THE WORKS OF W. A. MOZART FOR THE BASSET HORN:

AN ANNOTATED BIBLIOGRAPHY INCLUDING A CATALOGUE DISCUSSION AND

REVIEW OF MOZART'S WORKS UTILIZING BASSET HORN AND BASSET CLARINET.

Keith Northover

Professor Mitchell Estrin

Honors Research Project

University of Florida, November 30, 2009 2

As an aspiring clarinetist with a fascination for all types of clarinets or auxiliary clarinets,

it would be imperative to study and research about the clarinet's history including its close

relative, the basset horn. As a relatively young instrument to the orchestra, the clarinet began its

development around the later part of the 18 th century. Early in its development, instrument

makers would create and experiment with different shapes and sizes. As developers wanted

bigger instruments, the technological inadequacies of the time influenced the designs of the

larger clarinets, then called basset horns. Mozart, an influential and important composer, first

heard clarinets most likely during his stay in London in 1764, in Milan in 1771 , and Mannheim

in 1777, but not in Salzburg because there were none in his home city. I After hearing and

discovering several virtuosi performing on the clarinet, the basset hom, and basset clarinet,

Mozart became highly motivated and inspired to write numerous works involving these

• instruments. This project attempts to discuss and review all of the works that Mozart composed

utilizing the basset hom and the basset clarinet.

First, one must have a discussion on what makes a basset horn. The basset horn is a

clarinet pitched in F, which is a fourth below that of the normal B-flat soprano clarinet. It is not

to be confused with the alto clarinet, which is in E-flat. The basset horn differs by having a

traditionally thinner wall and a narrower bore, which creates a more wistful, dreamy, and sad

sounding instrument. 2 It' s compass is from sounding F on the first space below the bass clef,

written C, to sounding high C, two lines above the treble clef, written high G. Like the earliest

clarinets, it did not have the necessary keys to play all of the notes in its compass, however it was

able to play low C because it was developed to act as a bass clarinet.

I Martha Kingdom Ward, "Mozart and the Clarinet," Music and Letters 28, no. 2 (April 1947): 126, http://www.jstor.org/stable/855526 (accessed April 20, 2009). 2 John P. Newhill, Th e Basset Horn and its Music (Farthings: Rosewood Publications, • 2003), 2. 3

In the technologically limited 18 th century, the extra tube required was accommodated by different methods of construction. Sometimes there was a large wooden bow that turned up on itself which then reduced the length of the instrument to a manageable size. Other times it was just a continuous extended tube with some sort of curvature to bring the holes and keys within reach.3 In addition to being in F, the very first horns were mostly in G and as a sickle or half moon form. 4 The name is thought to have derived from its sickle shaped appeared that resembled a hunting horn with a large brass bell and for the diminutive of "bass". It therefore resulted in basset horn, or Bassethorn (Gr), cor de basset (Fr), and corn a di basseto (It). It is interesting to note that the Italian form is linguistically incorrect and may be the result of translation errors when moving from language to language. 5

The first inventors of the basset horn is thought to be Anton and Michael Mayrhofer since they are inscribed on along with "Invented and perfected at Passau" on the earliest documented basset horns around the mid 18th century. The Mayrhofer's instrument was sickle shaped with a • normal clarinet mouthpiece at one end and a large brass bell at the other. In order to bring the holes into a comfortable playing position the tube was curved downwards thus being sickle shaped. The wood was cut in half, gouged out by hand, then glued and covered in leather.6 The bottom brass bell contained a box of wood, in which the tube made two "u" bends thus elongating the wood called the "box", or "Buch", "Kasten", and "Kdtschen".7 The box is the distinctive characteristic of the basset horn that existed well into the 19th century. In the 1780's a famous instrument maker, Theodor Lotz, is credited for improving the basset horn of Mozart' s

3 Jack Brymer. Clarinet (London: Kahn and Averill, 1990), 35-36. 4 Geoffrey F. Rendall, The Clarinet: Some Notes on its History and Construction (New York: W. Norton, 1971), 126 5 Newhill, Basset Horn , 7. • 6 Ibid., 7. 7 Rendall, Clarinet, 127. 4

time. He added more keys to the horn thus allowing for the encompassing for low D, later E-flat, • and D-flat. Lotz also improved the construction method of the instrument by using a lathe, modifying the tube, straightening it, and then putting an obtuse angle in the middle. This not

only improved the sound, it produced a better and more homogenous sound.8 Lotz is also

credited with collaboration with Anton Stadler for developing the basset clarinet. This "Bass

Klarinette,,9 as described initiall y, was a normal soprano clarinet pitched in B-flat or A wi th a

lower compass to low C, D, later E-flat, and D-flat. As time would progress the basset horn and

basset clarinet constructional techniques would also progress into new straight model and better

sounding modern horns though both horns would decline in use rapidly in the 19th century.

Basset horns in F wi th larger bores would reappear with the alto clarinets in military bands, and

in th e last century a revival of historically authentic performances of solo and chamber music has

• allowed the basset horn to be used, albeit sporadically, today.IO

The basset horn enjoyed a very busy and fulfilling life during the first century of its

inception, though has declined very much as a solo instrument. In the 18 th century the basset

horn spread rapidl y throughout Europe probably because of the numerous viliuosi of the likes of

David, Springer, and the Stadler brothers. I I The basset horn was included not only as a solo

instrument, but it was included in chamber, orchestral, operatic, and Masonic music as well.

Brymer poses an interesting thought where, "One can only wonder at the skills and dexterity of

the players whose mastery of their crude instruments was such that a host of fine composers were

8 Newhill, Basset Horn, 12. 9 Pamela L. Poulin, "Stadler Family" in The Cambridge Mozart Encyclopedia, ed. Cliff Eisen and Simon P. Keefe (New York: Cambridge University Press, 2007),490. 10 Newhill, Basset Horn 15 II Ibid. 12 . 5 inspired to write for the instrumer.t". 12 This thought would be very interesting to research because despite all the squeaks and squawks, Mozart loved the basset horn. He was able to • prove in his writing that the basset horns' capacity for speed and agility was just like the clarinet,

13 and had a distinctively somber reedy tone COlor.

Wolfgang Amadeus Mozart (] 756-] 79]) was one of those composers who was greatly influenced and inspired by the basset horn, as it is described as his "favorite instrument". 14 It is also believed that Mozart was influenced by the Freemasons, when he became one when he moved to Vienna. There he met fellow freemason and basset horn virtuoso, Anton Stadler, began to write for him. Mozart joined the Vienna Freemasons in the] 780's and was initiated in the Zur Wohltatigkeit (Charity) and moved when it was combined with other Lodges into the Zur

Neugekrdlen Hoffnung (New Hope Crowned) Lodge. Mozart was deeply influenced by the

Masonic order and teachings. It not only allowed him to write with the universal beliefs in mind, • but also allowed him the freedom, recognition, and dignity that Salzburg had neglected and denied him.15

At the Lodges it is most likely that Mozart met Anton Stadler. Stadler was born in

th Bruck-on-Leitha on June 28 , 1753 and died Jun 15 , 1812. He is considered one of the best and most influential clarinetists of his time. After receiving musical instruction from their father, the

Anton and his brother grew up to become musicians for numerous courts and composers and their first employment opportunity was as musical servants in the 1770' s to the Viennese Russian

12 Brymer Clarinet 36 I3Ward, "Mozart and the Clarinet", 130. 14 Ibid., 36. • 15Jacques Henry, Mozart the Freemason: The Masonic Influence on his Musical Genius, Trans. Jack Cain, (Rochester, Vermont: Inner Traditions, 2006), 5-6. 6

Ambassador. 16 It is most likely that Mozart met Anton Stadler through their mutual patrons

Joseph Starzer, Count Galitzin, or more likely their patroness the Countess Wilhemina Thun

after Mozart' s ani val in Vienna in 1781 where both were frequent luncheon guests. 17 Mozart

would write numerous pieces for Stadler most famously including the clarinet Quintet and

Concerto. Mozart and Stadler's relationship was more than composer and perfOlmer, and they

developed into a very meaningful personal relationship over the years.1 8 This friendship and

shared sense of humor is shown in Mozart' s letters by refening to Stadler as "Notschibinitschibi"

a combination of the words "poor booby" and "young man offollies".19 Mozart truly recognized

Stadler as a great aJtist, who could give him the desired sounds and timbres that were truly

divine. Stadler's playing would foreshadow what future performers could do on more

. 20 managea bl e lI1struments .

MozaJt was probably also influenced by other clarinet and basset horn viltuosi. Along • with Anton Stadler his brother Johann Stadler (1755-1804), was also a competent clarinetist and basset hornist who performed and inspired MozaJt. 21 Mozart was also most likely influenced by

the duo Anton David (1730-1796)22 and Vincent Springer (1760-?). 23 David and Springer toured

Europe on the basset horn, performing city to city with their sickle shaped basset horns in G.

They were even given a benefit conceIt by Mozart and Anton Stadler in the Lodge to help send

them home, where the Masonic Adagios K. 410, and K. 411 are thought to have been performed.

16 Pamela Weston, Clarinet Virtuosi of the Past, (London: Panda Group, 1977),247. 17 Pamela L. Poulin, "A Little Known Letter of Anton Stadler," Music and Letters 69 no. 1, (January 1988): 55, http://www.jstor.org/stable/855465 (accessed August 12, 2009). 18 Colin Lawson, Mozart: Clarinet Concerto, (New York: Cambridge University Press, 1996), 17. 19 Ibid.,. 19. 20 Ward, "Mozart and the Clarinet", 128 . 21 Weston, More Clarinet Virtuosi , 246-248. 22 Ibid., 81 . • 23 Ibid., 244-245 7

The basset hornist Franz Dworschack (?-1800 or later), is most likely to have performed with

Springer. 24 He is also thought to have also performed on the larger Mozart works containing multiple clarinets and basset horns. The instrument maker Raymund Griesbacher (1752-1812)

25 also could also been an influence on Mozart and performed on the larger works , as well as the more famous instrument maker Theodor Lotz (1748-1792). Lotz perfOlmed on basset horn and contrabassoon on some works by Mozart, was a fellow freemason and most importantly

26 developed and improved the basset horn, while creating the basset clarinet. It is unknown who was the most influential virtuoso, (probably Anton Stadler), but one can rest assured that Mozart created numerous great works in the span of several years incorporating the basset horn in all genres of music.

