1999 MSA Study Session Guest Column: Robert L. Marshall The annual meeting of the Mozart Reminiscences de Don Juan Music and Art as a piano major and chose Society of America will once again take and other Mozartiana the hom as my obligatory second instru­ place at the fall American Musicological ment. I soon arranged to take private hom Society meeting, this year in Kansas In Nannerl Mozart's memoirs one of the lessons with a young man named Gunther City. The Program Committee now anecdotes about her brother's early Schuller, who played first hom at the solicits proposals for presentations at the activities as a composer involves his Metropolitan Opera. I was serious enough study session, which will follow the brief relationship to the hom. She writes: "In to want to get my own instrument-rather business meeting. We welcome abstracts London, where our father lay dangerously than have to cope with the battered dealing with any aspect of Mozart's life ill, we were forbidden to touch a piano. government-issue items put at my disposal and work, or with a later-eighteenth­ And so, in order to occupy himself, Mozart by the City of New York-and agreed to century context that can illuminate that composed his first symphony for all the purchase a hom from my teacher. I took work. Presenters need not be members instruments of the orchestra, but especially possession of the instrument on an evening of the Society. for trumpets and kettledrums .... While he in the spring of 1954, backstage at the Met A leading aim of our Society is to composed and I copied, he said to me: just before a performance of Don Giovanni. promote scholarly exchange and 'remind me to give the hom something As I was about to leave, Schuller remarked: discussion among its members, many of worthwhile to do.' " The reference to "Would you like to see some of the opera? whom are not yet familiar with one Leopold's illness in London reveals that If you do, and if you keep your head down, another's work. As a way of addressing the work in question was composed during I'll sneak you into the pit; you can sit this goal, we plan in the 1999 session to the four-week period beginning 8 July behind me in the trombone section. The reduce the number of formal papers in 1764. Whether the remark refers to K. 16, trombones don't show up until the second order to make time for more, and more Mozart's first known symphony (in E-flat), act." Needless to say, I took him up on the informal, discussions about topics of is, however, not clear, as the E-flat offer. interest to our members. From the symphony has no trumpets or drums in its It was, of course, a thrilling moment for abstracts submitted we will select one present form. But the work does have a this fifteen-year old. I'm afraid, though, for formal presentation, partly on the good hom part, especially in the Andante. that I didn't pay very close attention to the basis of its potential to stimulate I've always been fond of this anecdote performance. (In fact, I don't recall any of discussion. In addition we will print and because it reveals Mozart's early enthusi­ the performers. A bit of research indicates distribute all submitted abstracts, asm for the hom and reminds me that one that the conductor was probably Max dependent on the permission of the of my earliest encounters with the music of Rudolf, with George London playing the authors. The study session itself will Mozart involved the hom. The first LP I Don.) In any event, I could see little of the break into two parts, the first for ever bought-in October of 1952 (I stage from my position in the pit and was presentation and extended discussion of remember precisely the month and year more keen to watch the conductor and the presented paper, and the second for because I made the purchase with money I follow the hom part. I remember that individual discussions between authors received that same month for my bar Schuller pointed out to me that the of distributed abstracts and others mitzvah)-was of the Mozart Hom conductor was giving two different beats, interested in their work. Please send Concertos nos. 2 and 4, K. 417 and 495, one with each hand, during the ballroom your one-page abstracts, either by played by Dennis Brain. This was a reissue scene. electronic mail to [email protected], of recordings made in the 1940s and pre­ My own modest career as an instru­ or by regular mail to Jane R. Stevens, dated the best-seller by Dennis Brain of all mentalist reached its apex in the summer 3084 Cranbrook Ct., La Jolla, CA four concertos with Herbert von Karajan of 1958 when, during my second (and last) 92037; deadline 10 June 1999. and the Philharmonia Orchestra. season in the semi-professional New One year later, in the fall of 1953, I Hampshire Music Festival Orchestra, I was enrolled in New York's High School of continued on page 2

-1- Guest Column never had the courage to put it into final form and try to publish it. (Indeed, this is continued from page 1 Newsletter of the the first time I have ever mentioned it in the hom soloist in K. 447 on opening night. public in any forum at all.) At all events, I Mozart Society of America Later that same season I appeared as piano believe it remains one of the great chal­ soloist in the A-major Concerto K. 488. lenges for Mozart analysis, as well as for Volume III, Number 1 27 January 1999 Those auspicious appearances more than music analysis and criticism generally, to forty years ago marked the high point and, account adequately for the compelling The Newsletter is published twice yearly effectively, the conclusion of my public unity that informs the major works of (in January and August) by the Mozart career as a performer. By then I was an Mozart's, which-in marked contrast to the Society of America. The Editor welcomes undergraduate at Columbia, and my musical compositions of Haydn and Beethoven, submission of brief articles, news items, and interests had begun to tum decidedly with their famous economy of thematic reviews. The deadline for submissions is toward the academic. material-display an equally famous (and 15 November for the January issue and During the 1950s William J. Mitchell for the seekers of unity, often baffling) 15 June for the August issue. directed the theory and analysis program at profusion of thematic ideas. Columbia and, like my comrades, I was To demonstrate that Mozart, on at least Editor inducted into the mysteries of Schenkerian one occasion, created a clearly audible, Edmund Goehring thought-more precisely, owing to unifying thematic connection between Program of Liberal Studies Mitchell's more flexible take on the matter, separate movements of a multi-movement University of Notre Dame into what may be described as Schenker work, let me tum once again to the hom Notre Dame, IN 46556 with a human face. At the same time, concertos, specifically, to K. 447. Not E-mail: [email protected] through extracurricular explorations of my enough, perhaps, has been made of the fact Fax: (219) 631-4268 own, I had become infatuated with the that the main theme of the slow movement, theories of the thematic process pro­ the Romance, appears, slightly disguised but pounded by Rudolph Reti-an enthusiasm of unmistakably, as an episode in the conclud­ Board of Directors mine that amused my instructors in ing rondo (cf. mm. 97-101). This surely Mozart Society of America analysis: Mitchell and the newly hired should be recognized as one of the earliest Isabelle Emerson, President theorist/composer Peter Westergaard. examples of deliberate thematic transforma­ Jane Stevens, Vice-President I once tried, in an analysis seminar, to tion in the instrumental repertoire. win Westergaard over to Reti by presenting As a graduate student at Princeton in Daniel Leeson, Treasurer a thematic analysis of the "Prague" Sym­ the early '60s I had little to do with Mozart, Thomas Bauman phony in which I argued that the most other than acquainting myself with the Edmund Goehring important thematic material in the sym­ literature in preparing for the general exam. Gordana Lazarevich phony, especially in the first movement, In my doctoral dissertation, however, on Jane Perry-Camp could be derived from an underlying The Compositional Process of]. S. Bach, my Elaine Sis man contour consisting of a rising (or falling) decision to represent the layers of correc­ Neal Zaslaw leap (usually a fourth) followed by a tions in the autograph scores with different returning second. To this day I remain colors was inspired by the approach adopted Honorary Directors enamored of the insight, although I have by the editors of the Attwood Studies in the continued on page 4 Alessandra Comini Daniel Heartz Mozart Society of America: "Mozart and Eighteenth.. Century Jan LaRue Musical Dialect" Christoph Wolff Isabelle Emerson and Edmund Jessica Waldoff: "La finta giardiniera, Goehring, co-chairs Mozart, and the Sentimental Business Office Session at American Society for Heroine" Eighteenth-Century Studies Laurel Zeiss: "The Noble, the Senti­ Department of Music Annual Meeting, 24-28 March 1999, mental, and the Supernatural: Uses University of Nevada, Las Vegas Milwaukee of Accompagnato in Mozart's Las Vegas, NV 89154-5025 As an affiliate of the American Society Operas" E-mail: [email protected] for Eighteenth-Century Studies, the The next annual meeting of ASECS Fax: (702) 895-4239 Mozart Society is entitled to hold one will take place 12-16 April 2000 in Isabelle Emerson ninety-minute session during the Philadelphia. Please send proposals for Joy Malone, Assistant annual meeting. The session this year papers or sessions before 1 July 1999 to will be on Sunday, 28 March, from Isabelle Emerson, Department of Music, Web Site: 10:15 to 11:45 A.M. The speakers are: University of Nevada, Las Vegas, http://www.unlv.edu/mozart Kathryn Shanks Libin: "Notation and Nevada 89154-5025 Musical Eloquence in Mozart's (e-mail: [email protected]). Keyboard Concertos"

-2- From the President Mozart Society of America: Object and Goals It's a pleasure to report once again on of having the first such conference in the good health of the Mozart Society late February 2001. of America. Membership continues to Object grow steadily, proposals are coming in What could we all do to further the about raising funds for the MSA grant goals of the Society? The object of the Society shall be the to young scholars program, the MSA First and foremost, we should strive encouragement and advancement of study session that took place during the to increase the number of library studies and research about the life, annual meeting in Boston was well subscriptions to the Society Newsletter. works, historical context, and attended and the papers thoughtful and For $25 per year, this is a bargain reception of Wolfgang Amade provocative (see the minutes of the periodical, and the information it Mozart, as well as the dissemination general meeting on page 14 and the provides is valuable and indeed often of information about study and abstracts of papers from the study impossible to find elsewhere (for performance of related music. session on page 15). instance, the descriptions and catalogs The event that has given me of Mozart holdings in various American personally the greatest gratification, collections, the annual bibliography of however, was the receipt of a letter writings in English about Mozart, the Goals from the Internal Revenue Service calendar of meetings and doings of defining the status of the Mozart Mozart Societies in America). Ask 1. Provide a forum for communi- Society as "an organization described in your library to subscribe. cation among scholars (mostly section 501 (c) (3)" and therefore We still have only a few graduate­ but not exclusively American); "exempt from federal income tax under student members, even though student encourage new ideas about section 501(a) of the Internal Revenue memberships are just $15 per year. We research concerning Mozart and Code." This marks the end of an effort should all encourage our graduate the late eighteenth century. that began in November 1996 and students to join the Society and would undoubtedly still be in progress especially to participate in the study 2. Offer assistance for graduate were it not for the help of Las Vegas session at the annual meeting. A call student research, performance c.P.A. Herb Gilkey. The Society is for papers for the next annual meeting projects, etc. now officially a non-profit organization, at the AMS in Kansas City appears on and dues are tax-deductible to the page I-be sure that your students are 3. Present reviews of new publica- extent provided by law. aware of this opportunity to present tions, recordings, and unusual The Society now has two regular their work and to exchange ideas with performances, and information meetings per year-the business their peers. about dissertations. meeting with study session during the 4. Support educational projects annual American Musicological The next MSA meeting is on 28 dealing with Mozart and the Society meeting in the fall and a March during the ASECS meeting in eighteenth-century context. ninety-minute session at the annual Milwaukee (details are given in the meeting of the American Society for notice on page 2). I look forward to 5. Announce activities-symposia, Eighteenth-Century Studies, of which seeing many of you there, and in the festivals, concerts-local, the MSA is an affiliate member. At the meantime send to all my heartiest best regional, and national. board meeting in Boston, the possibil­ wishes for the new year together with ity of having biennial conferences my renewed thanks on behalf of the 6. Report on work and activities in separate from the academic settings was Mozart Society of America for your other parts of the world. discussed. Such conferences would continued support. feature special concerts and lectures as -Isabelle Emerson 7. Encourage interdisciplinary well as a session devoted to special scholarship by establishing research problems and perhaps an open connections with such organi- forum for discussion of recent findings zations as the American Society and publications. These meetings for Eighteenth-Century Studies would probably take place on a and the Goethe Society of North university campus where facilities for America. meetings and presentations are readily 8. Serve as a central clearing house (and fairly inexpensively) available. for information about Mozart We are pursuing the idea with the hope materials in the Americas.

