THE WORKS OF W. A.

MOZART FOR THE BASSET HORN: AN ANNOTATED BIBLIOGRAPHY INCLUDING A CATALOGUE DISCUSSION AND REVIEW OF MOZARTS WORKS UTILIZING BASSET HORN AND BASSET CLARINET.

Keith Northover 6211-5955

Professor Mitchell Estrin Honors Research Project University of Florida, November 30, 2009

2 As an aspiring clarinetist with a fascination for all types of clarinets or auxiliary clarinets, it would be imperative to study and research about the clarinets history including its close relative, the basset horn. As a relatively young instrument to the orchestra, the clarinet began its development around the later part of the 18th century. Early in its development, instrument makers would create and experiment with different shapes and sizes. As developers wanted bigger instruments, the technological inadequacies of the time influenced the designs of the larger clarinets, then called basset horns. Mozart, an influential and important composer, first heard clarinets most likely during his stay in London in 1764, in Milan in 1771, and Mannheim in 1777, but not in Salzburg because there were none in his home city.1 After hearing and discovering several virtuosi performing on the clarinet, the basset horn, and basset clarinet, Mozart became highly motivated and inspired to write numerous works involving these instruments. This project attempts to discuss and review all of the works that Mozart composed utilizing the basset horn and the basset clarinet. First, one must have a discussion on what makes a basset horn. The basset horn is a clarinet pitched in F, which is a fourth below that of the normal B-flat soprano clarinet. It is not to be confused with the alto clarinet, which is in E-flat. The basset horn differs by having a traditionally thinner wall and a narrower bore, which creates a more wistful, dreamy, and sad sounding instrument.2 Its compass is from sounding F on the first space below the bass clef, written C, to sounding high C, two lines above the treble clef, written high G. Like the earliest clarinets, it did not have the necessary keys to play all of the notes in its compass, however it was able to play low C because it was developed to act as a bass clarinet. Martha Kingdom Ward, Mozart and the Clarinet, Music and Letters 28, no. 2 (April 1947): 126, http://www.jstor.org/stable/855526 (accessed April 20, 2009). 2 John P. Newhill, The Basset Horn and its Music (Farthings: Rosewood Publications, 2003), 2.
1

3 In the technologically limited 18th century, the extra tube required was accommodated by different methods of construction. Sometimes there was a large wooden bow that turned up on itself which then reduced the length of the instrument to a manageable size. Other times it was just a continuous extended tube with some sort of curvature to bring the holes and keys within reach.3 In addition to being in F, the very first horns were mostly in G and as a sickle or half moon form.4 The name is thought to have derived from its sickle shaped appeared that resembled a hunting horn with a large brass bell and for the diminutive of bass. It therefore resulted in basset horn, or Bassethorn (Gr), cor de basset (Fr), and corno di basseto (It). It is interesting to note that the Italian form is linguistically incorrect and may be the result of translation errors when moving from language to language.5 The first inventors of the basset horn is thought to be Anton and Michael Mayrhofer since they are inscribed on along with Invented and perfected at Passau on the earliest documented basset horns around the mid 18th century. The Mayrhofers instrument was sickle shaped with a normal clarinet mouthpiece at one end and a large brass bell at the other. In order to bring the holes into a comfortable playing position the tube was curved downwards thus being sickle shaped. The wood was cut in half, gouged out by hand, then glued and covered in leather.6 The bottom brass bell contained a box of wood, in which the tube made two u bends thus elongating the wood called the box, or Bch, Kasten, and Ktschen.7 The box is the distinctive characteristic of the basset horn that existed well into the 19th century. In the 1780s a famous instrument maker, Theodor Lotz, is credited for improving the basset horn of Mozarts Jack Brymer. Clarinet (London: Kahn and Averill, 1990), 35-36. Geoffrey F. Rendall, The Clarinet: Some Notes on its History and Construction (New York: W. Norton, 1971), 126 5 Newhill, Basset Horn, 7. 6 Ibid., 7. 7 Rendall, Clarinet, 127.
4 3