In MozaIi' s music, freemasonry images and beliefs come out in many of his works that contain basset horn or basset clarinet. Masonry beliefs were integrated by Mozart very well and can be seen in numerous works including official and unofficial Masonic works. The threefold • element displayed by the use of three flats or sharps, with major and minor three note chords represent symbols of ideal harmony. Numerous dotted rhythms refl ect the symbol of time that includes marches that are always slow and processional in nature. The space built into the music represents the visual elements of space in the Lodge and practices of some rituals. Mozart composed his music to reflect the ideas of transitioning from the "un-built to the unfornled rigor", from "raw stone to the cube of stone", and from "chaos to order". He also used different motives to signal the Masonic knocking and rising melodic shapes or rising stairs. 27

24 Ibid., 92. 25 Ibid., 117. 26 Ibid., 165. 27 Henry, Mozart the Freemason, 25 . • 8

Mozart composed about thirty-one pieces of music that included the basset horn or basset • clarinet. In the following secti on, each work where Mozart uses basset horn or basset clarinet whether it is a fu ll-completed piece or fragment is reviewed and di scussed. Each entry contains

historical information, musical information, analytical thoughts, and historically controversial

information regarding dates, instruments, or performance practices. Also listed is where one can

find the music including its location in the Neue Mozart Ausgabe, if available Alte Mozart

Ausgabe, a short snippet of the score, and all the appropriate Kochel cataloging numbers that

have been used to identify works. Also included are the works listed in the Anhang section of the

Kochel cataogue that grouped all of the incomplete, fragmentary, and spurious works. The first

Kochel catologue listings are first, with subsequent catalogue relisting or numberin gs listed next,

and for fragments, the identifying fragment number is also included .

This research has been a long, interesting, and fu lfi lling process. Before this project • began the amount of great works utilizing and the reasons why Mozart incorporated the basset horn and basset clarinet was unknown. Mozart truly wrote some great and everlasting works

including these instruments. If MozaJi had continued to live, he would have certainly continued

to write for the basset horn and basset clarinet. It seems that he would have eventuall y reached

to the point of including the basset horn in the orchestra as a significant member, or at the very

least, a greater amount of chamber music written using the basset horn and basset clarinet.

• 9

Acknowledgements Thanks and appreciation are given to the kind scholars at the Bibliotheca Mozartiana • with the internatioanle Stiflung Mozarteum at the Un iversitdt Mozarteum in Salzburg, Ferdinand

Steiner, Dr. Oliver Kraft, who assisted and helped while studying abroad. Thanks are given to

Daniel L. Leeson, Dr. Kyle Coughlin, and Dr. Jay Niepoetter who helped pose ideas of where to find information and other sources. Most importantly thanks is given to Professor Mitchell

Estrin who was the faculty advisor who helped identify and create a project that was very interesting and very fulfilling.

•

• 10

K. 361 (370a) Serenade /Gran Part ita ,28 • • AMA: IX/Sec. lINo. 12, p. 399 [R23 ] • NMA: VIII17/2, p. 141 [Pb 17] BA 533 1; TP 312

Exa mple I: K. 361, Move ment I, mm . 1_3 29

Largo f'

/

/

~ : -

J , .-

...... -...... "= St. ~ /R Cl ar."elto /I ill .-...... -.=- --

C" rJf fl l. 0 H' f o.; / ./' ~"_;_:-:.:""'''•• n:.:.Oc ' ..~_ ..- ,...: ~~ .:~.._"h_" . c1 ~:.:::" ••. I '-"" .... • /

f

• 28 MO ZaI1, Wolfgang Amadeus MozaI1, NMA : 111/9, 141 , http://dme.mozarteum .at/DME/nma/nmapub_srch.php?I=2 (accessed Nov. 1, 2009). 29 Ibid. 11

Example 2: K. 361 Movement 2, Menuetto: Trio 130

Trio I ~~ '"'

fp

C/Q-rint:f.to in S,~ /B • 1/

1s t Movement: Largo-Molto allegro

2nd Movement: Menuetto

3rd Movement: Adagio

4th Movement: Menuetto; Allegretto

5th Movement: Romance; Adagio-Allegretto-Adagio

6th Movement: Tema con Variazioni; Andante i h Movement: Finale; Molto allegro • Mozart's K. 361 or K. 3 370a is a seven-movement serenade, or sometimes referred to as a

32 "Harmonie ensemble,,3 1 or Harmoniemusik , and is in B-flat-major for wind ensemble containing two oboes, two clarinets, two basset horns, four horns, two bassoons, and a double 33 bass . The extra basset horns, horns, and double bass were an unusual addition to the normal

30 Ibid., 165. 31 Stanley, Sadie. The New Grove: Mozart (New York: WW Norton, 1983), 99. 32 Daniel N. Leeson, gran Partilla: a book about Mozart 's Serenade in B-jlat, K361/or 12 Wind Instruments and String Bass (Bloomington, IN: AuthorHouse, 2009), 51. • 33 Ulrich Konrad, Mozart: Catalogue a/his Works, Trans . .J. Bradford Robinson, (London: Barenreiter 2006), 102-103. ]2

34 • eight-member chamber wind ensemble. This work is often performed nowadays with a

contrabassoon in stead of a double bass.35

It is often called "gran Par/iUa )) which is written on the manuscript, or the "Grand

Part ita " or "Gran Part ita ". This subtitle has created some controversy because it is not written

in Mozart' s hand and is a German-Italian non-standardized combination of words and

grammar.36 The date of composition, along with why it was written and its commissioner are

questionable and are long lost. The date of composition is either] 780-81 while Mozm1 was in

Munich37 or was 1783-84 while Mozart was in Vienna. The compositional date of the work is

under debate due to the watermark research resulting in a date of 1782.38 Mozart and his dog

could have contributed to the reason why conflicting watermarks are noticed when they possibly

knocked things around and mixed up his sheet music supply. This would have caused older

• paper to be used39 thus resulting in a dating error.

Whenever the date was, it was before 1784 because on March 23 of that year, four

movements of the Serenade were premiered by Stadler and twelve other musicians at the

40 National Hofiheater in Vienna and reviewed in the Winerblattchen newspaper. According to

Daniel Leeson, he believes that "no one can definitively establish when it was written, what

circumstances that led to its creation, or who might have commissioned it".41

34 Sadie. New Grove, 99. 35 Neal Zaslaw and William Cowdery ed., The Compleat Mozart: a Guide to the Musical Works ofWo~fgang Amadeus Mozart, (New York: W. W. Norton, ] 990),248. 36 Leeson, gran Partilta, 4l. 37 Sadie, New Grove, 76. '8 J Zaslaw, Compleat, 248 . 39 Leeson, gran Part ilia, 20. 40 Zaslaw, Compleat, 248. • 41 Leeson, gran Partilla, 13 . 13

Mozart could have possibly written it due to the influence of the great basset horn 42 virtuosi David and Springer who were in Vienna at the time. On the other hand stylistic • 43 evidence suggests that it may have been written for Anton Stadler. Most likely the presence of

44 four excellent clarinet and basset horn vi liuosi must have inspired Mozart to write such a work.

Anton Stadler's playing and MozaJi's compositions were admired greatly and described in

Johann Friedrich Schink' s memoirs.45 Schink describes Stadler as a "braver Virtuoso" due to his soft vocal qualities in tone to which no one with a good "heaIi could withstand.,,46 If all four clarinetists were the inspiration, an interesting question arises in which who played what paIi. If

Stadler played first then, it is likely David and Springer would have had to bon"ow Stadler' s basset hom, for the key was different and the range was greater than the horn they had could

47 accommodate.

The work is full of rich sonorities that emote a feeling of breathlessness and intimacy in the concert halJ. It is fitting that it closes Mozali' s great period of wind writing.48 The two • basset horns playa pivotal role throughout the work and are often paired with the two clarinets, especially in the first trio of the first Menuello (example 2). Mozart likes not only in this work, but in others to pair the basset horn with the oboes. Mozart's use of thematic material that is dialogue in nature while contrasting between tutti and smaller groups, has allowed for a variety

42 Ibid., 58 . 43 Zaslaw, Compleat, 248. 44 Lawson, Mozart Cancer/a, 19. 4") Zaslaw, Compleat, 248. 46 Rendall, Clarinet, 82. 47 Newhill, Basset Horn, 95 . 48 Zaslaw, C ompleat, 248 . • 14

of instrumental combinations and is ultimate ly "kaleidoscopic writing ... [which stands] without • parallel in wind music" today.49

50 K. 384 Die Entfiirung aus dem Serai/

• AMA: VlNo. 15 [R 13]

• NMA: II/51l2 [Pb 6] BA 4591 Vcs, HM

Example 3: K. 384, No. 10, mm. 1_351

!ina Andante con moto

20=1 ~ J Flau/o i , 1/ .._- p ~ j : 1/ f.:i3 J Obu.!. II • Como 1, fI itl Si~ ulJo .... n h()cn J -. It,·-W

Viala I. /I

p~== K.(l!VS TANZE m"' ''+d¥¥~ k Trau - fig - knt

V;fl/onceJlo L' RaSIo

49 Sadie, New Grove, 99. 50 Mozart, NMA: 11/5/ J2, 174. • 5 1 Ibid. 15

Die Entfurung aus dem Serai! or The Abc'uctionji-om the Seraglio, K. 384 is an opera singspiel in three acts. It was begun in 1781 in Vienna and finished by late May 1782. It calls • for two soprano, two tenor, and a baritone soloist, along with a full SA TB choir, a piccolo, two flutes, two oboes, two clarinets/basset horns, two bassoons, two horns, two trumpets, timpani,

German drum, triangle, cymbal, Turkish drum, full orchestra strings including first and second violin, first and second viola, violoncello and basso continuo with either fortepiano or harpsichord. The author of the text was Christoph Friedrich Bretzner, and arranged by Johann

th Gottlieb Stephanie the younger. It was premiered in Vienna at the Burg Theater on July 16 ,

1782Y

The basset horn only makes a Sh0l1 appearance in the opera and is included in most of the aria of No. 10, "Traurigkeit ward mir zum Loose ".53 Here Mozart' s favorite instrument is used to p0l1ray longing54 with a charming melod/5 to accompany the unhappy Constanze in her G-

57 minor aria portraying "sadness" .56 Often this aria is deleted from the opera possibly because of • the required use of basset horns.