-3- Guest Column entire history of the principal genres of the Neue Mozart-Ausgabe and published early eighteenth-century opera and separately, in 1980, by Barenreiter. My continued from page 2 instrumental music----came home to me, students and I played it shortly thereafter­ Neue Mozart-Ausgabe (a pathbreaking and I ultimately abandoned the endeavor. well before its 1982 appearance (as No. 5a) project begun by Erich Hertzmann and An English translation of the original, in the NMA edition of the complete Cecil B. Oldman and ultimately completed classic, 1923/24 Abert, however, would still SingspieL by Daniel Heartz and Alfred Mann) to be a welcomed contribution-as perpetually One day, a "for sale" poster on the distinguish the handwritings of Mozart and useful, and enlightening, as, say, the English bulletin board in the Brandeis University his pupil Thomas Attwood. In fact, when version of Spitta's Bach. (Perhaps such a Music Department (where I have been the dissertation was being published, I project is already underway. Rumors about employed since 1983) offered a "fortepiano arranged to have the musical examples it have circulated from time to time in the after Johann Andreas Stein." The instru­ prepared by the same Wiesbaden-based firm years since I let it go.) ment, built in 1952, was an early example that had done the Attwood volume. (This My work on the Abert project, despite of the work of Hugh Gough, a much­ proved to be a nightmare, which in the end its ultimate fate, induced me to keep up admired pioneer in the modem revival of delayed publication of my book by some with developments in Mozart research. historical harpsichords and fortepianos. three years. But that is another story-a Among other things, I learned from an Gough (who died in April 1997) had tale more appropriate perhaps for telling in article by Wolfgang Plath in the 1971 provided this model with a handsome a J. S. Bach newsletter some day.) Mozart-Jahrhuch that the familiar form of English walnut case with inlay trim and a My involvement with Mozart grew the finale of the Hom Concerto in reverse ebony/ivory keyboard. I determined considerably once I joined the faculty of the D-major, K. 412/514, was not authentic. to acquire it. University of Chicago and, although hired (We now know, thanks to Alan Tyson, that In the meantime, to buttress my as a Bach scholar, became responsible it is actually the work of Siissmayr, who determination, I went off to re-read altogether for the graduate offerings in made use of Mozart's unfinished fragment, Mozart's famous encomium to the Stein eighteenth-century music. A number of which Tyson has been able to date to piano and was peeved that it took longer moments Mozartiens from this period spring 1791.) And I became aware of the 1980 than I had expected to locate the passage. to mind. One of the most fateful-though publication of the authentic version of the Would it not be helpful, I thought, to have one destined not to get very far-involved finale, as reconstructed by Karl Marguerte. a substantial compilation of passages from Hermann Abert's monumental Mozart Fortunately, the solo part was not difficult, the letters (and elsewhere) organized by biography. At some time in the mid-1970s and, after unpacking my hom for the first topic to enable the reader to find directly the Abert biography was mentioned in an time in over twenty years, I arranged for a what Mozart had to say about-virtually article in the New York Review of Books , read-through of the movement, in its anyrhing: Stein's pianos, tempo rubato, the with an expression of regret that this (in putative original form, with students from representation of Osmin's rage, issues of the author's opinion) most significant study my graduate seminar soon afrer Marguerre's performance practice and musical aesthet­ of Mozart ever written had never been edition was published. I like to fancy that ics, generally, or, for that matter, love, translated into English. Whether the NYR this was an American premiere of a late death, fugue, symphony, the French, the article was by Charles Rosen, Joseph work by Wolfgang Amade Mozart. The Viennese, or individual musicians from Kerman, Robert Craft, or someone else I no fragmentary score for the concerto, Bach and Handel to Beethoven and longer recalL At all events, it caught the incidentally, awakened my interest in Clementi? And, for good measure, why not attention of the then-editor-in-chief of the Mozart's drafts and sketches generally, and illustrate the discussions of specific musical University of Chicago Press, who contacted eventually led me to publish a couple of passages in the letters with the actual the Music Department and asked to know modest articles on aspects of Mozart's notation? A project had clearly begun to who was responsible for Mozart. He was put compositional process. (My hopes, how­ take shape. in touch with me as the next best thing. ever, that one of my graduate students About a year or two later my Mozart I was soon tempted into agreeing to would undertake a full-scale dissertation on Speaks was published by Schirmer Books. prepare an updated, annotated English the Mozart sketches and fragments were in The title, I had unhappily realized soon translation of the complete, unabridged vain. In the meantime, of course, Tyson's after the book had gone into production Abert, which would include the hundreds invaluable studies of the drafts and frag­ (but already too late to change), was of pages of appendices of the 1923/24 ments and Ulrich Konrad's impressive altogether too redolent of Hollywood tell­ edition mindlessly omitted from the 1955 volume, Mozarts Schaffensweise, have aIls such as Harpo Speaks and Garbo Speaks; East German reprint. (The mindlessness of appeared, as has, most recently, Konrad's and the date of publication, 5 December the omission is attested to by footnotes in comprehensive edition of the complete 1991-two hundred years, to the day, after the main text that frequently refer the sketch material in a supplemental volume Mozart's death-while richly symbolic, reader to the non-existent appendices.) oftheNMA.) came well after the bicentennial fever had After a few years of on-again, off-again Another likely American Mozart crested. But I hope the volume has man­ involvement with the project, the immen­ "premiere" featuring graduate music aged nonetheless to find its intended sity of the task-including not only the students of the University of Chicago and readership and to be of some use to Kenner translation of the 2,000-page text but also taking place in my living room was of the and the source of some enlightenment (and the creation of annotations and appendices long-lost Marcia for wind instruments and perhaps even some amusement) to to account for more than fifty years of drums from Die EntfUhrung aus dem Serai!. Liebhaber. After all, that is why we play and further research bearing not only on The march was discovered by Gerhard ponder and write about Mozart, isn't it? Mozart's life and works but on virtually the Croll during the course of his research for - Brandeis University -4- Mozart Manuscripts in the Library of Congress: A Checklist

The Music Division of the Library of Congress in Washington, the collections to which some of the manuscripts belong are: D.C., boasts over six million musical compositions and more than 400,000 volumes on music literature and theory. Located in the Batchelder The John Davis Batchelder Collection Performing Arts Reading Room in the Madison Building, the Moldenhauer The Hans Moldenhauer Archives Division's holdings span more than 800 years of Western music and Whittall The Gertrude Clarke Whittall Foundation are represented by manuscripts and published scores; books about Collection. music history, theory, and pedagogyj periodicals and microform sourceSj and instrument collections. The following bibliographical abbreviations are used: Although some of the autographs and facsimiles in the Music Division were purchased by the Library, many were contributed by Albrecht Otto E. Albrecht. A Census of Autograph donors such as Gertrude Clarke Whittall (1867-1965), John Davis Music Manuscripts of European Composers in Batchelder (1872-1958), and Hans Moldenhauer (1906-1987). The American Libraries. Philadelphia: University Whittall Collection, begun in 1935, contains the majority of the of Pennsylvania Press, 1953. (References library's Mozart autographs, as well as those of Haydn, Beethoven, are to a manuscript's item number.) Brahms, and Schoenberg. Among the Mozart autographs in the Anderson Emily Anderson. The Letters of Mozart and His Whittall Collection are the Violin Concerto in A major, K. 219; the Family. 3d ed. New York: W.W. Norton, Sonata for Violin and Piano K. 373a/379j and the Serenade "Gran 1989. Partitta" for Winds and Hom, K. 370a/361. A recent Mozart Bauer/Deutsch Wilhelm A. Bauer and Otto E. Deutsch, eds. discovery is a sketch of the soprano rondo "AI desio, di chi t'adora," Mozart; Briefe und Aufzeichnungen. 7 vols. K. 577, found in the Batchelder Collection, established in 1936. Kassel: Barenreiter, 1962-75. The Moldenhauer Archives, donated in 1988, is a collection jointly KonradMS Ulrich Konrad. Mozarts Schaffenweise: Studien held by the Library of Congress and nine other institutions and is zu den Werkautographen, Skizzen und considered the Library's greatest composite gift of musical materials, Entwurfen. GCittingen: Vandenhoeck & including autographs, letters, and documents spanning the twelfth Ruprecht, 1992. to the twentieth centuries. Mozart autographs in that collection NMA Skizzen. Neue Mozart-Ausgabe. Series X, include a fragment of a fugue in C minor, K. 626b/27; two cadenzas Werkgruppe 30, Band 3: Skizzen. Foreword (K. 626aII/624A and K. 626aII/624B) for the Piano Concerto by Ulrich Konrad. Kassel: Barenreiter, K. 107, no. 1; and the first two of six minuets for orchestra, 1998. K. 130a/I64. Plath Wolfgang Plath. "Beitrage zur Mozart­ Many of the Mozart autographs and facsimiles have been Autographie II: Schriftchronologie 1770- microfilmed in an attempt to preserve rare items; therefore, in some 1780," Mozart Jahrbuch 1976-77 (1978): cases readers may be asked to look at the microfilm. The original 131-73. manuscript may always be requested. One benefit of using a Tyson Alan Tyson. Wolfgang Amadeus Mozart; Neue microfilm is that it can be photocopied in most cases, unless the Ausgabe samtlicher Werke. Series Xj Supple­ original manuscript was a gift with restrictions placed on its use. ment, Werkgruppe 33, Abteilung 2: In addition to the musical manuscripts catalogued below, the Wasserzeichen-Katalog. Kassel: Barenreiter, Library of Congress owns some non-musical autographs. The 1992. (References are to the catalog Moldenhauer collection contains an autograph leaf (three lines on number of the watermark.) the recto and three on the verso) from the diary of N annerl and Wolfgang [Moldenhauer, Box 99]. The entry, dated 24 May 1780, [Aria, Soprano, fragment, K. 383h/440.] was authenticated in Salzburg in 1829 by Constanze Mozart. On "In te spero, 0 sposo amato" microfilm in the Whittall Collection [MUSIC 1193] is an autograph 2 p. 23 x 29 cm. letter from Mozart to his sister, Nannerl, dated 3 March 1770 Vocal line and continuo. Original writing at the top of the score is [(Bauer/Deutsch, vol. 1, letter 164j Anderson, letter 82a). heavily crossed out. Text from Act I, scene 2 of Metastasio's Before making a visit to the Library of Congress, readers are Demofoonte. On the verso, in Carl Mozart's hand: "Manoscritto / encouraged to contact the Music Division in advance to insure that di / Wolfgango Amadeo Mozart / offerto / dal di lui figlio Carlo the Mozart materials, most of which are vault or case items, can be Mozart / in attestato di Singolare Stima / ed amicizia / All'esimia made available when requested. Readers also are advised that they Virtuosa di Canto / la Signora Natalia Frassini Eschborn / must first register and obtain a Reader's Card at the Jefferson Milano 27 Marzo 1857" [Manuscript of Wolfgang Amadeus Building before they will be allowed to call up items from any of the Mozart, offered by his son Carl Mozart as witness of singular Library's collections. esteem and friendship to the distinguished virtuosa of song, Signora Natalia Frassini Eschborn, Milan, 27 March 1857]. The following information is given for each manuscript: a filing Watermark 58. Provenance: Natalia Frassini Eschbom; C. V. title in brackets; a transcription, in quotation marks, of the title of Werschingerj Thomas F. Madigan. the work; the number of pages, followed by the dimensions (height Albrecht 1283 by width)j a brief description, including watermark information MUO.8b.M8 K.383h Whittall (based on Alan Tyson's Wasserzeichen-Katalog)j bibliographic MUSIC 1192 references; provenancej and call number. Call numbers that begin with MUSIC are microfilm copies. Except where noted, all manu­ scripts are in Wolfgang Amadeus Mozart's hand. The full names of continued on page 6