4 time. He added more keys to the horn thus allowing for the encompassing for low D, later E-flat, and D-flat. Lotz also improved the construction method of the instrument by using a lathe, modifying the tube, straightening it, and then putting an obtuse angle in the middle. This not only improved the sound, it produced a better and more homogenous sound.8 Lotz is also credited with collaboration with Anton Stadler for developing the basset clarinet. This Bass Klarinette9 as described initially, was a normal soprano clarinet pitched in B-flat or A with a lower compass to low C, D, later E-flat, and D-flat. As time would progress the basset horn and basset clarinet constructional techniques would also progress into new straight model and better sounding modern horns though both horns would decline in use rapidly in the 19th century. Basset horns in F with larger bores would reappear with the alto clarinets in military bands, and in the last century a revival of historically authentic performances of solo and chamber music has allowed the basset horn to be used, albeit sporadically, today.10 The basset horn enjoyed a very busy and fulfilling life during the first century of its inception, though has declined very much as a solo instrument. In the 18th century the basset horn spread rapidly throughout Europe probably because of the numerous virtuosi of the likes of David, Springer, and the Stadler brothers.11 The basset horn was included not only as a solo instrument, but it was included in chamber, orchestral, operatic, and Masonic music as well. Brymer poses an interesting thought where, One can only wonder at the skills and dexterity of the players whose mastery of their crude instruments was such that a host of fine composers were

Newhill, Basset Horn, 12. Pamela L. Poulin, Stadler Family in The Cambridge Mozart Encyclopedia, ed. Cliff Eisen and Simon P. Keefe (New York: Cambridge University Press, 2007), 490. 10 Newhill, Basset Horn 15 11 Ibid. 12.
9

5 inspired to write for the instrument.12 This thought would be very interesting to research because despite all the squeaks and squawks, Mozart loved the basset horn. He was able to prove in his writing that the basset horns capacity for speed and agility was just like the clarinet, and had a distinctively somber reedy tone color.13 Wolfgang Amadeus Mozart (1756-1791) was one of those composers who was greatly influenced and inspired by the basset horn, as it is described as his favorite instrument.14 It is also believed that Mozart was influenced by the Freemasons, when he became one when he moved to Vienna. There he met fellow freemason and basset horn virtuoso, Anton Stadler, began to write for him. Mozart joined the Vienna Freemasons in the 1780s and was initiated in the Zur Wohlttigkeit (Charity) and moved when it was combined with other Lodges into the Zur Neugekrten Hoffnung (New Hope Crowned) Lodge. Mozart was deeply influenced by the Masonic order and teachings. It not only allowed him to write with the universal beliefs in mind, but also allowed him the freedom, recognition, and dignity that Salzburg had neglected and denied him.15 At the Lodges it is most likely that Mozart met Anton Stadler. Stadler was born in Bruck-on-Leitha on June 28th, 1753 and died Jun 15, 1812. He is considered one of the best and most influential clarinetists of his time. After receiving musical instruction from their father, the Anton and his brother grew up to become musicians for numerous courts and composers and their first employment opportunity was as musical servants in the 1770s to the Viennese Russian

Brymer Clarinet 36 Ward, Mozart and the Clarinet, 130. 14 Ibid., 36. 15 Jacques Henry, Mozart the Freemason: The Masonic Influence on his Musical Genius, Trans. Jack Cain, (Rochester, Vermont: Inner Traditions, 2006), 5-6.
13

12

6 Ambassador.16 It is most likely that Mozart met Anton Stadler through their mutual patrons Joseph Starzer, Count Galitzin, or more likely their patroness the Countess Wilhemina Thun after Mozarts arrival in Vienna in 1781 where both were frequent luncheon guests.17 Mozart would write numerous pieces for Stadler most famously including the clarinet Quintet and Concerto. Mozart and Stadlers relationship was more than composer and performer, and they developed into a very meaningful personal relationship over the years.18 This friendship and shared sense of humor is shown in Mozarts letters by referring to Stadler as Notschibinitschibi a combination of the words poor booby and young man of follies.19 Mozart truly recognized Stadler as a great artist, who could give him the desired sounds and timbres that were truly divine. Stadlers playing would foreshadow what future performers could do on more manageable instruments.20 Mozart was probably also influenced by other clarinet and basset horn virtuosi. Along with Anton Stadler his brother Johann Stadler (1755-1804), was also a competent clarinetist and basset hornist who performed and inspired Mozart. 21 Mozart was also most likely influenced by the duo Anton David (1730-1796)22 and Vincent Springer (1760-?).23 David and Springer toured Europe on the basset horn, performing city to city with their sickle shaped basset horns in G. They were even given a benefit concert by Mozart and Anton Stadler in the Lodge to help send them home, where the Masonic Adagios K. 410, and K. 411are thought to have been performed. Pamela Weston, Clarinet Virtuosi of the Past, (London: Panda Group, 1977), 247. Pamela L. Poulin, A Little Known Letter of Anton Stadler, Music and Letters 69 no. 1, (January 1988): 55, http://www.jstor.org/stable/855465 (accessed August 12, 2009). 18 Colin Lawson, Mozart: Clarinet Concerto, (New York: Cambridge University Press, 1996), 17. 19 Ibid.,. 19. 20 Ward, Mozart and the Clarinet, 128. 21 Weston, More Clarinet Virtuosi, 246-248. 22 Ibid., 81. 23 Ibid., 244-245
17 16