'i2 . Konrad, Mozart, 52-53. 53 Newhill, Basset Horn, 99 . 54 Oscar Kroll, The Clarinet, Trans. Hilda Moris, (New York: Taplinger Publishing, 1968), 60. 55 Ward, "Mozal1 and the Clarinet", 132. 56 Wolfgang Hildeishemer, Mozart Trans. Marion Faber (New York: Farrar Straus Giroux, 1982), 180. 57 Kroll, Clarinet, 60. • 16

d 58 K. 410 (440 , 484d) Adagio • • AMA: X, p. 79 [R 25] • NMA: VIII/2 1, p. 120 [Pb 18]

59 Example 4: K. 410, mm. 1_4

The Kanoniches or Canonic Adagio, K. 410, K3 440d, K6 484d, is for two basset horns 60 and bassoon. It is in F-major and was written in Vienna around 1784 or 17855 or even around 63 • 1782 or 1783.61 This "miniature gem,,62 is of somewhat serious nature and is apart of Mozart' s 64 Masonic "columns of harmony" where instruments are linked by their nature to breath and life.

This work is officially recognized as Masonic in nature including how one flat in the key

signature reflects the first degree, Entered Apprentice, offreemasonry.65

This and K. 411 are presumably to be written for the Stadler brothers, namely Anton,

who was a virtuoso on the basset horn. The brothers are probably the first performers of the

58 Mozart, NMA : VI1l12], 120. 59 Ibid. 60 Konrad, Mozart, 102-103. 61 Zaslaw, Compleat, 247. 62 Newhill , Basset Horn , 78 . 63 Zaslaw, Compleat, 247. 64 Henry, Mozart the Freemason, 19 . • 65 Ibid., 28. 17 work, although David and Springer might have been the catalyst for this work among other basset horn works.66 • The pleasant and secretive sound of the basset horns probably induced the Vienna

Freemasons to make use of them during solemn occasions. This seriousness and construction of harmony probably shows that they were probably written for a festive occasion. The basset horns present a quietly flowing contrapuntal cannon over a freely moving bass.67

a 68 K.411 (440 , 484a) Adagio

• AMA: X, p. 80 [R 25]

• NMA: VIII17/2, p. 223 [Pb 17]

69 Example 5: K. 411 , mm. 1_8

lNfl rirutio IU$ SI't/6

CI

The Adagio in B-flat-major K. 411 , or K3 440a, K6 484a is for two clarinets and three

7 basset horns. It was probably written around 1782 or 1783 °. It is a splendid piece with

66 Lawson, Mozart Concerto, 19 . 67 Zaslaw, Compleat, 247. 68 Mozart, NMA: VIll I 712, 223. 69 Ibid. 70 Konrad, Mozart, 102-103. • 18

71 interesting sonorities and a tonal gem that is of serious solemn Masonic nature. 72 Though • believed to be composed in 1782 or 1783, Henry believes it would be a mistake to date them 73 before December 1784. It along with K. 410 are officially recognized as being Masonic.

Although labeled as "Adagio", it is processional in nature that can accompany a ritual march in

the Lodge such as bringing the sacred to the assembly.74

This, along with K. 410, is fundamental to understand Mozart's Masonic compositions.75

Like K. 410, this was also written probably for a festive occasion, which is shown by the

construction of the rich harmony and the serious nature of the work.76 Unlike K. 410 it might

have been intended to be a part of a much larger work.77 Masonic thoughts and symbols are

what Mozart used to inspire him to write this work, which allowed Mozart to perceive these

bel iefs as melodies and harmonies. 78

Like K. 410, K. 411 was probably inspired by the Stadler brothers and/or David and

Springer. 79 There are five paris, which could mean that all four virtuosi performed this work

with perhaps the likes of Griesbacher or Lotz who were also fellow masons.

71 Newhill, Basset Horn, 87. 72 Zaslaw, Compleat, 247. 73 Henry, Mozart the Freemason, 72. 74 Ibid., 92. 75 Ibid., 68 . 76 Zaslaw, Compleat, 247. 77 Newhill, Basser Horn , 87 . 78 Henry, Mozart the Freemason, 92. • 79 Zaslaw, Compleat, 247. 19

K. 346 (439a), K. 436, K. 437, K. 438, K. 439, K. 549 • Vocal NOllurni and Canzonelta

During the years 1787 to 1788, Mozart wrote a series of vocal chamber works, including

five Nolturni and a Canzonelta with similar characteristics. They were all written for two

soprano and one baritone soloists with wind instrument accompaniment. The accompaniment

included three basset horns, or two soprano clarinets and one basset horn.8o They were most

likely written in Vienna, in 1787 and not 1783 81 as previously thought. The author of all the

texts is or is thought to be Pietro Mestastasio, an impOIiant 18 th century librettist. These works

82 are short and si mple songs where the text and music evoke feelings of love and happiness .

These works are likely inspired by Mozart's friendship with the family Jacquin, whose son Gottfried and daughter Franziska were also very musical. Franziska was one of Mozart's

best piano students and likely influenced by her to compose the clarinet or "Kegelstatt" Trio, K.

498. Mozart was also very fond of Gottfried and most likely influenced by him to compose the five NO l1urni and Canzonetta. MozaIi's widow Constanze supposed that Gottfried and Mozal1 collaborated on these works, although Mozart is widely accepted as the composer. 83 The date

1783 is most likely inaccurate because Mozart's friend and inspiration, Gottfried, would have only been sixteen, was not a prodigy, and the friendship is only documented after 1785. 84

80 Konrad, Mozart, 40-41. 81 Newhill, Basset Horn, 98. 82 Zaslaw, Compleat, 97 . 83 Zaslaw, Compleal, 97. 84 Hildeishemer, Mozart, 180. • 20

It is somewhat unusual for basset horns to be used as accompaniment considering they • were only used in Mozali's music several times before. Anton and Johann Stadler must have

made a profound impact on Mozart and must have inspired MOZaii to experiment with the

instrument. These ensembles of light music are tender and intimate, contain flowing melodies,

reverberations, reminiscences, and anticipations of things that would come later. These evenings

of bringing three wind player friends to perform at the Jacquins were probably the happiest

evenings Mozart experienced and not only enriched just Mozart but future generations as wel1. 85

The basset horns are used as accompaniment throughout the works and provide depth and

character to the soundscape. They play mostl y the same notes and rhythms as each of their

corresponding vocal part with basset horn 1 being linked to soprano I, basset hom 2 linked to

soprano 2, and basset horn 3 linked to the baritone. Mostly the variation in notes and rhythms

only occur at the ends of phrases and where the rhythm is stagnate. Like most of the Notturni an

extended range basset horn must have been used for there are many extended notes present

throughout.

85 Ibid. 21

K. 346 (439a) Nocturne "Luci care, !z.ci belle ,,86 • NMA: III /9, p. 42 [Pb 10] BA 5326 •

Exa mple 6: K. 346, mm. 1_3 87

All egretto ; .-.,. ) fl ...... t...... ""11: l COI'roo di Bassett i 71 Fa IF tJ ..... fl . " ~---;----... . --. Bass~tt r,'I\ Car-no df i" Fa / l' u .- t,'vn.o di B{Js.retio ':( ." li'alli' :;J. ~-----

fJ "- ~ Sopra7l0 J IW ~...... , L U -Clr c. re , lu ei_ bel - le, ~ ,--, o ' J] ""- S ap ''''' 'il olI ' " );) t.J 00 • .. -'---' Lu~ci co rc, lu - C:: l_ bel Ie, ... of*- Basso :!frH+ . Lu - ci (a ... re, lu - ci bel - I.,

The Nocturne, "Luci care, luci belle", K. 346 is one of several vocal chamber music works including three basset horns. Different from the other Notturni is the Kochel number that has been readjusted in the later catalog listing to be grouped with the others. Also different is that the author of the text is unknown88 and the text might have been possibly and probably par1ly written by Gottfried von Jacquin, though Mestastasio is likely to be the author. 89

Here the basset horns are mere accompaniment and the third basset horn contains numerous low basset note C's.

86 Mozart, NMA: 111/9, 42. 87 Ibid. 88 Konrad, Mozart, 40-41 . 89 Ibid. • 22

• K . 436 N oe (urne "E; eeo que 1ft. zero lstante· ,,90 • AMA: VI/21N0. 30, p. 65 [R 19]

• NMA: III/9, p. 31 [Pb 10] BA 5326 S

Example 7: K. 436, mm. 1_2 91

n an c: ) II A d t ---:---. C01''IIO di 1.Iasutt0 1 -- - i~ , ,, IF u II - CC , ' 71 0 di Oas.·.(lo Il( in I'r.: IF . ~ ~ ------

~-- - (;o'/-no ,i;' li.5setto lD - i", Fr.:IF t-L- ~ .~

tJ ,~. .-- " Soprano 1

I;) ~ ' £c . ...<0 qut l f.ie-co I - stan- ~ te: II -3 .. - - S Op'l'a'lll) II -lI.-.:,-J:t 113 "'iJ' - ...Jt. . *. If .., • tc - co que lc-ro I - st3n - te..: f-4¥-, .. .-

Eo - co que! fie'ro i - . t.n - tc:

The Nocturne "Eeeo quellfiero istante", K. 436 is one of several vocal chamber music

works including three basset horns. The text is from Mestastasio' s Canozonetta "La parlenz ,,92

Here the basset hOI11 role is merely accompaniment with an endearing melod/ J and contains

obbligati parts. The early performers must have had a low C-sharp and a low C available for

90 Mozart, NMA : JJJ/9, 31. 91 Ibid. 92 Konrad, Mozart, 40-41 . • 93 Ward, "Mozart and the Clarinet", 138. 23

they are needed several times in this work. The basset horns part'~ contain more variations in notes and rhythms than their vocal counterparts but still remain only as accompaniment. •

9 K.437 Nocturne "Mi lagnero tacendo" -1

• AMA: VII21N0. 31 , p. 67 [R 19]

• NMA: IIJ/9, p. 35 [Pb 10] BA 5326

95 Example 8: K. 437, mm. 1_3 Poco a.dagio ) fJ I ----..... ~ ..--. ~-;;;,. I,.-r-... Clorinettn .1£ La / A 0) Il =-...----:-- Cln1"i'Jl,et/Q .------~--- in La/d:/ 1 v IiiiiiiiIiiiiii . ~ r- Coni 0 di ~at seUo ~i- .-.-- i 7lSulj(} =-

II ~ ~ ~ .'--, - --#-. --- .. '. - o • + - ._. jL ~. ~ .. I;) --....;;; • v Mi b · =gnc rO _ ta cen do

fl II ""'--,,- .--..-.··1····· J- ....-.~::+~# . SOjJ1"rlll" II -='4:::+-'-' ·... ·-l lt··· · ..-..: .. .. ~ lin v .r ..--,. Mi Ia • gne ro_ t. ,-en do ----. f4li. _. -~,..-+ -/L ..... _." ;c I>'"sso .... _.- Mi h- gne ro _ _ tol - cen . do

The Nocturne "Mi lagnero tacendo ", K. 437 is one of several vocal chamber music works including two A clarinets and one G basset horn. The text is from Mestastasio's Sirve 11,

94 Mozart, NMA: JIJ/9, 35 . 95 Ibid. 96 Konrad, Mozart, 40-41. 24

This work appruaches that of an operatic terzello 97 and is scored unusually for clarinets in • A and basset horns in G, an instrumentation that only occurs in this nocturne. This work contains more adventurous parts with sequential runs and leaps for both the clarinets and basset

horns. The parts also include a wide compass98 with many of the extended lower notes being

required in the basset horn part on several occasions. The reasoning for clarinets in A and a

basset horn in G, could be because the key made the piece easier with the lower pitched

instruments, or maybe even it was written with David or Springer in mind considering they

performed on basset horns in G .