--5- Mozart Manuscripts p. 208, where he dates the manuscript in the late 1780s. Watermark 58. Provenance: Carl Herz von Hertenreidj Carl continued from page 5 Geibel; C. G. Boernerj Hans Moldenhauer; Moldenhauer, Box 99 [Cadenze per il Clavicembalo, K. 626aII/624A, D major, and K. 626aIl/624B, G major.] [Minuets, orchestra, K. 130a/I64, D Major.] 2 p. 17 x 23 cm. 2 p. 23 x 30 cm. "Two cadenzas for Clavier Concerto in D major K. 21b/l07, no. 1, Full score. First two in set of six. "6 Menuetti di Wolfgango Amadeo based on Johann Christian Bach's Clavier Sonata Op. 5, no. 2." Mozart / a Salisburgo nel mese di giugno /1772" [6 Minuets by In Leopold Mozart's hand. K. 626aII/624A is for the first Wolfgang Amadeus Mozart. at Salzburg in the month of June, movement, and K. 626aII/624B is for the second. On the recto 1772]. Minuet No.1 in D major is on the recto; Minuet No.2 in in Constanze Mozart's hand: "Handschrift von Mozart" [Mozart's D maj or is on the verso. The autograph of Minuets 3 and 4 is in handwriting]. On the verso in her hand: "Zum Andenken dem the Bibliothek der Gesel.lschaft der Musikfreunde in Viennaj the grossen Verehrer Mozarts Herm Ober-Organist Adolph Hesse autograph of 5 and 6 is in a private collection in Switzerland. von der Frau Constanze Etatsrathin von Nissen gewidmet. / Watermark 28. Provenance: S. Morgenroth; Hans Moldenhauer. Salzburg, am 24. Juli 1835 Wittwe Mozart" [A remembrance for Moldenhauer, Box 99 . the great admirer of Mozart, Head Organist Adolph Hesse, presented by Frau Constanze, wife of State's Counsellor von [Minuets, K. 448a/461, F major and D major.} Nissen. Salzburg, 24 July 1835. The Widow Mozart]. With a 2 p. 22.5 x 30.5 cm. letter from Alfred Einstein to Ernest E. Gottlieb (17 November Full Score. On recto, the fifth minuet, in F major, in a set of five 1950) regarding the manuscript. Originally thought to be in composed in Vienna in 17M. On verso, the first eight measures Mozart's handj see Hans Moldenhauer, "Ein neu entdecktes of an unfinished sixth minuet in D major. With a letter of Mozart-Autograph," Mozart Jahrbuch 1953 (1954): 143-49. authentication. Authenticated by Julius Andre on recto. Carl Mozart's autograph of these cadenzas is in the Biblioteka August Andre offered the manuscript as a lottery prize for the Jagiellonska, Crakow. Einstein placed the date of composition as relief of the "oppressed Schleswig-Holstein" in 1864. Facsimile either 1766 or 1767. Wolfgang Plath gives 1772 as the date ofK. in NMA Skizzen: Skizzenhlatt 1783e, 2. The autograph of the 107 (see Plath, p. 154). Watermark 42. Provenance: Ernest E. first four minuets, which was also owned by Carl August Andre, Gottliebj Hans Moldenhauer. is now in the Staatsbibliotbek in Berlin; a sketch of the sixth Albrecht 1266 minuet is in the Osterreichoche Nationalbibliothek, Vienna. Moldenhauer, Box 99 See KonradMS, pp. 161,249. and31l. Watermark 66. Prov­ enance: Johann Anton Andre; Julius Andrej Carl August Andre. [Concerto, piano, K. 238, B-flat major.] Purchased in 1929 by the Friends of Music of the Library of 80 p. 16.5 x 22 cm. Congress. Full score. "Concerto di Cembalo / del Sgr. Cav: Amadeo / Wolfg. Albrecht 1287 Mozart / nel gennaro 1776 a Salisborgo" [Concerto for Cembalo ML96.M97 Case by Signor Cavaliere Amadeus Wolfgang Mozart, in January 1776 MUSIC 1257 at Salzburg]. Watermark 35. See "Discovery of a Portion of Mitridate and Fragments of Pianoforte Concertos in Manchester," [Phantasie fur eine Orgelwalze. mechanical organ,K. 608, F minor.J Musical Times (1 July 1890): 428-29. Provenance: Johann Anton 6 p. 22 x 29 cm. Andrej Jean Baptiste Andrej Messrs. Cornish & Co.j Copyist's manuscriptj Mozart's autograph is lost. Allegro and Wittgenstein Family. Andante in a two-staff vemon, most likely transcribed for a Albrecht 1268 single keyboard player or perhaps as a study score. Bifolium with ML30.8b.M8 K.238 Case Whittall an additional sheet. With accompanying documents from Robert MUSIC 1061 Haas, and a letter to Paul Nettl from Albert Einstein (19 Oct. 1951) regarding the manma:ipt. Originally thought to be in the [Concerto, violin, K. 219, A major.] hand of Maximilian StadIa" or Franz Xaver Siissmayrj the 92 p. 16.5 x 22.5 cm. copyist, however, who also made corrections in the score, has Full score. "Concerto di Violino / di Wolfgango Amadeo Mozart / not been identified. See Neal Zaslaw, "Wolfgang Amade Salisborgo li 20 di decembre / 1775" [Concerto for violin by Mozart's Allegro and Andante ('Fantasy') in F Minor for Wolfgang Amadeus Mozart, Salzburg, the 20th of December, Mechanical Organ, K. 608,.'" in The Rosaleen MoU1enhauer 1775]. Watermarks 35 and 38. Provenance: Johann Anton Memorial: "Music History from Primary Sources," A Guide to the Andrej Jean Baptiste Andrej E A. Grassnickj Joseph Joachim; Moldenhauer Archives (Washington, nc.: The Library of Wittgenstein Family. Congress, forthcoming). Provenance: Johannes Wolf; Albrecht 1272 H. Hinterbergerj Otto Hass; Paul Netdj Hans Moldenhauer. ML30.8b.M8 K.219 Case Whittall Moldenhauer, Box 99 MUSIC 1059 [Recitative and Aria for Sopram}, K. 73a/143.J [Fugue, K. 626b/27, C minor.] "Ergo interest" and "Quaere~' 1 p. 11.5 x 27.5 cm. 7 p. 23 x 29.5 cm. "Anfang dner Fuge" [Beginning of a Fugue]. Twenty-seven mea­ Full score. Written on the manuscript in an unidentified hand: "Nr. sures. Inscribed by Georg Nissen "von Mozart und seine 2 Aria fur ein Soprano" (No. 2 Aria for male soprano}. The Handschrift" [By Mozart and in his hand}. See KonradMS, manuscript, accompanied by a letter of authentication from Max

-6- Cohen and Son (1871), is unsigned and undated. KocheP gave (370a), The 'Gran Partitta'," Mozartlahrbuch 1997 (1997): 181- the date as 1772, which was revised in KocheP to 1770; it has 223. Facsimile by The Library of Congress, Washington, D.C., been suggested that this is the second of two Latin motets for 1976, with introduction by Alfred Einstein (translated by Jon castrati which Mozart was composing at that time, first men­ Newsom). See also Daniel Leeson and David Whittall's "Con­ tioned in Leopold Mozart's letter from Milan dated 3 Feb. 1770 cerning Mozart's Serenade in B-flat for Thirteen Instruments," (Bauer/Deutsch, I, 159; Anderson, 78); Plath, however, noting Mozartlahrbuch 1976-77 (1978): 97-130. Watermarks 56 and the NMA dating of c. 1772-74, places K. 73a/143 at the end of 57. Provenance: Johann Anton Andre; Ludwig I of Hessen­ 1773 (see Plath, p. 138). Tyson's identification of the watermark Darmstadt; the widow of Hofkapellmeister Appold of Hesse; [his No. 30] as Italian from 1772 substantiates this later date. Konzertmeister Schmittj Philipp Schmitt; Princess Marie The manuscript was acquired at the auction of the estate of Schonburg-Erbach von Battenbergj Jerome Stoneboro ugh. Samuel P. Warren in October of 1916. Provenance: Otto Jahn; Albrecht 1297 H. Lempertz; G. Schirmer; Samuel P. Warren. ML30.8b.M8 K.370a Case Whittall Albrecht 12 79 MUSIC 0429; MUSIC 1060 ML96.M97 Case MUSIC 1256 [Sonata, Violin and Piano, K. 373a/379, G Major.] "//Sonata/ f' [Rondo for Soprano, K. 577, F Major.] 10 p. 23.5 x 32 cm. "AI desio, di chi t'adora" Full score. The date 1781 is written at the top right of the score. 1 p. 22.5 x 29 cm. "No.9" written at the top in an unidentified hand. Some Sketch of vocal line and connecting wind passages for the Larghetto measures crossed out in the scorej in other places, corrections of a replacement aria for Susanna's "Deh vieni non tardar," in Le have been written atop original notation. Probably the sonata nozze di Figaro. Composed in the middle of 1789 for Adriana which Mozart mentioned in his letter of 8 Apri11781 (Bauer/ Ferrarese del Bene, who performed in the Viennese revival. Deutsch, III, 587j Anderson, 379)j Watermarks 56 and 57. Thirty-five measures, with corrections and substitution mark­ Provenance: Johann Anton Andrej Mr. Augener; Andre Erbenj ings. Note on top in Georg Nissen's hand: "Mozarts Handschrift" Oscar Bondy. [Mozart's handwriting]. Note on the bottom right: "Der Albrecht 1301 Schreiben oben 'Mozarts Handschrift' ist nach Sage / von ML30.8b.M8. K.373a/379 Case Whittall Heinrich Henkel Statsrath Niessen / der zweite Gemahl von / MUSIC 0612, Item 5 Constanze Mozart / Adolf Andre [The writer of "Mozart's -Denise P. Gallo handwriting" is, according to a statement by Heinrich Henkel, Loyola University, New Orleans State Counsellor Niessen, Constanze Mozart's second husband. {signed} Adolf Andre]. See Janet K. Page and Dexter Edge, "A (Author's note: I wish to express my thanks to Prof. Neal Zaslaw Newly Uncovered Autograph Sketch for Mozart's 'AI desio di for his encouragement and advice, and to Messrs. Charles Sens and chi t'adora,' K. 577," Musical TImes 132 (December 1991): 601- William Parsons of Music Division of the Library of Congress for 5j also KonradMS, 189. Facsimile in NMA Skizzen: Skizzenblatt their invaluable assistance in locating and retrieving manuscripts.) 1789alpha. Part of the autograph is in The British Library. Watermark: unidentified. Provenance: Adolf Andre (?)j Gabriel Wellsj John Davis Batchelder. MSA helps to locate a Mozart Autograph Batchelder ML31.B4 On 21 May 1998, Sotheby's in London sold a leaf (m. 1-22) and a quarter leaf (m. 118-24 and m. 125-32) of the autograph [Quintet, 2 violins, 2 violas and cello, K. 515, C major.] of the Concert Rondo in A, K. 386. The leaf sold for £80,000 47 p. 23.5 x 32 cm. and the 1/4 leaf for £20,000. The buyer was unknown. Full score. "No. 29 Quintetto." In Georg Nissen's hand: "von Mozart Faye Ferguson of the Mozarteum asked me to inquire in the und sein Handschrift" [by Mozart and in his hand]. Although the United States, because information she had indicated that the folios are now u~bound, the manuscript appears to have once purchaser of the manuscripts was an American. I asked Isabelle been stitched together at the top and bottom of the fold. Emerson, President of the MSA, if she would object to my Watermarks 55,66, and 82. Provenance: Johann Anton Andrej making an inquiry via electronic mail to those MSA members Julius Andrej Jenny Lind; J. B. Streicher; Jerome Stoneborough. whose addresses I had. Professor Emerson agreed, and I sent out Albrecht 1293 fifty-eight messages. Within two days, Dick Mackey and Bob ML30.8b.M8 K.515 Whittall Levin, both of Boston, advised me of an advertisement in the MUSIC 1062 New York TImes of 8 November 1998 stating that the Kenneth W. Rendell Gallery of New York was selling a Mozart auto­ [Serenade, "Gran Partitta," winds and hom, K. 370a/361, B-flat graph. The advertisement in the TImes was for the quarter leaf major.] ofK. 386 (at $125,000). With the help of the MSA I was "Serenade von W. A. Mozart, Partitur" therefore able to report a partial success back to Ferguson. The 91 p. 22 x 32 cm. location of the full leaf is still not known to me. Full score. Written at the top in red crayon (Rotel) in an unidenti­ I think that the exercise proved to be very informative and fied hand: "gran Partitta / del Sig. Wolfgang / Mozart, 1780" certainly successful. My thanks to all who helped. [Gran Partita by Signor Wolfgang Mozart, 1780]. The date, -Dan Leeson, Los Altos, California however, has been tampered with; see Daniel N. Leeson, "A Revisit: Mozart's Serenade for Thirteen Instruments K. 361

