s distinctions, but it also adds dots and directions: “Dal segno 22 tackt,” indicating that dashes to reflect parallel passages. Table 3 measures 2 to 23 should be inserted there. He provides a chart of all the dots and dashes used placed a wavy symbol on the second measure of in these four editions for the first and second the Romanze, and at measure 35 wrote, “dal violin parts in the first movement. (The segno nur den 1.Theil,” which indicates that only autograph entries in parentheses correspond to the first part (up to the first repeat sign) should the repeated measure from the beginning section, be inserted there. He wrote, “dal segno beide as the autograph includes “Dal Segno” Theile aber durchaus” at measure 58; this instructions).
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