•

97 Ibid. • 98 Ward, "Mozart and the Clarinet", 138. 25

K.438 IlivocturneT "se lb'alan, en mlO tu set. ,.99 • AMA: XXIV/81N0. 46, p. 67 [R 40] • • NMA: JII/9, p. 29 [Pb 10] BA 5326 S

Exa mpl e 9: K. 438, mm. 1_2 100

Adagio ) II Clari.utto in Si~/B ~ II - CI(wi,.,Uo txt· ;11 St~~1 B :1 !~ '--.- ~ ------CorM (# Ba GS t:tto in /'a/l' ~ ~ ... ~'"=-----"" ...

III r-- Sop1"lmo / :1Ii:!.- - ~ I:} ~ ~ ..

Se Ion - b .n 1 ben mio, tu_ se - i, J'LJ Sop1'a'lloll ~ ., "* •.... '--' .. ""' Se Ion· tan, ben mi(.),--- tu_ Ie • i, ... Basso ~ r Sc loa - tan ben mio.. fu se .. it ---- 1 •

The Nocturne "Se lotan, ben mio tu sei ", K. 438 is one of several vocal chamber music

works including two B-flat clarinets and one basset horn. The text is from Mestastasio's Strafe per musica. l o l This work is significantl y slower than the others vocal works and contains

frequent leanings towards the minor reflecting the text. The clarinet and basset horn parts stick

with their counterparts except most noticeably where the basset horn is an octave lower at

measure 6-7 and contains the only instance of any extended lower notes. Also musically

99 Mozart, NMA: ////9, 29. 100 Ibid. 101 Koma d , Mozart, 4 0-41. • 26

effective are the clarinets entering one octave above the sopranos at the end to help with the • fadi ng and dying away effect.

K.439 Nocturne "Due pupille amabili,,102

• NMA: Ill/9, p. 26 [Pb 10] BA 5326 S

103 Exa mple 10: K. 439, mm. 1_2

A n d an t e Il Ii C01"'1.0 di Bass.tt o I h . 111 1'1l/ F ... I t.J II ~ CorllQ di .Bassdl011< 111 I'a / I' ~

((. .,.,;,0 di Jla$,

IL .-1 S opr"oo I .-... - Ill) .., - Du - ~ pu· pit - 1c1 ma hi - Ii II Sfip-I'an" II • ~ ...... J Ir.) t J Du· < pu - pit - Ie • - m. bi 1;

- . .. ' Basso -:~~+ Du - ~ pll - pil • k 1 _ m. - bi - Ii

104 Exa mpl e II: K. 439, 3"1 BH, mm . 14_19

102 Mozart, NMA: 11119, 26. 103 Ibid. • 104 Ibid., 26-27. 27

The Nocturne "Due pupille amabili ", K. 439 is one of several vo-:al chamber music works including three basset horns. The author of the text is unknown but is most likely • Mestastasio, who was the same librettist for the other Nocturnes. lOS

Again the basset horns are used as accompaniment and vary slightly in notes and rhythms from their vocal counterparts. The noticeable difference is that thi s work contains a substantial

rd and nice obligatti 3 basset hom line, measure 14-19 (example 11), which shows off one's technical facility in the lower register including the frequently used extended low notes.

•

10 · ) Konrad, Mozart, 40-41 • 28

K. 549 Canzonetta "Piu non si trovano,,/()6 • • AMA: V1 /21N0. 41 , p. 18 5 [R 19] • NMA: III /9, p. 44 [Pb 10] BA 5326 S

Exa mple 12 : K. 549, mm . 1_2 107

A'lfaante fl 001 .-;,. CetrIf.C 1i1 lJau,tio 1 .. ." Fa/P , v .fl r-... C01"140 tit JJ.an'/(Q 11 ." Fa / F ---- tJ

Cur 1&o til JJaudJo lzA ; ilt }'a / }' .- 7J

~ I SoprO'ftO J ~ t I Pj~ non $1 tro - ,,~ no fl t .-- S()pf'a1l0 II • -.:J -iJ rJ ~ -. • Piu non 5i tro . v~ - no ..--......

I Pi':" _ nun sj tro - v'-no

The Canzonetta "Piu non si trovano", K. 549 is one of several vocal chamber music

works including three basset horns. Unlike the other Notturni it was most likely written in

Vienna, in July of 1788. The text is from Mestastasio' s opera L 'Olimpiade 1, 7. The

accompaniment music is questionable and mi ght not have been composed by Mozart/()s. The

basset horns are used as accompaniment throughout, however, they do contain some fine

106 Mozal1, NMA: 111/9, 44. 107 Ibid . • 108 Konrad, Mozart, 40-4 1. 29 obbli gati parts, especially in the 3rd basset horn part. The third basset horn abo contains several low extended D' s and C's. •

K. 477 (479a) "Maurerische Trauermusik"l09

• AMA: XlNo. 12, p. 53 [R 25]

• NMA: IV / IllIO, p. II [Pb 12] BA 4709 S, PM; TP 18

Exam ple 13: K. 477, m m. 1_8 110

p<::::> p<:>- -

p<>

Corno d, Dg.suUo J "r. Po. II" " ) ~~,P.~t. lr:~...~ :. §·~:;;-~·t-::-~··~· -~- ~===~-~-~. t,,-~·:cg~~-~·· ~: ~. : ' ~~~~§! OJ p<:o.- p<:::> p<:>-

.. , ~ ::; • P.lt. f · ';orllodi 1JQ.~u, (fo 11171 Pa l}' ''! I ~.,~~~$=~~p~"':;;:: :~ · -

ConI 0 di bllssdto III IlL FtJ I P

Gran Pacolfo ... )

Cor-no 11 In /10 6a nal C tltf

The Maurerische Trauermusik or Masonic Funeral Music, K. 477 or K3 479a was composed on November I il\ 1785 in Vienna. I I I It is in C-minor and call s for two oboes, a

109 Mozart, NMA: IVl llIIO , 1]. 110 Ibid. • 30

clarinet, three basset horns, a contrabassoon, two horns, and full orchestral strings including first • and second violin, first and second viola, violoncello and bass. This one movement work is thought to be composed for the Masonic commemoration of the death of fellow masons, Georg

August Duke of Mecklenburg-Strelitz and Franz Count Esterhazy of Galantha. 11 2 Mozart had

already alTanged some fu neral music months before from the Meislermusik but in this work

Mozart removed the voices for the canlus jirmus. At the second performance of the funeral

th music, on December 9 , Mozart added a contrabassoon and two more basset horn parts, most

likely for Lotz and the Stadler brothers who were also fellow masons. 11 3 Mozart probably added

the additional two basset horn parts to preserve the balance between the three (a Masonic ideal)

wind groups of which have three instruments each; two oboes and clarinet, three basset homs,

two homs and contrabassoon. I 14 The basset horns play the cantus jirmus as a solid flow of so und

• that contrasts the undulating strings beneath. Though the first two have sustaining chords, the

third basset horn moves in harmonizing eighth notes, and all three switch to dotted rhythms

symbolizing a Masonic ideal. I 15

K. deest Meistermusik, "replevil me amariludinibus " 116

This is most likely the original form of the Masonic Funeral Music, K. 477 (479a) that

has been restored. Composed in Vienna in July 1785 and in it's original form it called for unison

men 's voices, two oboes, a clarinet, a basset horn, two horns and strings. Most likely it was

III Newhill, Bassel Horn, J 00. d~;f 11 2 K onl.a , J\ ozal~,8; _-~ 8") . II .)' Zaslaw, Compleat, 37. 114 Georgina Dobree, "The basset horn" in Cambridge Companion to the Clarinet, ed. Colin Lawson, (New York: Cambridge University Press, 1995), 61-63. 11 5 Ward, "Mozart and the Clarinet", 139. • 11 6 Zaslaw, Compleat, 37 . 31 composed for a ceremony at the True Concord Lodge, on August 12 1785 for the elevation of a visiting brother, Carl von Konig, to the rank of master. The canlus jirmus is based on the psalm • tone for singing of the Miserere and Lamentations of Jeremiah during Holy Week. Mozart used the verses "he filled me with bitter herbs and made me drunk with wOlmwood. Waters flooded over my head; I said I am lost". The first verse alludes to the Masonic trials by earth and the second by water. The music is somber with its low orchestra timbres, dramatic dynamic changes and a sweeping violin descant above the chanting voices below. 117

K.484e A II egro 118

Fr. 178X/B

• NMA: X/30/4, p. 213

Example 14: K. 484e, mm. 1_4 119 • Allegro .. COrnu d. B~H~tlo l!"o == .~ ." I p 'fV ' 'i ~ em- f p

K6 484e or Fr. 178X/B is a fragmentary work marked allegro for two or more basset horns in F-major. It was probably composed in Vienna during the 1780's. Only thirty-two measures remain on the first basset horn pat1. It is uncertain whether it belonged to a finished

117 IbI' d ., "7-"8j j . 11 8 Mozart, NMA: X/30n, 213 . 119 Ibid. • 32

20 but otherwise lost composition.1 Is of note that the manuscript is among other basset horn

121 • fragments located in the Salzburg.