-7- Recording Review

Ersteinspielungen [First Recordings]. below and that can justify the album's the Mozarts' preferred copyist (see Cliff 1. W. A. Mozart: Solo motet claim of offering first recordings. But first Eisen, "Sources for Mozart's Life and "Exsultate, jubilate," K. 158a/165 a brief history of the original composition. Works," in The Mozart Compendium, ed. (Second version for the Holy Veranzio Rauzzini (1746-1810) was an H. C. Robbins Landon [New York: Trinity Church in Salzburg, 1779). Italian soprano castrato favored by the Schirmer, 1990], 177). An old entry by a previous owner indicates that this 2. Leopold Mozart: Cantata Mozarts: Leopold praised him for "singing like an angel" (letter of 28 November manuscript once belonged to the Holy "Surgite, mortui" (for the Abbey 1772 to his wife in Salzburg), and Rauzzini Trinity Church at Salzburg, where St. Peter in Salzburg, 1755).3.]. sang the role of Cecilio in Lucio Silla at its Leopold used to conduct ecclesiastical Michael Haydn: Herrenchiemsee premiere in Milan on 26 December 1772. music on holidays. It is assumed, there­ Festival Cantata (for the enthrone­ During this third Italian journey fore, that this alternative motet version ment of the prince bishop of (24 October 1772-13 March 1773) the was first performed in that church at the Chiemsee, Sigmund Christoph nearly seventeen-year-old Mozart also feast of the Holy Trinity in 1779. The Count of Zeil and Trauchburg, composed the solo motet "Exsultate, soloist most likely was the castrato Francesco Ceccarelli (ca. 1752-1841), a 1797). Musica Bavarica MB 75 jubilate," which, like the role of Cecilio, was also designed especially for Rauzzini. friend of the Mozart family, for whom 119. Mozart himself reported to his sister (in Mozart later composed the concert aria deliberately jumbled words) that he had "Or che il cielo," K. 374. This intriguing CD contains as its first composed a motet for the "primo uomo" The version of the motet on our CD selection what appears to be Mozart's [Rauzzini] (postscript under Leopold's differs from the original mainly in the familiar motet "Exsultate jubilate," letter of 16 January 1773), and a day later, replacement of the oboes with flutes, by K. 158a/165. On closer examination, on 17 January, the first performance took changes in the text of the first aria, and by however, one discovers certain deviations place in Milan's Theatiner Church. The new words for the recitative. This perfor­ in the score which will be treated in detail autograph of the motet, originally in the mance keeps, however, the customary Pruss ian State high C [d] that closes the "Alleluja" (bar Library, was missing 153), an ending authorized by neither the during World War II autograph nor the Neue Mozart-Ausgabe and is presently (NMA), both of which conclude with an located in the unobtrusive gl-c2_P, Biblioteka Jagiellonska in IJ 1££ - Ie - lu- - ja. Krakow. Among a a fact that remains widely unnoticed. collection of old Christian Rudolf Riedel, in his 1990 music manuscripts edition of the motet, speculates that at St. Jacob, the city Rauzzini's vocal range apparently did not church of the extend to the high C and that this might Bavarian town of "explain the strange downward leap of a Wasserburg am Inn, seventh in the melodic line at the close of a second, hitherto the 'Alleluja.' " Indeed, hardly any unknown, version of soprano resists the temptation of conclud­ the motet came to ing on high C-including Hildegard light. The manu­ Heichele, the soprano on the CD under script is in the hand review--even though the Salzburg version of the Salzburg also does not call for it (see Carus­ court musician and Biirenreiter edition BA 4897 a). Only Mozart copyist Emma Kirkby, accompanied by The Joseph Richard Academy of Ancient Music under Estlinger (ca. 1 720- Christopher Hogwood (I.:Oiseau-Lyre CD 1791) with entries [411 832-2]), sings our Salzburg version by Leopold Mozart. with the authentic low ending of the The latter was well "Alleluja," and she deserves credit for it. acquainted with Surprisingly, Stanley Sadie, who wrote the Estlinger, whose liner notes for that recording, does not name appears address the unfamiliar ending. And, frequently in incidentally, Alfred Einstein points to the Leopold's correspon­ striking affinity between the last melodic The Herrenchiemsee Convent (1779) dence and who was phrase in the "Alleluja" and the melodic

-8- close of Haydn's "Emperor" Hymn entries in Leopold's hand. kind of hymnal music. As was the practice (Eulenburg edition 1980). Leopold most likely composed this in eighteenth-century performances, The second item on our Bavarian CD brief church cantata in 1755, one year "Singknaben" (literally singing boys) were is a work by Leopold Mozart which is before Wolfgang's birth. It is scored for used both in choruses and as soloists. Of almost completely unavailable in record­ solo tenor, two boy soloists, a bass, four­ Ritter's two arias, the second one, a vocal ing (it had been previously issued by the part chorus, two horns, two trumpets, rondo, extols the new bishop with these same company on LP, Entdeckungen in strings, and organ. The recitative begins words: "wisdom and religion always stood Oberbayern, MB 307). Leopold was a with the soloist announcing the impelling by your side, like a sister, to accompany respected musician and composer who initial words alongside a fanfare of you already in your early years." With a became overshadowed by a famous son. trumpets. Heinrich Weber (tenor) sings contrast in voices, the single bass aria The trifles that one hears from time to the main aria capably, if with some strain, bestows similar praises on the bishop and, time-his "Musical Sleigh Ride," the and the corni da caccia in the background in a lively melody, wishes him a life as "Peasant Wedding," the Cassation in G and echo effects that one hears in this pleasurable as a spring day. The rest of the known as the "Toy Symphony"--do not cantata are typical trademarks of Leopold German text is overflowing with encomi­ represent his ability well. His church Mozart. The Talz Boys Choir renders the ums to the new bishop's merits. As a music is a different matter, although it final chorus with vibrant enthusiasm. whole, the production is a fine accom­ unfortunately still remains mostly in Regrettably, however, no text accompa­ plishment (although the bass, Ulrich manuscript. The younger Mozart, at any nies the liner notes. Wand, sounds to me more like a baritone, rate, esteemed his father's work and was The third and major selection on the with weakness in the low register), and influenced by it. For example, he once CD is Johann Michael Haydn's one is grateful to become acquainted with asked his father to "make a search in the Herrenchiemsee Festival Cantata, an one of Michael Haydn's little-known attic under the roof and send us some of elaborate, imposing work of five move­ secular cantatas. Joining the two soloists your own church music; you have no ments with introductory recitatives: two and the Talz Boys Choir is the Capella reason whatever to be ashamed of it" choruses and three arias, two for soprano Istropolitana, under the direction of {letter of 12 April 1783 ). Very few of and one for bass. The sixty-year-old Gerhard Schmidt-Gaden. A final word these works, which also show Leopold's Haydn composed the work on commission about boys choirs in general: They may be skill in writing for the voice, have been from the Herrenchiemsee convent for the well trained, and these youngsters of the recorded; ones that have include his enthronement of Sigmund Christoph, city of Tab in Bavaria certainly are. But beautiful Missa solemnis in C (available Count of Zeil and Trauchburg, as Prince their voices often emit a high-pitched on CD, Koch Schwann SCH 313028) and Bishop of Chiemsee on 4 October 1797. piercing tone quality that comes danger­ his equally outstanding Lauretanische The Hungarian National Library, ously close to shouting. Litanei in E-flat (formerly on Schwann LP Budapest, holds the original and unpub­ AMS 3539). The selection on our CD­ lished manuscript score of 122 pages, and MUSICA BAVARICA can now be "Surgite, mortui" (Arise, you mortals)­ the recording here is based on a microfilm accessed on the internet at: bJJJ:E.U. reveals Leopold's ecclesiastical output in provided by the library. The highlight of pages. vossnet.de/rmuenster/index.htmL miniature. Only seven minutes long,this the performance is the sensational voice A browser that supports frames is required cantata is a pleasant work missing in Max of the boy soprano Matthias Ritter. The for catalog and order information. Seiffert's list (Denkmaler der Tonkunst in tremendous range required-especially in Mailing address: Musica Bavarica, Bayern, [Leipzig, 1908]). It is recorded difficult high passages, which he negoti­ Stephansplatz 3,80337 Munich, Ger­ here for the first time, and the recording is ates in excellent intonation-mark the many. based on a copyist's manuscript with young man a suitable interpreter of this

International Society for Eighteenth.. Century Studies Congress on the Enlightenment

The Tenth International Congress on Myth, Ritual, and Music in Liturgies of Publishing Music-Reading Music. the Enlightenment will take place at the Late Eighteenth-Century Public Dorte Schmidt, chair. Monday, 26 July, University College, Dublin, 25-31 July Sphere. Conrad L. Donakowski, chair. 8:45-10:30 A.M. 1999. The following sessions should be Tuesday, 27 July, 4:00-5:45 P.M. of particular interest to members of the Representation in Eighteenth-Century Mozart Society of America: Opera Inside and Outside the Theatre. Music. Edmund Goehring, chair. T ues­ Downing A. Thomas, chair. Double day, 27 July, 1:45-3:30 P.M. Diderot and Music. Mary Hunter, session: Friday, 30 July, 1:45-5:45 P.M. chair, in conjunction with Wye J. Unveiling Mozart. Isabelle Emerson, Allanbrook. Tuesday, 27 July, 8:45- chair. Tuesday, 27 July, 8:45-10:30 A.M. 10:30 A.M.