22 Zwd!f DUOSl

• AMA: Nos. 1,3,6: XV, p. 19 (2vn)

• NMA: VllI/21 , p. 49 (12 Duos) [PB 18]

Example 15: K. 487, Movement 1, mm. 1_6 123

Allegro )fl -~,...--;:- -- Cor 11 0 J ill JViHl's ~ - ..; t+- ".... rJ ).- :r:. ~ s - "t- . -:: - tit' :J __ • 0 .. ~ 1. A ll egro

2. Menuetto; A ll egretto

3. Andante

4. Polonaise

5. Larghetto

6. Menuetto

7. Adagio

8. Allegro

120 Konrad, Mozart, 204-205. 121 Newhill, Basse! Horn , 81. 122 Mozart, NMA: VIIII2I, 49. • 123 Ibid. 33

9. Menuetto 10. Andante • 1 1. Menuetto

12. Allegro

K. 487 or K3 496a is an interesting and enchanting composition containing twelve duos in

Eb for two horns. It was composed on July 2i'\ 1786 in Vienna. '24 Only duos No. 1, 3, and 6 h ave cOITespon dII1g· manuscnpts. 111. M OZaIi ' s own h an d . ' 25

This work has had a controversial past. First is the notion of "utem kegelscheibe" which appears on the manuscript and means "while laying skittles". Because the "Kegelstatt" trio or skittle alley trio was written a week or so later, the duos were probably forgotten and not performed.126 In the last century this work was originally believed to be for two basset horns because of the heavy demands on the first player which has a compass of three octaves and a fifth with hi gh G '" appearing several times. 127 Because of these factors, ed it ors have published them for basset horns and some researchers have even identified them as the lost Anh. II or K.

41 b, which has continued to foster the controversy. 128 It has even been published that they might have been written for the Stadler brothers. 129 The duos would have been possible to have been performed on natural horns but would have required a horn virtuoso similarl y to Joseph

Leutgeb 130. Mozart wrote most of his concerti and quite possi bly the duos for Leutgeb because

12<1 Konra d , Mozart, 102-1 0 3. 125 Zaslaw, Compleat, 248 . 126 Ibid. 127 Kroll , Clarinet, 65. 128 Newhill, Basset Horn, 72-73 . 129 Ward, "Mozart and the Clarinet", 145. 1'0 J Konrad, Mozart, 89 . • 34

• they require incredible demands on the player to perform in the upper registers. 13 1 Due to this

and an examination of MOZaI1'S writing for two or three basset horns, no one could possibly

accept that these duets were intended for basset horns. 132

•

13 1 Zaslaw, Compleat, 248. • 132 Newhill, Basse/ Horn , 72 . 35

K.577 Soprano Aria; "AI desio di chi t'adora,,133 • AMA:VIN0.17, p.411 [R ]4] • • NMA: III 511 6, p. 602 [Pb 7]

Example 16: K. 577, mOl. 1_3 134 N

III F'.J /P

PI" IiI/ I! II

Sl'S.·[;LVA .-t£+.e.. ~ · J -~- l~~7~~ ··::~· I - ~~g :;1 I ~ \" _ ~ i- J dl L. hl t l~ - d \ ~ - r t

K. 577, "AI desio di chi {'adora" or "to the desire of the one who adores you" is a soprano aria Mozart composed for the revival of Le Nozze di Figaro or The Marriage of Figaro, K. 492.

Thi s aria is in rondo form and was composed in July 1789. The Marriage of Figaro was

133 Mozart, NMA: JJ/5/ J6, 602. • 134 Ibid. 36

revived in Vienna at the Burg Theater in August 1789. It calls for soprano soloist, with two • basset horns, two bassoons, two horns, and full string orchestra with first and second violin, viola, violoncello and bass for accompaniment. 135 It is possible that Lorenzo da Ponte wrote the

text, but this is questionable. The original Susanna, English soprano Ann Selina (Nancy)

Storace, had been replaced by Francesca Adriana Gabrielli also known as " 11 Ferrarese", had a

great range and brilliance. This was the first of two replacement arias and was intended to

replace the 4th act aria, "Deh vieni, non tardar " where Susanna is teasing Figaro, by knowing he 136 is eavesdropping just to make him jealous.

This aria lies neglected today, except for the rare conceli aria perfOimances, paJily

because of its unusual scoring which includes two basset horns. The reasons why MozaJi added

the basset horn still remain unknown. 137 The two basset horns, two bassoons, and two horns act

as a concertante group providing only accompaniment for a greater part of the aria. The aria is in • two parts with a slow introduction followed by an allegro section. The basset horn solo in this aria was probably written for Anton Stadler. There are places where the second basset horn line

is more important the first imp0l1ant basset horn line, which suggests that Stadler performed

second due to his fixation of the chalumeau register. 138 Brahms after hearing this aria performed

is thought to have commented about the basset horn that "no instrument adopts itself so closely

to the human voice, [where] the tone is midway between cello (bassoon) and clarinet". 139 It is a

shame and one cannot help regret that this great aria is not performed more today.140

I ' - J) Konrad, Mozart, 62-63. 1'6 J Zaslaw, Compleat, 82. 137 Ward, "Mozart and the Clarinet", 137 . 138 Newhill, Basset Horn, 62. 1'9 J Kroll, Clarinet, 110. • 140 Newhi ll , Basset Horn, 63. 37

K. 581 Quintet for Clarinet and String Quartet l41

• AMA: XlIllNo. 6, p. 112 [R. 28]

• NMA: VIIIIl9/Sec. 2, p. ] 5 [Pb ] 7] BA 4776

Example 17: K. 581, Movement I, mm. 1_9 142

Movement 1: Allegro

Movement 2: Larghetto

Movement 3: Menuetto

Movement 4: Allegretto con Variazioni

The clarinet Quintet, K. 581 is one of the true masterpieces that Mozart composed for

Anton Stadler. The Quintet is in A-major and calls for clarinet in A, first and second violin, viola, and violoncello. It was composed in Vienna on September 29, 1789 and was presumably for Stadler's new basset clarinet, though the original manuscript has been lost. 143

The Quintet evokes the same feeling and mood that are displayed in additional late

Mozart works, including the Concerto for Clarinet, K 622. Mozart differed from the normal

141 Mozart, NMA: Vllll19Se/. c. 2, 15. 142 Ibid . 14' ~ Konrad, Mozart, 122-123. • 38

configuration of a quintet and added a minuet and trio movement with a rare two trios, thus

making the work four movements long. The characteristics and melodic development of the

whole work demonstrates Mozart's extreme genius. 144

Because of the time period of the composition it is believed that Mozart might have

written this work with Masonic intentions and beliefs although it is not officially recognized. 145

The three sharps in A-major along with Stadler as the performer shows that it could be

influenced by Masonic ideal s. In addition to being for Stadler, research and analysis of the

strange shapes of phrases and melodic intention show that the work was originally composed to a

lesser extent for Stadler's new basset clarinet. 146 An example of this is at the beginning of

measure 9 (example 16), where the melodic phrasing would suggest that the C be performed an

octave lower, which would have been available on the basset clarinet, but has since been • adjusted for the normal compass of the soprano clarinet.

144 Zaslaw, Compleat, 256. 14 5 Henry, Mozart the Freemason, 41. • 146 Brymer, Clarine I, 37. 39

Concerto Movement 14 7

Fr. 1787v

b b • Konzertsatzjur Bassethorn und Orchester KV 584 (KJIi 621 ) Faksimile-Wiedergabe

des autographen Entwurjs

Example 18: K. 584b, mm. 1_4 148

...

K3 584b, or K6 621 b, Fr. 1787v has genuinely allowed researchers and clarinetists to finally accept that the famous Mozart Concerto jar Clarinet, K. 622 was written for basset clarinet. K. 584b is the long lost sketch for a basset horn concerto in G. This autographic sketch located in the Rychenberg St(ftung at Winterthur, Switzerland, consists of 199 bars of an allegro movement in G for a basset horn in G. The opening measures in the sketch are just about identical to the same opening measures of the Clarinet jar Concerto, K. 622. Because of the

b 147 Wolfgang Amadeus Mozart, Konzertsatzfiir Bassethorn und Orchester KV 584 (KJIi • b 62 1 ) Faksimile-Wiedergabe des autographen Entwurfs, NMA online. 148 Ibid. 40

absence of an original clarinet concerto manuscript, sch.)lars have debated for more than a

century on the origins and instrumentation of the concerto. The unusual configuration of the solo

clarinet paJi and askew melodic shaping and phrasing, scholars believed the clarinet concelio to

be for basset clarinet in A. This sketch just about proves this belief while also insisting that the

concerto as we have it today is really an arrangement of another work.149

The debate was started in 1936 led by Alfred Einstein ascribing K. 584b with a date of

late] 789 and then expressing the view that MozaJi later revised his sketch for the clarinet

concelio. George Dazeley discussed in the Music Review of 1948 that the original concerto was

a long lost version for clarinet in A with an extension to low c. ISO Kroll also concluded that the

original was for a clarinet extended to low C, 151 and this opinion was expressed due to numerous

passages with peculiar shaping that would have been logical to extend to low D and C. Also this

• idea is supported because Mozart wrote for Stadler' s basset clarinet in other works including

Cosi Fan Tulle, La Clemenza di Tito, and the quintet including the quintet fragments. Dr. Josef

Saam in Das Bassethorn disagrees with the notion that even a basset clarinet existed and agrees

that the concelio was intended for basset horn despite being completely unaware of the numerous

works for basset clarinet by Mozart and other composers. Another point that shows that the

concerto was not intended for basset horn is the key change to A by Mozart, signifying that

Mozart changed his mind before the end of the sketch. This implies that the sketch was written

before the concerto, which thus created a number change to 621 b in the Kochel catalogue. When

researching about this sketch and the concerto, Newhill poses two questions, including why did

MozaJi write for the basset horn in G, and why did he suddenly change from that instrument to

149 Newhill, Basset Horn, 39 . 150 Ibid. • 151 Kroll, Clarinel, 37 . 41

A. Pamela Weston suggested that all the G basset horns parts were most likely written for

Springer and not Stadler who perforn1ed on a G basset horn. Whatever Mozart's reasoning's for change have since allowed the clarinetist to gain and ensures that a superb work will never go •

WIt. h out perlormeC' d . I S2

K.588 Cosi/an tulle ossia La scuola degli amanti 153

• AMA: VlNo. 19 [R 16]

• NMA: II15118 (2 sub volumes) [PB 8] BA 4606 V cS, HM; IP 314

154 Example 19: K. 588, No. 24, mm. 1_5 •

•'1 ; L'i Ana Allegretto

CIerino 1.11 in Sj"IB

Vielln o I

Vio lin. o /I

Vi ola 1.11

F£RR .~ ''''/DO

Vi olor. cr:ll o l BaHl)

Cosi/an tulte ossia, La scuola degli amanti or Thus do they all, Th e schoolfor lovers, K.