-9- Book Review

Dorothea Link. The National Court court theater chronology tells us, there was calendar," as Link names it--of all perfor­ Theatre in Mozart's Vienna: Sources no performance that evening at the mances in the court theaters during the Burgtheater due to the indisposition of a years 1783 until the death of Leopold II in and Documents, 1783-1792. Oxford: singer. And fmally, what is the detailed 1792. The calendar is clearly structured and Clarendon Press, 1998. 560 pp., 5 documentation of the court theaters: easy to follow. Following the date is the day illustrations. $125. chronologies of the productions, the daily of the week, the theater (Burgtheater or performance dates of both plays and music Karntnertortheater), and the title of the After his arrival in Vienna, Mozart plunged theater, the management of the theaters performance. Link has used and listed rich himself into the world of the theater by and its finances? sources of documentation, chief among attending as many performances as he could The previous lacuna of detailed chro­ them the daily performance posters afford at the Burgtheater, Theater in der nologies and supporting documents-with (preserved in the Austrian Theater Leopoldstadt, and elsewhere. Vienna was one exception-posed enormous difficul­ Museum) supplemented by additional an ideal setting for Mozart to fill his ties. That exception is the first volume of resources of public journals (such as the appetite for theater, as he volunteered in a Franz Hadamowsky's Die Wiener Hoftheater Wiener Zeitung, Journal des Luxus und der letter to his sister, Nannerl, of 4 July 1781: (Staatstheater). Ein Verzeichnis der Moden, and Der Spion von Wien), assorted "My single entertainment is still the aufgefiihrten und eingereichten StUcke mit theater almanacs, and private diaries, theater. I wish that you could see a tragedy bestandsnachweisen und Auffiihrungsdaten. especially those of Karl Graf von acted here! I do not know of any theater Teil I: 1774-1810 (Vienna: Hollinek, Zinzendorf. where all kinds of plays are really well 1966). This work also contains a chronol­ Thus, we can read that on Sunday, performed; but here every part-even the ogy, but it is not easy to use, nor is the work 30 April 1786, there was the second perfor­ smallest, worst role-is good, and double as a whole generally available in American mance at the Burgtheater of a five-act play cast." libraries. Researchers with no access to the by Friedrich August Clemens Werthes, The Burgtheater was at that time the primary (and much secondary) material Bayard oder der Ritter ohne Furcht und ohne primary venue in Vienna for both plays and scattered in the numerous Viennese Tadel. At the Kamtnertortheater, Ignaz musical entertainment. This is a well­ archives (and the Keglevich archives in Umlauf's Singspiel Das Irrlicht oder EndUch known fact in Mozart scholarship, and we Budapest) could make only haphazard fand er sie was on the boards. Monday, have numerous studies of Mozart's works for guesses about the extensive repertories of 1 May was the premiere of Mozart's Le nozze the Burgtheater, such as Daniel Heartz's the theaters and the reactions of the public di Figaro at the Burgtheater. The day after recent, magisterial Mozart's Operas (Berke­ to the productions of opera and plays. saw performances of a version of Goldoni's ley: University of California Press, 1990). Although Otto Erich Deutsch's Mozart: A comedy I mercanti as Die Holliinder, oder When it comes to the theaters in which Documentary Biography (Stanford: Stanford Was vermag ein vernunftiges Frauenzjmmer these works were performed, however, University Press, 1965) provides much nicht at the Burgtheater. At the same time, matters are different: we lack detailed and information (including dates of perfor­ another Singspiel was performed at the reliable information in English about the mances and some financial information), it Karntnertortheater, a version of Christoph Viennese theaters of Mozart's time, is only a fraction of the available data. Willibald von Gluck's Les Peierins de la especially private ones like the Freihaus Bruce Alan Brown's Gluck and the French Mecque (La Rencontre imprevue) as Die Theater, where Die Zauberjlote had its Theatre in Vienna (Oxford: Clarendon Press, unvermuthete Zusammenkunft, oder Die premiere in 1791. To gain a fuller under­ 1991) is an authoritative study that tells us Pilgrimme von Mecca. All of the listings are standing of the theatrical conditions in of the management of the Burgtheater in carefully noted with sources to confirm the which Mozart composed his operas, a the years before Mozart's arrival, but no dates or supporting evidence for the number of questions must be answered. similar English-language monograph both changes to the calendar. Carefully noted What were the public tastes of repertory, examines the repertory as well as outlines are the closures and their reasons (religious and which productions did Joseph II and in detail the chronology of performances­ holidays, deaths in royal family), changes of his theater managers decide upon? What both operatic and spoken-in any of the repertory, and special notices such as operas or plays were true financial suc­ court theaters during Mozart's residency in benefit performances or regulations cesses? Which ones continued to be the city. governing public behavior. Each of the performed despite the empty seats in the Now, for the first time, an excellent listed operas, Singspiels, buffas, and plays is auditoriums, and why? What were the English publication gives the chronology of cross-referenced with bibliographical performances at the court theaters which all performances-music and spoken information-composer, librettist, and competed with Mozart's operas elsewhere in theater-at all of the court theaters during playwright-in the useful index at the close Vienna? For example, we can observe that Mozart's career in Vienna. Dorothea Link's of the book. Some of the information is Giovanni Paisiello's I Zingari in Fiera was on The National Court Theatre in Mozart's available in Hadamowsky, but only with the boards at the Burgtheater on the night Vienna investigates the Burgtheater and the effort and much cross-referencing. Link's of the premiere of Die Zauberjlote at the Kamtnertortheater, as well as the summer performance calendar will save the re­ suburban Freihaus Theater on 30 Septem­ residence of Emperor Joseph II in searcher precious time. ber 1791. We also can read from Count Laxenburg. Non-theatrical events such as A real bonus are the transcriptions from Karl Zinzendorf's diary for 6 November that Akademies also are included in the listing. the diaries of Count Karl Zinzendorf he attended a performance of Die Zauber­ The first part of the book is the relating to his attendance at the court fWte at the Freihaus, perhaps because, as the chronologicallisting--or "performance theaters for the period 1783-1792. Earlier

-10- music historians cited many of the entries performed nicely. Stifling heat in the of the account books with three plans of relating directly to Mozart, especially theater. the Burgtheater. One correction must be Deutsch in his Documents volume. Link, noted. All citations listed as Theater­ however, has performed a true service by The third part of the book contains sammlung der Osterreichischen National­ expanding the transcriptions to all of extensive and valuable transcriptions from bibliothek (Theater Collection of the Zinzendorf's visits not only to the opera, the account books of the Viennese court Austrian National Library with its sigla Th but also to the spoken theater, private and theaters which are-with one exception of afrer the shelf number) must be changed to public concerts, and comments on the a volume in the Austrian Theater Mu­ Osterreichisches Theater Museum (Austrian political and social scenes as well. These seum-housed in the Haus-, Hof-, und Theater Museum). In 1991, the diaries served also to confirm numerous Staatsarchiv. These records are extremely Theatersamm1ung's entire holdings-books, questions of performances that may have important, for they give the reader a greater manuscripts, music, designs, costumes, otherwise been noted as cancelled or understanding of the finances in governing prints, and ephemera (including pieces of substituted with another opera or play. In the operations of theaters with its expenses the old Burgtheater, which was tom down the performance calendar, each of the and income. We can see who leased the in 1888)-were transferred to a new entity, relevant entries of Zinzendorf is noted for boxes (chiefly nobility, diplomats, high the Theater Museum. It is now located in easy cross-referencing. The transcriptions government officials) and where (for its the Pa1ais Lobkowitz vis-a.-vis the Music alone takes up almost 200 pages. hierarchical status) and-equally impor­ Collection of the National Library at the As Link observes, Zinzendorf was an tant-the seats in the parterre. This last A1bertinaplatz. It is also worth noting that "ideal chronicler." His writings are terse and category includes information not only on the first performance of Beethoven's Eroica to the point. There are no great surprises the Sperrpliitze (seats that were locked and Symphony took place on 7 April 1805 in here, but a wealth of observations about available only to the lessees) in the Noble the same Palais. people, particularly singers that appealed to Parterre, but also on a number of cheaper All previous works relating to the him. On 22 Apri11783, Zinzendorf noted: seats guaranteed for each performance, Burgtheater and its chronology for the which were not locked. These seats were in period under discussion now have been To the theatre in the box of Madames the same area mainly for members of superseded with Link's new book. de Fekete and de Los Rios. La Scuola de' various garrisons, such as Hungarian Noble Hadamowsky's Die Wiener Hoftheater, gelosi. Madamoiselle Storace, the Guards, the Noble Guards of Galicia, and however, is still valuable (and still in print), Inglesina [little English Girl], pretty and the Noble German Guards. for it complements Link's own book with its voluptuous figure, beautiful cleavage, The transcriptions detail the payments rich trove of bibliographical information good as a gypsy; she and Bussani sang for singers, chorus, actors, conductors and listing of performance materials the duet, Quel visino e cIa ritratto, but (Kapellmeister), orchestra members, preserved in the Austrian Theater Museum Bussani less well than Ca1vesi in Trieste. servants, and supernumeraries. For the as well as the National Library. Nonethe­ The buffo Venucci very good. Bussani theater year 1783-1784 we read that Salieri less, for Mozart and the Burgtheater, Link's the primo armoroso less good. The received 782 florins, Da Ponte 600, the book takes precedence. audience very satisfied. baritone Benucci 2,072 (nine months!), The only fly in the soup is the price of and Nancy Storace 3,247 florins. (In 1786, the book, a staggering $125, which places it (Link observes that Zinzendorf, early Storace received over 4000 florins.) Actors out of reach for most people. In this time of on, consistently misspelled the name of the for the spoken theater ensemble received limited budgets, many libraries probably baritone Francesco Benucci-who was to far less: Stephanie the Younger (Mozart's will think twice before ordering this book, be Mozart's first Figaro--as Venucci.) Two librettist for Die EntjUhrung aus dem Serai!) which would be a great shame. Nonethe­ more ~ntries, this time from 1789 may be received only 1,600 for the year, and he was less, Link's research is an extremely singled out: among the highest-paid actors. important contribution not only to music The last part outlines Link's observa­ scholarship, but also for cultural studies and 29 August: In the evening to the opera. tions on the practices of the court theaters. the histories of opera and theater. Link's Le nozze di figaro. Madame d'A1tharin More detailed information is given here, judicious reproduction of documents and ... came and planted herself in our box such as the management structures with the detailed chronology will give scholars a to see Madame de 1a Lippe, which citations from archives of Da Ponte's much clearer understanding of the unique displeased me infinitely. In order to participation, fixed days for performances, workings of eighteenth-century theater. avoid her, I went to the box of the and the political significance of perfor­ The bureaucracy, finances, and unpre­ Grand Chamberlain. mances ordered by the Imperial Court. The dictability of opera and theatrical produc­ attempts of both Emperors Joseph II and tion will become easier to place in the 15 September: In the evening to the Leopold II to reform the opera in the genres context of some of Mozart's greatest opera. Una Cosa rara. Benucci debuted of seria, buffa, and singspiel are touched achievements: Le nozze di Figaro, Don in it and was received with prodigious upon. There are several illuminating tables Giovanni, and COSl fan tutte. No serious applause. He sang two pretty arias [that outlining revenues from the box-office for Mozart scholar should be without this didn't belong to the opera]. One in the diverse genres as well as from the excellent resource. praise of women, the other with horns Burgtheater and Karntnertortheater. -Evan Baker [Zinzendorf's comment is about the The book is sturdily bound and is Los Angeles instrumental playing]. Madame Bussani accompanied by five illustrations, facsimiles