588 is a two act drama giocoso and opera buffa. It calls for three soprano, one tenor, and two

152 Newhill, Basset Horn, 39-40. 153 Mozart, NMA: Il/5/ I8 (2 sub volumes), 383. 154 Ibid. 42

baritone soloists, with full SA TB choir, two flutes, two oboes, two clarinets with one basset

• clarinet, two bassoons, two horns, two trumpets, timpani, and full string orchestra with first and

second violin, viola, violoncello, and bass. 1t was begun in the autumn of 1789 in Vienna and

completed in January of 1790. Its author was Lorenzo da Ponte and was premiered in Vielma at

the Burg Theater on January 26, ] 790. I ))--

The Lotz basset clarinet used by Anton Stadler has to be associated with this work

especially in No. 24, FelTando's aria "Ah 10 veggio". The 2nd basset clarinet in B-flat contains

numerous low D's, which were not available on the normal B-flat soprano clarinet. 156

K.620 Die Zauberjldte l 57

• AMA: V 1N0. 20 [R ] 7] • • NMA: IlI5 /19 [Pb 9] Ba 4553 VcS, HM; TP 155

155 Konrad, Mozart, 54-55. 15 6 Lawson, Mozart Concerto, 26. • 157 MOZaJ1 ,NMA : Jf/5/J9 , 127, 191 , 194 43

Example 20: K. 620, No. 8, mm. 1-2, No.9, mm. 1-8, No. 10, mm. l _i 58

DR(:I KNAIlEN ftJl'IIcn dtn TA,\

O Nt? 8 Finale )

,/'/el/tJ I , II •

O!() ~ I, 1/

Ii/tH"iutUt I, II I II /Jalt:

(;0.11 0 ill BtJ :allQ .J, /I ..... Fa/ F

f't:I $'(1:tllI.11

Cor/l(; /, II In Sf/i/O N9 10 A r i.l CO" ((JrO elm' lIlO I. 11 (" lJrJ/C . ... ::r 4'''':'/ F(I~ o l! o I. U

\~~1:t~:~~-4 : r ;=~~~J=~ I l~1 :d - J:.i ,~~~~~j'==i~~~ ___- ? • .I',I/I,/$ TI>'O ~t .J = .: -; 4 ' '' :4;:: ~:jtE~ ~:: f:1:: ~ :~:~If=-=-= ~

~ \ [,,/I"' f I fl I + ~ ~-:=-:=-=--r -:--:; ~r ~'_ ;-~::::...:':.=-::c- 'tt . ~-:- - j -:' ". --I= -~ :.-'-~~~1

) .

~f[~ -;:- ~ : r~LFfp ·rJ .;J.

~(. ~ IUI,it Bass,Ucl I. /I 11f ";, I!'

158 Ibi d. • 44

Die Zaubelflote or The Magic Flute, K. 620 is a Germmi singspiel in two acts. It calls for • nine soprano, four tenor, and five baritone soloists, with full SA TB choir, two flutes with piccolo, two oboes, two clarinets plus two basset horns, two bassoons, two horns, two trumpets,

timpani, three trombones, glockenspiel, and full string orchestra with first and second violin, first

and second viola, violoncello and bass. It was most likely begun in the spring of 1791 , dated

Vienna, July 1791 , and finished in September. The author was Emanuel Schikaneder and was

premiered in Vienna at the Theater auf del" Wieden.159

This Masonic opera uses basset horns in No.8, the finale to Act 1, No.9, March of the

Priests, and No.1 0, the aria " 0 Isis und Osiris".160 The basset horn portrays the solemn gravity

of Sarastro 161 and in the music for the High Priests it " is perfect vehicle for dignified and perfect

utterance". 162

The basset horns make their colorfully rich statements in the finale of Act 1, paired with • the oboes and switch to clarinet shortly before No.9, which saves the surprise of their magnificent entry in the second act. In No. 9a, they play with the flutes where the andante pace

allows for the reedy timbre to be heard throughout the hall and eventually the mystical feeling of

the awe inspiring march belongs to quiet but resonant and reedy basset horns. In No.1 0, the

basset horns are able to express the nobility and serenity of Sarastro by allying them with the

trombones with Sarastro' s low vocal tone and timbre. 163 It might be possible to say that because

159 Konrad, Mozart, 54-55. 160 Newhill, Basset Horn, 99. 161 Kroll , Clarinet, 108. 162 Brymer, Clarinet, 36. • 163 Ward, "Mozart and the Clarinet", 134-135. 45 in the Magic Flute, Mozart was defending Masonic initiation and Masonic beliefs l 64 and is probably the reason why he included the Masonic instruments of basset horns. •

K. 621 La Clemenza di Tito l65

• AMA: VlNo. 21 [R 17]

• NMA: II15 /2 0 [Pb 9] BA 4554 VcS, HM; BA 4554b

Exa mple21: K.621,No.9,mm.1-8,No.23,mm.I-10166 '" N° 9 Aria Ad~~gio

<'=,----;;' Sl:'STfJ I~~=~C..· r-:~~ ~ !?, - (~~~~: ' ;;~~ ~ ~f -''='F=i-~ I rl ul"J:{(!I" • , B. oJ ~¥yt-=c-~tTG~~ :l~----P£¥==:-;:=:~ *~r=~~

T / u.(o

fJln'/,1I

~·(;r,.!) ill If

CfJnt~ I, 1/ '" Fa/I '

Yp)(" 1, 1/

r" / ·, ,,,t/:,, tll,.s,.·,

164 Henry, Mozar/the Freemason, 7-8 . 165 Mozart, NMA: 1f15120, 102, 265 . 166 Ibid. • 46

La Clemenza di Tilo or The Clemency of Titus, K. 621 is an opera seria in two acts. It • calls for four soprano, one tenor, and one baritone soloists, with full SA TB choir, two flutes, two

clarinets with solos for basset clarinet and basset hom, two bassoons, two horns, two trumpets,

timpani, and full string orchestra including first and second violin, first and second viola,

violoncello, and bass. It was begun in Vienna, probably in middle of July 1791 and completed in

Prague on September 5, 1791 . The original author was most likely Pietro Mestastasio and was

finished by Caterino Mazzoa. The premiere took place at the National Theater in Prague on

September 6, 1791 and was composed for the coronation of Leopold II as King of Bohemia in

Prague. 167

The basset horn and basset clarinet play important roles in this opera. The opera contains

a fine virtuosic basset clarinet obbligato in Sextus' aria No.9, "Par10! Ma tu ben mio". The

basset hom performs another extended obbligato part in Vietellia' s aria in No. 23 "Non piLI di • fiori". Here flute, two oboes, two bassoons, two horns, and strings accompany the soloist and basset horn. The aria is in two parts, Larghetto and Allegro , with the Larghetto theme returning

in the allegro section. Mozart trul y understood the basset horn and its capabilities by writing for

it as a melodic instrument, bass instrument, with difficult passages to be tongued, and difficult

arpeggiated runs that run up and down the full compass of the instrument. It is a shame that such

a superb aria is heard so rarely today. 168

Like most of the other works including basset horn and basset clarinet, it is believed that

these two arias were written for Anton Stadler. Stadler journeyed to Prague to perform in the

l 69 opera because Mozart could not trust any other clarinetist to execute the solos so perfectly. 170

167 Konrad, Mozarl, 54-55 . 168 Newhill, Bassel Horn, 63 . • 169 Kroll , Clarinet, 66 . 47

. 171 K.622 Concerlo Jar{' Cl arzne! • AMA:XIlISec. 21N0. 20, p. 207 [R 27] • • NMA: V114/4, p. 83 , [Pb 14); reconstructed version for 'basset cl': V114 /4, p. 3 [Pb 14]

BA 4773 S, PR (cl in A), PR (basset cl), PM; TP 254

Example 22: K. 622, mm. 1_4 17Z

KV 622 1. Rekonslnlie.rtC: Fassung fUr Bassettklarlnrltc·) Entslanden Wll~n. "trmulUc:h Anfan, Okto'ber 11 9 1··}

•

The Mozart Concerto for Clarinel, K. 622 is probably the most substantial and influential work ever composed for the clarinet. Not only does it display ones musicianship and viliuosity, it is also shrouded in mystery as it does not have a clear history. The Concerto is for solo clarinet in A or basset clarinet in A, and calls for two flutes, two bassoons, two horns, and full string orchestra including first and second violin, first and second viola, violoncello and bass. It is in A-major and was composed in Vienna, probably during 1791 . It was finished on November

th 15 , 1791 a month or so before Mozart's death. Most dubiously, the concerto was written for

170 Ward, " MozaJ1 and the Clarinet", 135. 171 Mozart, NMA: Vl i41:! , 3. 172 Ibid. • 48

• Anton Stadler and his newly designed basset clarinet, although no surviving manuscript exists

though a nearly identical sketch for basset horn in G exists. ln

Numerous scholars and performers have researched the history and origin of the concerto

although no one has since found the original manuscript. The only surviving edition is the

original published version by Andre (from 1801) that was publi shed after Mozart' s death and is

174 used as the basis to explain and understand the work. These early-published versions were

severely adapted to fit the normal compass of a clarinet in A, instead of the basset clarinet.

Analyses of the melodic shapes and phrases have determined that the range of notes was

exten d e d d own a major. t hlr' die to ow 175".176 177 TI1e .mstrumentatlOn . 0 f t h e accompal11ment.

lacks oboes and instead uses the gentle toned flutes, bassoons, and horns for tone colors that

offset the clarinet sound. 178

It is believed that Mozart may have composed the concerto, like numerous other works in

his later composition years, with Masonic intentions. Stadler, a fellow mason, influenced Mozart

greatly with his virtuosity on the clarinet, basset clarinet, and basset horn. Stadler also highly

admired Mozart' s writing and said to himself "l have to get something good out of this Mozart

before he' s finished; let him sing one more time, even ifit should be his swan song". 179 The

specific reason for the concerto is to be unknown. I SO Mozart had many other works to finish

during this time, especially the works he was getting paid for such as the Requiem, K. 626.

Mozart instead spent time on a composition that was not urgent, to someone who owed him

173 Konrad, Mozart, 88-89. 174 Sadie, Nevil Grove, 159. 175 Ibid., 157 176 Brymer, Clarinet, 37. 177 Lawson, Mozart Concerto. 178 Sadie, New Grove , 157 . 179 Hildesheimer, Mozart, 353. • 180 Rendall, Clarinet, 132. 49 money, and to satisfy his friend and musical talent. 181 The concerto does express and openly glorifies the convictions of the Masonic ideals though discreetly. For example, the key of A- • major signifies the ideal of three with three sharps in the key. The musical character and expressions of intensity, calmness, and wamlth are ideas that arise from the Masonic vision of harmony and beliefs joining together to create a perfectly inspired and constructed work.182 With its unbroken intervals, intervals becoming more and more heavy, increasingly momentous and transparent events, cantabile lines, minor virtuoso decorations, dense but not thick harmonies, the concelio shows a complete Mozartean statement that demonstrates what a wind concerto should pOJiray and tell symbolically and musically. 183

Although it is one of Mozart' s last completed and best works, it is ultimately his greatest concerto for a wind instrument and will continue to be studied and performed for years to come.

181 Henry, Mozart the Freemason, 102. 182 Ibid., 104. 183 Hildesheimer, Mozart, 353. • 50

. 184 K.626 Re qU/ em

• Fr. 1791 h

• NMA: II I ISec. 2, Subvolume 1 [See also X/30/4, CR, p. 275 BA 4538]

Exa mple 23: K. 626, Requiem Movement, mm. 1_7 185

Requiem Ad'gio t .P.r--:J .j ..I .J.

." /'a{' p -----... I..-J' -r...l 6 r1 ; ~ F'dK fJ t(o 1,1l

Cliln"o I, 11 ." /i./D

C''''''B.u,'''l,fl!!!iiEiiEif!!.1 ,. ~:~~: i~ . .J -=8

Yi (J / '"o /I

!J · "'I"r.t; ~/liJ 1 Baun ,d Or,rll1W

Mozart's famous Requiem, K. 626, Fr. 1791 h, is probably one of his most important

compositions involving basset horn. It is in D-minor and calls for soprano, mezzo, tenor and

baritone soloists, with full SA TB choir, two basset horns, two bassoons, two trumpets, timpani,

three trombones, and full string orchestra including first and second violin, viola, and bass

strings with organ. It was started in Vienna, in the autumn of 1791 and was commissioned for

Franz Count Wal segg. Mozart died completing this work, however his students and

contemporaries Joesph Eybler and Franz Xaver Suf3mayr finished it in 1792. Mozart only

184 Mozart, NMA: ii i /Sec. 2, Subvofum e i , 3. 185 Ibid. 51

finished tLe Requiem movements, the Kyrie and Sequence were in draft score, and only eight measures of the Lacrymosa. The Sanctus, Benedictus, and Agnus Dei were not even started. 186 • Because this work is so powerful and fulfilling, modern scholars do not like the

idiosyncrasies of StiBmayr, so many scholars have attempted to complete the Requiem in their

own way and sound more Mozm1ean. Most significant is probably the addition of an Amen

fugue in the Lacrymosa, which is believed to be how Mozart wanted to finish the movement. 187

The movie Amadeus, albeit historically incorrect, promotes the belief that Mozart did not

have time to finish the requiem and was fearful of death. It is believed by Henry, that Mozart

had ample of time to finish the Requiem and simply decided not to and instead work on more

satisfying works. The last official work entered into Mozart' s catalogue is the Masonic Cantata,

K. 623 which has just about the same music the Requiem and was commissioned at the same

time, five months before his death. More time was spent on the Cantata probably because

Mozart was more conscious of the universal and eternal meaning of the Masonic ideals and

universal beliefs in which he leads "man in harmony beyond simple em1hly existence". 188

Mozart was not focused on death or things associated rather he was in a state of inspiration that

reflected on positive visions of the blessed state beyond death. 189 It is very interesting to note that during his last moments, Mozart seemed to be di splaying strength, courage, and complete serenity by humming at the same time the Lacrymosa and the Papageno theme from the Magic

Flute. 190

186 Konrad, Mozart, 202-203. 18 7 Newhill, Basset Horn, 99. 188 Henry, Mozart the Freemason, J 2J . 189 Ibid. 190 · I" Ib I d ., -' . • 52

Because of hi s use of the basset horn, it is beli eved that Mozart used hi s "favorite • instrument" to begin hi s greatest work with the subj ect announced by the second basset horn. 191 The basset horn replaced the clarinets and horns fro m the orchestra most likely for its ability to

portray solemn and longing melodic lines wi th its very distinctive tone and timbre portraying

sadness, softness, shyness and intimacy unlike the other instruments in the orchestra. The basset

horn s appear in all twelve numbers and have so me of the mo st exquisite and sublime music of

the Requiem despite leavi ng the work unfinished. 192

Plec· es or ProcesslOns . I ~

Viele Stucke fur zwei Corni di Bassello or Many Pieces or Processions, Anhang II or K3.

41b for basset horn, trumpet, or clarinet have long been lost. These pieces are composed 194 sometime before the end of 1768 . Leopold Mozart list these in his catalogue of his son's 195 works as being composed in 1767. No such pieces are known and musicologists believe that

if they did exist that they were probably yo uthful duets with no true instrumentati on. 196

191 Zaslaw, Compleat, 36. 192 Ward, "Mozart and the Clarinet", 13 9. 193 Wolfgang Amadeus Mozart, Verzeichnis aller meiner Werke und Leopold Mozart Verzeichnis der Jugenderwerke WA. Mozarts, Ed. E. H. Mueller von Asow, (Vienna: Verlag Do b linger, J 956), 3. 194 Konrad, Mozart, 102-103 . 195 Mozart, Ve rzeichnis aller meiner Werke , 3. • 196 Newhill , Basset Horn, 73 . 53

Slow introduction to a Quintet Movement l 97

• NMA: X/30/3, Skb 57 and X/30/4, p. 104

Exa mple 24: Ahh. 54, mm. 1_8 198 K. i\nh. 54 (4S2a) Scmc

- r:"1 . " • .- : ~ "...... ~ - # .. G" g ~ : .. ;.': ~:: ... :..: .- ....' ". ' ., , . . ~ '

: I.' !.!IIaL'l II!: B:- .' . # .- . # . ' ., - --- ._ -'

I I..!.; o;, •.•1I ./...... : ".-, ' 8~.

,~ - , . •

1,. ::;: E5E • : # -. : #~: ... ~ - • • ., ...... ' . , • . . • . ..

Anhang 54 or K3 452a, Fr. 1783g is a fragmentary work containing the slow introduction to a piano quintet. This thirty-five-measure work is in B-flat-major and calls for pianofOlie, oboe, clarinet, basset horn, and bassoon. It was probably stalied in 1783 in Vi enna, however it was never completed. 199 It is of a light character and the basset horn seems to be paired with the bassoon throughout. An interesting question is provoked in measure 29 for there seems to be an added second basset horn part. Perhaps Mozart intended to add another basset horn pmi, but like

197 Mozart, NMA: X13013, 57 . 198 Ibid. 199 Konrad, Mozart, 186-187. • 54

several other fragments, no definitive evidence or music has been left to evaluate any of • Mozart 's intentions.

Concerto Movement200

Fr. 1786k

• NMA: V/15/8, p. 198 [Pb16] and X/30/4, p. 147

Example 25: A nh. 61 , mm. 1_6 201

Kom po nu:tt Wit n. v rrmli lilch .'>.r. hn, 17&1

200 MOzat1, NMA: VI} 518, 198. 20 1 Ibid. 55

Anhang 61 , or K3 537b, Fr. 1786k is another fragmentary work containing the opening measures to a piano concerto. This six-measure work is in D-minor and calls for pianofo11e and orchestra including basset horn. It was probably started in late 1786 in Vienna, however it was 202 never completed and there are no notes written for basset horn at al1. It would have been very interesting to hear how Mozart would have used the basset horns in a pianoforte concerto setting?03

Rondo for a QuinteP04

Fr. 1790g

r • NMA: VIlII19/Sec. 2, p. XVIII (fol. 2 ) , 50 [Pb 17] ;; X/3014, p. 199

Example 26: Anh. 88, mm. 1_5 205

. . ..-:;:--...., - .;.. .-:.. ~ --.. Cl4ri..uto in La I A '" ---- • " Ii YIOl,,,,, I - 'J~ ,- _. .. - -- I:: OJ .. - • ------

Anhang 88 , or K3 581 a, Fr. 1790g is another fragmentary work containing the opening measures for a clarinet quintet. This eighty-nine-measure work is in A-major and calls for clarinet, first and second violin, viola, and violoncello. Jt was written in Vienna sometime

202 Konrad, Mozart , 192-193 . 20' J Ward, "Mozart and the Clarinet", 142 204 Mozart, NMA: Vll// J9/Sec, 2,50. 205 Ibid. 56

between 1790-1791 .206 It most dubiously call s for basset clarinet because of the low E-flat • basset notes that were not available on the normal compass ofB-flat soprano clarinet. Also

intriguing is that MOZaIi used the bass clef to notate nomlal low notes. This suggests that Mozart

quite possibly would have, if he had finished the work, added more extended basset notes ..

•

• 206 Konrad, Mozart, 200-201. 57

A llegro for a QuinteP07

Fr. 1787q

• NMA: VIlli] 9/Sec. 2, p. XVII (fol. ] r), 45 [Pb 17] and x/30/4, p. ] 64

Exa mpl e 27: Anh. 90, mm . 1_15208

Anhang 90, or K3 580b, Fr. ] 787q is another fragmentary work containing the opening measures for a clarinet quintet. This one-hundred-two-measure work is in F-major and calls for

207 Mozart, NMA: VllII19'/, Sec. 2,45. 208 Ibid. • 58

clarinet in C, basset horn, violin, viola, and violoncello?09 It was probably written in Vienna in

• 1787 around the same time as the Stadler Quintet and Quintet fragment and may share some

Masonic connections?IO It is interesting that Mozart uses both the clarinet and basset horn in

this quintet and, although unfinished, might be a very nice performance work. Mozal1 completed

the melody without accompaniment until near the end of the exposition. Several scholars have

completed the work and Franze Beyer' s edition seems more Mozal1ean.211

Allegro for a QuintePI2

Fr. 1789d

• AMA: XXIV /5/No. 22a, p. 41 [R 39]

• NMA: VIIIIl9/Sec. 2, pp. XV (fol. 1r) , 41 [Pb 17] and X/30/4, p. 174

213 • Example 28: Anh 91, mm. 1_11

21 Example 29: Anh 91, mm. 54_57 -1

209 Konrad, Mozart, 194-195. 210 Zaslaw, Compleat, 41. 211 Newhill , Bassel Horn, 88 . 212 Mozart, NMA: VllJ/ J9/Sec. 2, 41. 213 Ibid. • 214 Mozart, NMA: VJll/ J9/Sec. 2, 42. 59