-11- Membership List "Mozart Discoveries": New Evidence, New Questions Additions and Corrections If Bruno Nettl's famous ethnomusicologist are of uncertain authorship or have been Additions from Mars-whose recent thoughts on the misattributed to Mozart. The urgency of Crossen, John musical culture of the academy demonstrate these and other questions is readily compre­ 667 Evermann Apts that he is interested in such things-were hended when one remembers that Zaslaw Bloomington IN 47406 looking to do a study on the present state of has been hard at work for several years on Handyside, Kathy Mozart research, he would have found the the Herculean task of revising the Kochel 12465 Fordline Saturday morning session (31 October 1998) Catalog. At the end of his paper, Zaslaw Southgate MI 48195 of the Sixty-Fourth Annual Meeting of the turned to the aesthetic questions the canons Jamborcic, Peter American Musicological Society in Boston, raise. As slight and occasional works (many 7086 Pleasant View Avenue entitled "Mozart Discoveries," a perfect of them boasting scatological texts!), they Las Vegas NV 89117 window through which to observe the field. have embarrassed biographers and historians, Four papers, all centered on discoveries of or who choose variously to defend their status Littleboy, Henry 7 Sentry Hill Place about source materials, offered a rare as artworks, to apologize for them, or to Boston MA 02114-3505 opportunity to think about the way we value ignore them entirely. Zaslaw's revisionism is [email protected] and interpret primary sources. And as the one that reconciles the biographical with the Melamed, Daniel questions and discussions following the critical impulse: "They are not masterpieces 210 Santa Fe Avenue papers demonstrated, the implications of for posterity but artifacts from the musical Hamden cr 06517 discoveries-such as David J. Buch's of daily life of a distant time and place." Myers, Michael Jr., M.D. Mozart's contributions to Der Stein der Compared to the complicated, contra­ 191 Newtonville Avenue Weisen-are not at all obvious. dictory sources for the canons, Melamed's Newton MA 02158 Chaired by Christoph Wolff (Harvard more conventional "source"-the autograph [email protected] University), who expressed his hope at the of a famous opera-would appear to be Pajot, Dennis outset that papers would be met with unproblematic. But, of course, it isn't. The 2527 W Clayton Crest Avenue "skepticism and lively discussion," the autograph score of Die Entfuhrung aus dem Milwaukee WI 53221 session was devoted to the recent work of Serail has not been much studied because [email protected] four scholars: "The Non-Canonic Status of most of it was inaccessible until very recently Purciello, Maria Mozart's Canons," by Neal Zaslaw (Cornell (Acts I and III disappeared from Berlin after C/O Music Department University); "Source Evidence on the the war and turned up in Cracow in the Woolworth Hall Genesis of Die Entfuhrung aus dem Serail," by 1980s). Melamed's paper offered the first Princeton University Princeton NJ 08544 Daniel R. Melamed (Yale University); "Der description we have had of what the [email protected] Stein der Weisen, Mozart, and Emanuel complete autograph looks like and explored Schikaneder's Fairy-Tale Singspiels," by the question of what we can learn from it. Rosenberg, Max, M.D. 707 Judson Avenue David J. Buch (University of Northern For example, on the basis of paper evidence Evanston IL 60202 Iowa); and "The Copy Shop of the Theater and foliation, both Blonde's aria "Welche [email protected] auf der Wieden and the Mozart Attributions Wonne, welche Lust" (No. 12) and Osmin's in the Hamburg Score of Der Stein der aria wie will ich triumphiren" (No. 19) Schwinger, Fred "or E2 Forge Gate Drive Weisen," by Dexter Edge (Louisiana State appear to be late additions to the score. The Cold Springs NY 10516-3104 University). Despite its running against five striking syncopated beginning of the [email protected] other sessions, "Mozart Discoveries" was very Janissary Chorus (in which the upbeat is tied Sears, Cathy well attended and discussion indeed lively. across the barline) was apparently a revision 8693 Piper Place Because many in the audience had been to of an earlier version in which the march Reno NV 89117 see the fine Boston Baroque performance of began with a simple upbeat/downbeat. On [email protected] Der Stein der Weisen the previous evening, a several points, however, the evidence of the Sierra Winds disproportionate share of the question-and­ autograph is inconclusive. We can learn 4505 Maryland Pkwy answer period went to addressing the many nothing about two pressing questions­ Box 455025 questions this singular discovery has raised. whether Mozart recomposed Osmin's Lied Las Vegas NV 89154-5025 Zaslaw's paper opened with the special (No.2) and whether he wrote the music for Slowick, Gregory source problems of the canons: like other Belmonte's aria (No.1) before or after 3 Nebo Street music in the "minor" genres (dance music, composing the same melody into the Medfield MA 02052 [email protected] sketches, substitution arias, and Hausmusik), overture-because the overture, and first two "Mozart's canons are incompletely and numbers appear to be fair copies, "hiding the Corrections misleadingly represented in the Kochel exact history of composition." In the brief Kearns, Andrew Catalog and Neue Mozart-Ausgabe." (An­ discussion that followed, Melamed suggested [email protected] nette Richards read Zaslaw's paper in his that Mozart's "Turkish tattoo" duet has a Libin, Kathryn L. Shanks absence.) The canons have been studied not prehistory and asked the audience if anyone [email protected] only "less often," but also "less well," and knew the paper type of the private collection suffer in addition from a variety of source­ version of Constanze's "Martern aller arten." Sturm, George (Anyone with information on this point is [email protected] related problems. They survive in sketches and drafts rather than fair copies, and several asked to contact Melamed.)

-12- Both Buch's and Edge's papers concerned Hamburg score was copied several years after tory ... to savor newly discovered Mozart the newest Mozart discovery, the Wiedner­ the first performance (though perhaps as not only endured but also applauded at every theater score of Der Stein der Weisen, in early as 1792 or 1793), is it safe to speculate opportunity a long evening of music by which three duets are attributed to Mozart: that there was a source closer to the pre­ obscure figures like Johann Baptist Hen­ one with a Kochel number, "Nun, liebes miere? And if there was, is it likely that the neberg, Benedikt Schack, Franz Xaver Gerl, Weibchen, ziehst mit mir" attributions themselves were copied from and Emanuel Schikaneder." Richard Dyer of (K. 592a/625), and two previously unknown this source? It is interesting that the ques­ The Boston Globe celebrated the discovery, numbers from the Act II finale. Der Stein der tions about the sources were the most but was careful to distinguish between Weisen, the first of three productions based difficult to answer. Alfred Einstein had Mozart and his collaborators: "while Mozart on tales from Wieland's Dschinnistan written suggested years ago that "Nun, liebes is full of musical surprises, this opera is not; expressly for the Wiednertheater by Schi­ Weibchen" was either written collaborative­ predictability is not a musical virtue." Opera kaneder, was set to music by Franz Xaver ly or was merely orchestrated by Mozart; and, News made little effort to be "historically" Gerl (the first Sarastro ), Johann Baptist indeed, as Wolff reminded us, there are two correct: "The opera ... is a pleasant enough Henneberg, Mozart, Benedikt Schack (the hands in the autograph (the Mozart auto­ excursion, but without the glamour of first Tamino), and Schikaneder (the first graph, that is, which is not to be confused Mozart's association, it certainly would not Papageno). In his paper, Buch considered with the copy of the duet in the Hamburg be performed." And it is certainly true that it Der Stein der Weisen (1790) and Der score), only one of which is Mozart's. The is Mozart's involvement, slight though it was, wohltiitige Derwisch (1791) as the important, second hand, according to Buch and Edge, is that has made this obscure, late eighteenth­ immediate literary and musical precursors of that of a minor player, but not any of the century singspiel a blip in the national news. the third Wieland collaboration, Die usual suspects. In response to the question of But to focus on what is and is not by Zauberjlote. The influence of these earlier authenticity, Edge suggested that, even if the Mozart in Der Stein der Weisen may be to works on Mozart's opera, written for the melody of the duet is by someone else, "it is miss the point altogether. The importance of same cast and the same theater, now appears mainly by Mozart." The authenticity of the this discovery to our knowledge of the to be self-evident. Buch pointed to generic attributions in the Hamburg score poses a Wiednertheater and the events that led to similarities as well as to specific lines, more difficult question. Apparently we can the inception and composition of Die musical phrases, aspects of character, and be certain that the attributions are authentic Zauberjlote is beyond dispute. Its signifi­ even scenes in Die Zauberjlote that appear to to the copy, but must realize that they may cance, however, cannot be determined by be "recycled" from the earlier Wieland not be authentic to the facts or to the first questions of whether Mozart composed, productions. performance. collaborated on, or merely contributed to Edge set out to show why, "since there The central question-and it was asked certain numbers, or of whether the attribu­ has been some resistance," he (and others) quite plainly, in a variety of ways-was: How tions, which are authentic only to a copy, think the so-called Hamburg score of Der much of this collaboration might be by accurately reflect the historical events. We Stein der Weisen is Viennese. Given his Mozart? With Friday evening's performance may never know which notes--or how many extensive experience with Mozart's Viennese fresh in everyone's ears, many present notes-are by Mozart. The more important copyists, Edge has been able to demonstrate suggested passages that might be, at least in "evidence" is surely the larger fact of Mozart's that the score now in the University Library part, by Mozart. (One such passage that participation in such a collaboration. Like in Hamburg was produced in the copy shop seemed to invite speculation was the chorus the canons, the insertion arias for pasticcios, of the Theater auf der Wieden in the 1790s in the subterranean vault, with its trom­ and other works composed for friends and (two of the hands also copied Don Giovanni bones.) Remembering contemporary informal gatherings (works that did not and COSI fan tutte), probably under the accounts of how Mozart, when visiting his make it into Mozart's Verzeichniiss), his direction of a Herr Weiss. The attributions­ friend Benedikt Schack, would occasionally contributions to Der Stein der Weisen need to the Introduzione (No.1) to Henneberg, the compose in his friend's incomplete scores, be understood as something other than Chorus (No.4) to Schack, and so on-are Edge suggested that if we wished to look for "great art." This is not to say how this more problematic. Even if they are by one of further evidence of Mozart's hand, we ought singspiel should be understood as a whole, the copyists, which is what we hope, we to look carefully at Schack's contributions. but rather that Mozart's contributions to it cannot be certain they are accurate. As Edge Buch, who has already faced this question in may not be understood independent of their cautioned, they may be the copyist's best the national press, repeated that we may context. What Nettl's ethnomusicologist memory. And there are several numbers or never know for certain the extent of Mozart's from Mars might suggest is that our difficul­ sections of the Act II finale that bear no involvement. Not that his cautionary words ties with sources arise not from the sources attribution. will halt the tide of speculation. themselves, but from the expectations we To no one's surprise, the papers on Der The dichotomy of Mozart/not Mozart bring to them. And if he ever does undertake Stein der Weisen were met with a host of was on the minds of others as well as a study of the present state of Mozart questions from the floor. To what extent musicologists, and was featured prominently research, he might read the evidence of the were the Wieland singspiels indebted to in the national press. In his review of the Hamburg score of Der Stein der Weisen to French comic opera? Did the Theater in der Boston Baroque performance, James R. learn about us. Leopoldstadt have the same or different Oestreich of The New York TImes registered -Jessica Waldoff kinds of productions? Was the duet "Nun, surprise at the viability of this forgotten The College of the Holy Cross liebes Weibchen" composed by Mozart, or theater piece: "Listeners who had filled merely orchestrated by him? Since the Jordan Hall at the New England Conserva-

-13- MINUTES The Mozart Society of America Mozart Society of America 30 October 1998 Business Meeting and Study Stanbro Room, Park Plaza Hotel Session Boston, Massachusetts 30 October 1998 (Meeting in conjunction with the Annual Meeting of The List of attendees American Musicological Society) Allanbrook, Wendy The meeting was called to order as soon as Nominations, Tom Bauman, chair. Churgin, Bathia a quorum was present, at 12:05 P.M. The Bauman was unable to attend the meet­ Clark, Caryl minutes for the 1997 annual meeting were ing; committee member Jessica Waldoff Comini, Alessandra presented and approved. President pro reported in his place. The committee has Corneilson, Paul tempore Isabelle Emerson reported on the run into a conflict between the require­ Emerson, Isabelle present state of the Society: membership ment of the Society Bylaws that a double Goehring, Ed stands at 174 members including several slate of officers be drawn from past board Hastings, Baird pattons, the bank balance is healthy, and members and the fact that the pool of Horsley, Paul the Society's application for non-profit tax board members is not large enough to Keams, Andrew status has been filed with the Internal provide such a slate. Therefore the Keefe, Simon Revenue Service. Emerson noted that committee recommended that Article Libin, Kathryn Shanks very few libraries subscribe to the Newslet­ IV.C be suspended for the election of Lockwood, Lewis ter and urged members to request such officers held in 1998. (Copies of the McLamore, Alyson subscriptions. Emerson then presented to article in question were given each Melamed, Daniel R. the membership the financial report for member.) This recommendation from the Mikulska, Margaret fiscal year 1997-98, and proposed budgets committee, which had been already Morrow, Mary Sue for fiscal year 1998-99 (published in the approved by the Board of Directors, was Platoff, John Society Newsletter, VoL II, No.1, page 6) presented as a motion to the membership Portowitz, Adena and 1999-2000. All were approved by the and was unanimously approved. Rice, John membership. Edmund Goehring, editor of the Solomon, Maynard Committee reports were presented as Society Newsletter, reported briefly on the Spaethling, Robert follows: status of the Newsletter. Stevens, Jane Membership, Roye Wates, chair. There being no further business, Waldoff, Jessica Wates reported on status of the Member­ Emerson called for a motion to adjourn, Wates, Roye ship Committee and called for volunteers which was moved, seconded, and ap­ Zeiss, Laurel E. to work with her and for suggestions about proved, and at 12:25 P.M. the meeting was expanding the membership. turned over to Jane Stevens and the Study Non-members attending: Program, Jane Stevens, chair. Stevens Session. Bordwig, Henrica M. and Wates have been responsible for the -Edmund Goehring Buch, David study sessions at the 1997 and 1998 Acting Secretary Chen, Jen-yen meetings. Stevens called for volunteers to MacIntyre, Bruce join the committee. Purcielo, Mona