Anhang 91 or KJ 5: 6c, Fr. 1789d is another fragmentary work containing the opening measures for the allegro movement of a clarinet quintet. This ninety-three-measure work is in B- • flat-major and calls for clarinet, first and second violin, viola, and violoncello. It was composed in Vienna between late 1789 and 1791 .215 Most likely this work calls for basset clarinet because of the low D' s that occur several times after measure 55 (example 29) and are not in the normal compass of the B-flat soprano clarinet.

c . 216 Anh. 93 (440 , 484c) AdagIO

Fr. 1787g

• NMA: VIllI 7/2, p. 237 [Pb 17] and X /30/4, p. 155

Example 30: Anh. 93, mm. 1_6 217

Adagio '-6 ..".- ( f an ",tto PI bole •

,,--..-. -=

2 1· ) Konrad, Mozart , 198-199. 216 Mozart, NMA: Vlll j 712,237. 217 Ibid. • 60

Anhang 93 , or K3 440c, K6 484c, Fr. 1787g is another fragmentary work containing the • opening measures of a clarinet quartet adagio. This six-measure work is in F-major calls for C clarinet and three basset horns. It was probably composed between 1787 and 1789.218

Adagio219

Fr. 1788a

• NMA: VII/ 17/2, p. 238 [Pb 17] and X/3014 , p. 171

220 Example 31: A nh. 94, mm. 1_12

• '; ~:i .; ,g~=14..c·· F~~~~

~].. ~.:...... ~ - ~

Anhang 94, or K3 580a is another fragmentary work contai n the opening measures of a

clarinet quartet adagio. This seventy-three-measure work in F-major, calls for clarinet and three

basset horns. It was probably composed in Vienna sometime in 1788.221 Although Mozart did

not complete this work (with only the melody existing in the second half), several editors have

218 Konrad, Mozart, 194-195. 219 Mozal1, NMA: VIl11712, 238. 220 Ibid . • 22 1 Konrad, Mozar! , 196-197. 61 completed the work with varying success. With Mozart leaving the instrumentation blank and an • outside hand labeling cor anglais on the manuscript have fostered a controversy in determining th e correct 1l1strumentatlOn. . 0 f th' I S work .222

This adagio is of Masonic character and is from the same period as the other Masonic influenced works using clarinet and basset horns. The characteristically processional rhythm and

223 a theme of great beauty make this song both Masonic and religious.

b ·224 Anh. 95 (440 , 484b) Allegro assai

Fr. 1786f

• NMA: VIlI17/2, p. 236 [Pb 17] and X /30/4, p. 144 Example 32: Anh. 95, mm. 1_7 22 5 •

C/arl';lttlo /1 In S.,/JJ

Anhang 95 , or K3 440b, K6 484b, Fr. 1786f is another fragmentary work containing the opening measures of a potentially clarinet quintet allegro assai. This twenty-two-measure work

in B-flat, calls for maybe two clarinets and three basset horns. This work appears on the

222 Newhill, Basset Horn, 81. 223 Henry, Mozart the Freemason, 40-41 . 224 Mozart, NMA : VJJ/ J7/2, 236. 225 Ibid. • 62

• autograph of clarinet 1 of, K. 411.226 Is of note that the manuscript is among other basset horn

fragments located in the Salzburg Mozarteum?27

2 a Anh. 229 (K. Anh. 229 , K.6 439b) JiinJundzwanzig Stucke (funf divertimentij 228

• AMA: XXIV I l l/No. 62, pp. 1, 8, 15 , 25,3 1, (2eI; bn) [R 40]

• NMA: VIlI/21 , p. 67, p. 78, p. 89, p. 105, p. 114 (also p. 167) [Pb 18]

229 Example 33: Anh. 229, No. I, Movement I, mm. 1_3

1. Allegro

COrlW Ji Da su(tu 1 iii Fal!,

Corno .11 Bl1 ssetto f1 ... il< FIJ I!' .-- •

No. 1: Allegro, Menuetto: Allegretto, Adagio, Rondo; Allegro

No.2: Allegro. Menuetto, Larghetto. Menuetto. Rondo; Allegro

No. 3: Allegro , Menuetto, Adagio, Menuetto, Rondo

No.4: Allegro, Larghetto, Menuetto, Adagio, Allegro; Rondo

No. 5: Adagio, Menuetto, Adagio, Andante; Romance, Polonaise

226 Konrad, Mozart, 192-193 . 227 Newhill, Basset Horn, 87 . ')')-- 8 Mozart, NMA: VlllI2], 67 . • 229 Ibid . 63

Anhang 229, or K2 Anhang 229a, K6 439b also is an interesting work that has a controversial past. It is a collection of twenty-five pieces, in B-flat-major, that have been separated into five divertimenti for three basset homs. They have several different Kochel • listings and names including KI listing only Divertimento 11, K2 listing as Anhang 229a, 3

Terzetlijacili, and then finally K6 as 439b, 5 Divertimenti. They were allegedly composed between 1783 and ] 788.230 These divertimenti have long been lost in their original form. Even in Mozart's time it is believed that Constanze's letter to the publisher Andre in May of 1800 claims that Stadler had in his suitcase some unknown trios for basset homs that were stolen or more acceptably believed, pawned among instruments and the manuscripts of other works possibly including the clarinet Concerto and Quintet for 73 ducats?31 A controversy arises because there are no original manuscripts, however, this collection of divertimenti were published in 1803 by Breitkopf and Hartel under Mozart's name for two basset homs and bassoon, and later by Simrock for two clarinets and bassoon.232 It is widely believed that these dive11imenti are the works in question that were lost by Stadler and have been generally accepted • 233 as composed for three basset horns and not with bassoon. The three basset horn approach makes more sense due to the fact that the upper clarinet pm1s and bassoon lower pm1s is too far apart and creates havoc in the harmonic structure. Mozart was also a fan of homogeneous instrumentation, which allows the pieces to sound better and coherent in timbre and sound with three basset horns.

2'0 J Konrad, Mozart, 102-103 . 23 1 Pamela L. Poulin, "A Rep0l1 on New Information Regarding Stadler' s Concert Tour of Europe and Two Early Examples of the Basset Clarinet" in Berichl iiber den 1nternationalen Mozart-KrongrefJ Salzburg 1991, (New York: Btirenreiter, 1992), 950. )'2 _ J Zaslaw, Compleal, 247. • 233 Newhill, Bassel Horn , 76. 64

It is unknown whether the divertimenti are supposed to be grouped the way they are • published, since the first edition by Breitkopf and Hat1el grouped them as five sets of divertimenti. It is also possible they could have been twenty-five pieces to be performed

randomly. It is also unknown whether there is supposed to be a sixth set of fi ve alTangements

from Mozart' s operas that were also a part of the first published edition.234 Another controversy

involves a dating etTor where the origi nal Kochel catalogue included them at the end of the

No tturni, K. 436-439, which are from 1783. Wyzema and Saint-Foix would then date these for

1786.235

A further controversy involves whether these divertimenti are of Masonic influence. In

the flowing lines of the multiple slow movements, a Masonic character is ce11ainly applied and is

236 comparable to the Adagio, K. 411 . The slow second melodic line supports the march of the

brothers, as they would proceed during an opening or closing of a Lodge. Melody intelTupti ons • by silences cOlTespond precisely to the interruptions in the procession. Most likely these pieces were not intended to be performed for larger audiences but rather were probably intended as gifts

to remain among friends and masonry brothers. Mozart probably would be delighted to know

that these divertimenti are sometimes unearthed and perfo 1111 ed in Lodges, as MOZaI1 probably

intended. 237

234 Trio di Clarone, "Forward" in Five Divertimentifor Three Basset Horns by Wolfgang Amadeus Mozart, (Wedemark/lffezheim: Breitkopf and Hartel, 1987) . 235 Henry, Mozart the Freemason, 39. 236 Ibid., 40. • 237 Ibid., 39-40. 65 Bibliography • Brymer, Jack. Clarinet. London: Kahn and Averill, 1990.

Dobree, Georgina. "The basset hom" in Cambridge Companion to the Clarinet. Edited by Colin Lawson. New York: Cambridge University Press, 1995.

Konrad, Ulrich. Mozart: Catologue of his Work. Translated by J. Bradford Robinson. London: Barenreiter 2006.

Henry, Jacques. Mozart the Freemason: The Masonic Influence on his Musical Genius. Translated by Jack Cain. Rochester, Vermont: Inner Traditions, 2006.

Hildesheimer, Wolfgang. Mozart Translated by Marion Faber. New York: Farrar Straus Giroux, 1982.

Kroll, Oscar. The Clarinet. Translated by Hilda Morris. New York: Taplinger Publishing, 1968.

Lawson, Colin. Mozart: Clarinet Concerto. New York: Cambridge University Press, 1996.

Leeson, Daniel N. gran Partitta: a book about Mozart 's Serenade in Bjlat, K36I for 12 Wind • Instruments and String Bass. Bloomington, IN: AuthorHouse, 2009.

Mozati, Wolfgang Amadeus. Scores Neue Mozart Ausgabe. http://dme.mozarteum.at/DME/nma/nmapub_srch.php?I=2. (accessed Nov. 1, 2009).

b b ---. Konzertsatzjiir Bassethorn und Orchesler K V 584 (K0 62I ) Faksimile-Wiedergabe des autographen Entww:fs. Neue Mozart Ausgabe. http://dme.mozarteum.at/DME/nmainmapub_srch.php?I=2. (accessed Nov. 1, 2009).

---. Verzeichnis aller meiner Werke und Leopold Mozart Verzeichnis der lugenderwerke WA. Mozarts. Edited by E. H. Mueller von Asow. Vienna: Verlag Doblinger, 1956.

Noguchi, Hideo. Fragmentary Concerto Movement K. 584b (621 b; Basset-horn and basset- clarinet. http://www.asahi-net.or.jp/-RB5H-NGC/e/k621b.htm (accessed Apr. 20, 2009).

Newhill, John P. The Basset Horn and its Music. Farthings: Rosewood Publications, 2003 .

Poulin, Pamela L. "A Little-Known Letter of Anton Stadler". Music and Lellers 69, no. 1 (Jan. 1988): 49-56, http://www.jstor.org/stable/855465 (accessed August 12, 2009).

---. "A RepOli on New Information Regarding Stadler's Concert Tour of Europe and Two Early Examples of the Basset Clarinet" in Bericht iiber den Internationalen Mozart-KrongreJ3 • Salzburg 1991. New York: Btirenreiter, 1992. 66

---. "Stadler Family". In The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon • P. Keefe, 490. New York: Cambridge University Press, 2007. Rendall, Geoffrey F. The Clarinet: Some Notes on its History and Construction. New York: W. Norton, 1971.

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