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-14- Report on Study Session Kathryn L. Shanks Libin (Vassar Col~ The six abstracts submitted to the sheds surprising new light on the duet lege): " 'Romance' Style and the Narra~ Program Committee (see below) were and its origins. tive Voice in Mozart's Keyboard Con~ distributed at the Study Session, and of 295 Haywood Dr., Iowa City, Iowa certos: K. 451, 466, 467, 537, and 595" these, three were presented as papers. 52245; [email protected] A feature of vital interest in the slow Unfortunately, time allowed for only movement of Mozart's Concerto in D minimal discussion of the talks and Ulrich Leisinger (Bach~Archiv Leipzig): minor, K. 466, is its evocative title: abstracts, a problem we hope to address "Structural Revisions in Mozart's Le "Romance." This alludes to a poetic and with the revised format of the next study Nozze di Figaro" vocal style well known to Mozart, and session. A close collaboration between Mozart suggests a narrative of some kind. and Da Ponte has been taken for granted Though it seems unlikely that any David J. Buch (University of Iowa): ever since the publication of the programme figured in Mozart's concep~ "On Mozart's Partial Autograph of the librettist's memoirs (New York, 1823- tion of this movement or the others like Duet 'Nun liebes Weibchen' (K. 592a/ 27). Though changes in the structure of it, one does find a special style of piano 625) from Der Stein der Weisen" the text during the process of composi~ writing here that creates a vivid impres~ Mozart's partial autograph of "Nun, liebes tion have often been postulated, no sion of the piano as a solo voice, unfold~ Weibchen," K. 592a/625 (F~Pn, Ms. manuscript materials seemed extant to ing a story to its rapt listeners. In particu~ 247), written for Emanuel Schikaneder's prove any of these assumptions. Now, lar, this arises in a lengthy passage in heroic-comic opera Der Stein der Weisen with the autograph score and major parts which the accompaniment is reduced to oder die Zauberinsel (Theater auf der of the original performing materials of the bare minimum while the right hand Wieden, 11 September 1790), has not yet Mozart's Le nozze di Figaro being acces~ of the soloist gives out the unadorned received the attention it deserves in the sible again, far-reaching structural tune over a nearly non-existent left~hand secondary literature. Scholars have been revisions can be observed in act 4 (this part. Mozart's use during this period of reluctant to accept Mozart's authorship; was briefly mentioned by Alan Tyson in the Walter fortepiano, with its trenchant, some have suggested that Mozart merely The Musical Times, 1981). Figaro's aria triple~strung treble register, enabled him orchestrated the duet, a suggestion that "Aprite un po' quegli occhi" was appar~ to write such exposed passages by adding has been repeated as if it were a fact in endy conceived at a late stage. At that strength of tone to the piano's dynamic several prominent studies. The quality of point, Mozart had already written an inflections, and thus to invent a new the music in the duet has also been extended accompagnato recitative, expressive idiom for his concertos. Such questioned by those who believe the "Giunse al fin il momento," and he had "narrative" passages lie at the heart of work to be not entirely by Mozart. This drafted Susanna's "Deh vieni non tardar" Mozart's romance style for piano, since negative aesthetic judgment appears to as a rondo in E-flat major. Contrasting they strip away extraneous elements to be typical for pieces with uncertain meter and key between Figaro's and focus on the traits described by Rousseau attribution in the Mozart canon and does Susanna's arias, Mozart recomposed "Deh in his 1768 definition of the term: not necessarily reflect a fair assessment of vieni non tardar" in F major and consid­ simplicity, sweetness, and a "true, clear worth for a number of reasons. The erably shortened the scene to compensate voice that pronounces well and sings modem editions and recordings of this for the insertion of Figaro's new aria. An simply." While Mozart gave the title duet are based not on the autograph but analysis of key relationships within and Romance to only two of the concerto on a flawed copy in Berlin. In addition, between movements makes it clear that movements in question here (and one of there is no published information Mozart had planned ahead a move from these, K. 537, did not retain the title in available at all on the libretto of the C major to E-flat major as a dramatic Mozart's final autograph), the romance, opera. With the recent discovery of the suspension prior to the re~arrival in D or narrative, style also appears in strik~ libretto and a contemporary Viennese major, the main key of the opera. ingly similar passages in K. 451, 467, and manuscript score of the opera in Ham­ Structural revisions maintaining har­ 595. In the slow movements of all these burg that attributes this duet and portions monic relationships can also be identified concertos, the piano narratives emerge as of the Act II finale to Mozart, an exami~ in the two versions of Cherubino's "Non independent episodes at the same point nation of the autograph seems impera­ so pili cosa son, cosa faccio." Tonal in the piece, sharing the same texture, tive, as does a reassessment of the music. planning on small~ and large~scale levels the same type of opening rhetorical This paper will closely examine the must therefore be regarded as an essential gesture, and similar expressive content. manuscript evidence (watermarks, paper, prerequisite for Mozart to make his In these movements Mozart exploits the ink, handwriting, etc.) addressing the mature operas coherent and musically piano's potential for articulate utterance identity of the second hand and the conclusive. and thus contrives a new persona for the general nature and the quality of the Bach~Archiv Leipzig, concerto soloist: that of a singer/story~ music as it relates to the context pro~ Thomaskirchhof 16, D~04109 Leipzig, teller whose narrative voice relies on vided by the libretto. This examination, Germany; [email protected]~ simple eloquence to convey emotion. along with the analysis of the original leipzig. de 126 Darlington Avenue, Ramsey, NJ musical material, Mozart's changes to 07446; 201/327-8426; that material, and a review of Mozart's [email protected] later addition of wind and string parts, continued on page 16

-15- Report on Study Session reveals that Mozart and Burney (in their structures, strong contrasts of dynamics, characters Bastienne and Phoebe, range, and scoring, delayed tonics, chro­ continued from page 15 respectively) were more adept at writing maticism, overlapping articulations, Italianate arias than Rousseau, who processes of thematic fragmentation, and Caryl Clark (University of Toronto at claimed to write French music but was hemiola, further enrich the expressive Scarborough): "In the Wake of the influenced by the new Italian buffo style. intricacy. Neal Zaslaw has suggested that Grand Journey: Bastien und Bastienne" Moreover, it is ironic that the twelve­ this symphony was originally composed Although Bastien und Bastienne (1768) year-old Mozart outwitted everyone with for London, then a center of Enlightment may never have been performed during his representation of the pseudo-philoso­ thought. One wonders whether this kind the composer's lifetime, Mozart's first pher. of overemphasis on musical elements for singspiel is significant for what it tells us 10 Boswell Avenue, Toronto, which Mozart was particularly criti­ about the composer's future as an operatic Ontario, Canada M5R IM4; cized--complexity, dissonance, and dramatist, and especially for what it [email protected] chromaticism-might relate to social communicates about the aesthetic aspects of the period. climate in which it was created. The Adena Portowitz (Bar-nan University): [email protected] libretto represents a multi-layered "Aspects of Expression in Mozart's reworking of a plot first set by Jean­ Symphony No. 40 in G Minor, K. 550" John A. Rice (University of Houston): Jacques Rousseau in his intermede Le devin Mozart's symphony No. 40 in G minor, "Problems of Genre and Gender in du village (1752) and parodied by Ma­ K. 550, numbers among the pillars of the Mozart's Scena 'Misero! 0 sogno, 0 son dame Favart and Harney de Guerville in Classic symphonic repertory. More than desto?' K. 431" the opera comique Les amours de Bastien et any of Mozart's other symphonies, it has Valentin Adamberger, the first Belmonte Bastienne, which was performed in Paris inspired numerous analyses and criticisms in Die EntfUhrung aus dem Serail, inspired in 1753 and Vienna in 1755 and subse­ that recount its unique expressive Mozart to write some of his greatest quently translated into German as intensity and complex compositional music for the tenor voice, including the Bastienne by Friedrich Wilhelm Weiskern design. From the beginning, critics aria "Aura che intorno spiri" and the and Johann Muller in 1764. Further responded to the symphony's difficulty, orchestrally accompanied recitative that revisions to the Weiskern/Muller libretto suggesting that "one must hear ... precedes it, "Misero! 0 sogno, 0 son set by Mozart were made by the Salzburg Mozart's deep, artful, and emotion-filled desto?" Several questions have revolved trumpeter Johann Andreas Schachtner. Symphony in G minor ... several times for a long time around this splendid Even though the Mozart family may. to be able to completely understand and scena, the author of whose text has up never have attended one of the many enjoy it" (Allgemeine musikalische Zeitung until now remained unknown. In the revivals of Le devin du village during their [1804-05], quoted in Zaslaw, Mozart's opening recitative a male protagonist, extended European tour of 1763-66, they Symphonies, p. 530). Throughout the imprisoned and alone, calls out to a group certainly would have encountered French nineteenth and twentieth centuries, of women: "Aprite, indegne, I questa Enlightenment thought and Rous­ analyses of the symphony's expressive porta infernale, I spietate, aprite" (Open, seauvian aesthetics. And before their intent provoked controversy. While most disgraceful women, this infernal door; departure from Paris on 10 April 1764, critics acknowledged the music's pain and pitiless women, open). That women the Mozarts could have seen the parody anguish, others promoted qualities of should be holding a man captive (by of Rousseau's opera, Les amours de Bastien delicacy and grace. This paper presents a force rather than by love or magic) is, et Bastienne, revived at the Theatre review and discussion of the main topoi within the context of eighteenth-century Italien on 28 March 1764. In this paper I found in the symphony. It also attempts operatic conventions, extremely odd. suggest that, by setting a version of to explain what may have been Mozart's Who is this imprisoned man? And who Rousseau's famous opera, Mozart was intention in eliciting such contrary are these pitiless women who ignore his entering into--or better still Leopold was reactions. Extensive recent research plea? When and where did Adamberger positioning his son in-a larger intellec­ reveals that by drawing on conventional perform the scena? If, as is generally tual and philosophical arena. Writing 6n rhetorical figures, and familiar topoi and supposed, he did so at Tonkiinstler­ this theme would immediately catapult styles, eighteenth-century composers Sozietat concerts in December 1783, why the young Mozart onto the international could relay to their audiences specific did Mozart refer as a "rondeaux" to an scene as a composer, reconfiguring his expressive ideas. Such musical discourse aria that in many respects does not follow image from that of a virtuoso performer occurs in both vocal and instrumental the conventions of the two-tempo rondo? to a creative genius who could match settings. The treatment of topics in During the decade on which I have wits with Rousseau and also Charles Symphony No. 40, however, is distinct in worked on Antonio Salieri and Viennese Burney, whose own reworking of that it combines affects of contrasting Opera (to be published at the end of the Rousseau's opera, The Cunning Man, was connotations. Thus, throughout the year by University of Chicago Press) I begun in 1760 and performed in London symphony, Mozart colors dances and have learned much about Mozart as well in 1766. Might not the young Mozart do marches with more personal overtones, as Salieri. Finding part of the text of for German comic opera what others alluding simultaneously to both public "Misero! 0 sogno" in Salieri's comic opera were attempting in their own vernacular and private associations. Additional Il mondo alla rovescia (Vienna, 1795) led spheres? An examination of selected arias compositional processes support these for the shepherdess (Rousseau's Colette) compound affects, as irregular phrase continued on page 18

-16- Calendar

CONFERENCES Zentralinstitut fur Mozart-Forschung of 10150 Tel: (212) 832-9420. Mrs. Erna the Internationale Stiftung Mozarteum, Schwerin, President. 25 April, 2:30 P.M.: Arranged chronologically; deadlines for Salzburg, 18-19 June 1999, Salzburg. David Oei and Yuri Kim, pianists, Mozart's paper/seminar proposals are given if Address: Zentralinstitut fur Mozart­ works for piano four-hand, Donnell known or not already passed. Note that Forschung of the Internationale Stiftung Library Center, 20 W. 53d St., New York abstracts of papers are frequently posted Mozarteum, Schwarzstrasse 27, A-5020 City. 19 May, 8 P.M.: ClaringChamber on the web sites of societies. Salzburg, Austria, ATT: Dr. Faye Ferguson, Players, Mozart's String Quartets, CAMI or e-mail: [email protected]. Hall, 165 W. 57th St., New York City. Western Society for Eighteenth~Century Admission free for all events. Studies, 19-21 February 1999, California Tenth International Congress on the State University, San Bernardino. Enlightenment, 25-31 July 1999. Address: Mozart Society of California. Carmel, Address: Ted Ruml, Dept. of English, Andrew Carpenter, Dept. of English, CA. P.O. Box 221351 Carmel, CA 93922 California State University-San Bernar­ University College, Dublin 4, Ireland; Tel: (408) 625-3637. Clifton Hart, dino, San Bernardino, CA 92407-2397; e-mail: [email protected]; fax: President. 4 February 1999: Sari Gruber, tel: (909) 880-5885; fax: (909) 880-7086; +353-1-706-1174. soprano, Sunset Center Theater, San e-mail: [email protected]; webpage: Carlos between 8th and 9th, Carmel. 25 http://flan.csusb.edu/wsecs/wsecs.htm. Midwestern American Society for March: The Vienna Piano Trio, Sunset Eighteenth~Century Studies, 7-9 Center Theater. 28 April: The Ying South Central Society for Eighteenth­ October 1999, University of Missouri­ Quartet with Eli Eban, clarinet, Sunset Century Studies, 25-27 February 1999, Columbia and Stephens College, Colum­ Center Theater. All concerts begin at Shreveport, LA. Address: Conference bia, Missouri. Contributions invited on 8 P.M. Admission $15.00 for non-members. Director, Robert Leitz III, Noel Memorial theme "At the Century's End: New Library, LSU-Shreveport, Shreveport, LA; Directions in Eighteenth-Century The Mozart Society of Philadelphia. No. tel: (318) 798-4161; e-mail: Studies." Address: Tom Dillingham, Dept. 5 The Knoll, Lansdowne, PA 19050-2319 [email protected]; or Kevin Cope, of Language & Literature, Stephens Tel: (610) 284-0174. Davis Jerome, Dept. of English, LSU, Baton Rouge, LA College, 1200 E. Broadway, Columbia, Director and Music Director, The Mozart 70803; tel: (504) 388-2864; e-mail: MO 65205; tel: (573) 442-2211, ext. Orchestra. 25 April: Haydn, Symphony [email protected]; webpage: 4699; e-mail: [email protected]; or 39; Mozart Symphony 25, other works. http://zoyd.ae.utexas.edu/curlcraig/ss/ Catherine Park, Dept. of English, Univer­ All concerts begin at 7 P.M. at the Church SCSECS/SCSECS.html. sity of Missouri-Columbia, 107 Tate Hall, of St. Luke and the Epiphany, 330 S. 13th Columbia, MO 65211; tel: (573) St., Philadelphia. Concerts are free and Southeastern American Society for 882-0665; e-mail: open to the public. Eighteenth~Century Studies, 4-6 March [email protected]. 1999, Knoxville, TN. Conference theme Mozart Society. Toronto, Ontario. 250 is "Reunions, Celebrations, and Anniver­ East-Central American Society for Heath St. West, No. 403, Toronto, saries." Address: Peter H6yng, Dept. of Eighteenth-Century Studies, 21-23 Ontario M5P 3L4 Canada Tel: (416) Germanic Languages, University of October 1999, Washington and Jefferson 482-4173. Peter Sandor, Chairman. Tennessee, Knoxville, TN 37996; e-mail: College, Washington, PA. 17 March: Chinook Duo (piano, four [email protected]; or Dr. Elaine Breslaw, hands), Sunderland Hall, First Unitarian Dept. of History, University of Tennessee, Northeast American Society for Eigh~ Congregation, 175 St. Clair Ave. Knoxville, TN 37996; e-mail: teenth~Century Studies, 9-12 December 14 April: perfonnances by best students of [email protected]. 1999, University of New Hampshire, University of Toronto Opera Division, Durham, NH. Call for papers on theme Sunderland Hall. American Society for Eighteenth~ "Projects and Projectors: Inventions of the Century Studies, Annual Meeting, 'Enlightenment' "will be issued in January CONCERTS AND LECTURES 24-28 March 1999, University ofWiscon­ 1999. Address: Professor Edward Larkin, sin, Milwaukee. Mozart Society of Program Chair, Dept. of Languages, Jupiter Symphony. New York City. 155 America: Address: Isabelle Emerson, Literatures and Cultures, University of W. 68th St., New York, NY 10023 Tel: Department of Music, University of New Hampshire, Murklarrd Hall 18, (212) 799-1259. Jens Nygaard, Conduc­ Nevada, Las Vegas, Nevada 89154-5025; Durham, NH 03824; tel: (603) 862-3549; tor. Four series of seven concerts each, 14 e-mail: [email protected]; fax: fax: (603) 862-4962; e-mail (preferred): and 15 September 1998 through 17 and (702) 895-4239; or Edmund Goehring, [email protected]. 18 May 1999. Emphasis on music of Program of Liberal Studies, University of Mozart and his contemporaries, frequent Notre Dame, IN 46556; e-mail: ACTIVITIES OF CITY AND performances of music from other periods. [email protected]. REGIONAL ORGANIZATIONS Mondays at 2 and 7 P.M., Tuesdays at 8 P.M. All concerts at Good Shepherd Friends of Mozart, Inc. New York City. Church, 152 W. 66th St., New York. P.O. Box 24, FOR Station, New York, NY continued on page 18

-17- Calendar Midsummer Mozart Festival. San Report on Study Session Francisco Tel: (415) 954-0850 Fax: (415) continued from page 17 954-0852 George Cleve, Music Director continued from page 16 Mozart Festival. San Diego. P.O. Box and Conductor. me to identify the author of Mozart's text 124705, San Diego, CA 92112--4705 Tel: as Caterino Mazzola, who reworked Mostly Mozart 1999. New York City (619) 239-0100. David Atherton, La Lincoln Center. July and August 1999. Metastasio's clemenza di Tito for Artistic Director. 3-20 June 1999. Mozart in 1791. Mozart and Salieri took Twenty-concert series features orchestral the text from r:isola capricciosa, a comic music, chamber music, recitals, pre­ OK Mozart International Festival P.O. opera libretto performed with music by concert lectures, and a youth concert. Call Box 2344 Bartlesville, OK 74005 Giacomo Rust in Venice in That for information about other series offered Ms. Nan Buhlinger, Director 1780. by Mainly Mozart. identification has suggested answers to San Luis Obispo Mozart Festival. San some of the other questions that surround Luis Obispo, CA P.O. Box 311, San Luis Mozart's scena and raised new issues for The following organizations present Obispo, CA 93406; tel: (805) 781-3008 discussion. concerts and lectures; no further informa­ Clifton Swanson, Music Director and 9711 Rathbone, Houston, Texas Conductor. July and August 1999. tion is available at this time. 77031; (281)575--8527 Mainly Mozart Festival. Arizona State Vermont Mozart Festival. Burlington University. P.O. Box 512 Burlington, VT 05402.

Woodstock Mozart Festival. Woodstock, IL.

Discounts for MSA Members Please send your order with The following publishers have offered discounts to Mozart Society members as follows: payment by credit card Henle: 10 percent, plus shipping and handling $5.00 per order (specify Visa or Facsimile: Mozart, String Quartet in F, K. 268. $85.50 ($95) Mastercard, number plus Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Catalogs of the Music Department: Vol. 6, Wolfgang Amadeus Mozart, Autographs and expiration date) or by Copies by H.G. Klein. Cloth. $288 ($320). check( s) made out to the Urtext Editions of Mozart (see current listing). appropriate publisher{s), to Oxford University Press: 20 percent plus shipping and handling $3.00 first book, MSA, Department of $1.50 each additional Eisen, Cliff, ed. Mozart Studies, 1992. $68 ($85). Music, University of Kiister, Konrad. Mozart: A Musical Biography. Trans. Mary Whittall, 1996. $28 ($35). Nevada, Las Vegas, NV Sadie, Stanley, ed. Wolfgang Amade Mozart: Essays on His Life and His 89154-5025. Your Music, 1996. $76 ($95). membership will be Zaslaw, Neal. Mozart's Symphonies: Context, Performance Practice, Reception, 1990. $28 ($35), paper. verified and your order and check then forwarded to University of Michigan Press: 20 percent, plus shipping and handling $3.50 Zaslaw, Neal. Mozart's Piano Concertos, 1996. $79.20 ($99). the appropriate publisher(s), who will send W.W. Norton & Company: 30 percent, plus shipping and handling $3.50 first book, $2.00 each additional the items directly to you. Heartz, Daniel. Haydn, Mozart, and the Viennese School, 1740-1780, 1995. (ASCAP- Deems Taylor Award winnerfor 1996.) $45.50 Order form is included on ($65). membership application in Sadie, Stanley. New Grove Mozart, 1983. $9.06 ($12.95). this Newsletter. Zaslaw, Neal. The Compleat Mozart, 1991. $24.50 ($35).

-18- Board of Directors

Isabelle Emerson (University of Nevada, Las Vegas), President Jane Stevens (University of California, San Diego), Vice President Daniel Leeson (Los Altos, Calif.), Treasurer Thomas Bauman (Northwestern University) Edmund Goehring (University of Notre Dame) Gordana Lazarevich (University of Victoria) Jane Perry-Camp (Robbinsville, N.C.,Tallahassee, Fla.) Elaine Sisman (Columbia University) Neal Zaslaw (Cornell University)

Honorary Directors

Alessandra Comini (Southern Methodist University) Daniel Heartz (University of California, Berkeley) Jan LaRue (New York University) Christoph Wolff (Harvard University)

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-19- The Mozart Society of America

We are proud to present this issue of the Newsletter of the Mozart Society of America. Please share this copy with colleagues and students.

It is with great pleasure that we express our gratitude to all who helped make this issue possible: the University of Nevada, Las Vegas, for serving as host institution; and Jeff Koep, Dean of the College of Fine Arts, and Paul . Kreider, Chair of the Music Department, at UNLV for their generous and unfailing support of the Mozart Society of America.

Edmund Goehring, Editor Isabelle Emerson, President Newsletter Mozart Society of America