7 The basset hornist Franz Dworschack (?-1800 or later), is most likely to have performed with Springer.24 He is also thought to have also performed on the larger Mozart works containing multiple clarinets and basset horns. The instrument maker Raymund Griesbacher (1752-1812) also could also been an influence on Mozart and performed on the larger works25, as well as the more famous instrument maker Theodor Lotz (1748-1792). Lotz performed on basset horn and contrabassoon on some works by Mozart, was a fellow freemason and most importantly developed and improved the basset horn, while creating the basset clarinet.26 It is unknown who was the most influential virtuoso, (probably Anton Stadler), but one can rest assured that Mozart created numerous great works in the span of several years incorporating the basset horn in all genres of music. In Mozarts music, freemasonry images and beliefs come out in many of his works that contain basset horn or basset clarinet. Masonry beliefs were integrated by Mozart very well and can be seen in numerous works including official and unofficial Masonic works. The threefold element displayed by the use of three flats or sharps, with major and minor three note chords represent symbols of ideal harmony. Numerous dotted rhythms reflect the symbol of time that includes marches that are always slow and processional in nature. The space built into the music represents the visual elements of space in the Lodge and practices of some rituals. Mozart composed his music to reflect the ideas of transitioning from the un-built to the unformed rigor, from raw stone to the cube of stone, and from chaos to order. He also used different motives to signal the Masonic knocking and rising melodic shapes or rising stairs. 27

24 25

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

8 Mozart composed about thirty-one pieces of music that included the basset horn or basset clarinet. In the following section, each work where Mozart uses basset horn or basset clarinet whether it is a full-completed piece or fragment is reviewed and discussed. Each entry contains historical information, musical information, analytical thoughts, and historically controversial information regarding dates, instruments, or performance practices. Also listed is where one can find the music including its location in the Neue Mozart Ausgabe, if available Alte Mozart Ausgabe, a short snippet of the score, and all the appropriate Kchel cataloging numbers that have been used to identify works. Also included are the works listed in the Anhang section of the Kchel cataogue that grouped all of the incomplete, fragmentary, and spurious works. The first Kchel catologue listings are first, with subsequent catalogue relisting or numberings listed next, and for fragments, the identifying fragment number is also included. This research has been a long, interesting, and fulfilling process. Before this project began the amount of great works utilizing and the reasons why Mozart incorporated the basset horn and basset clarinet was unknown. Mozart truly wrote some great and everlasting works including these instruments. If Mozart had continued to live, he would have certainly continued to write for the basset horn and basset clarinet. It seems that he would have eventually reached to the point of including the basset horn in the orchestra as a significant member, or at the very least, a greater amount of chamber music written using the basset horn and basset clarinet.

9 Acknowledgements Thanks and appreciation are given to the kind scholars at the Bibliotheca Mozartiana with the Internatioanle Stiftung Mozarteum at the Universitt Mozarteum in Salzburg, Ferdinand Steiner, Dr. Oliver Kraft, who assisted and helped while studying abroad. Thanks are given to Daniel L. Leeson, Dr. Kyle Coughlin, and Dr. Jay Niepoetter who helped pose ideas of where to find information and other sources. Most importantly thanks is given to Professor Mitchell Estrin who was the faculty advisor who helped identify and create a project that was very interesting and very fulfilling.

10 K. 361 (370a) Serenade 'Gran Partita28

AMA: IX/Sec. 1/No. 12, p. 399 [R23] NMA: VII/17/2, p. 141 [Pb 17] BA 5331; TP 312

Example 1: K. 361, Movement 1, mm. 1-329

Mozart, Wolfgang Amadeus Mozart, NMA: III/9, 141, http://dme.mozarteum.at/DME/nma/nmapub_srch.php?l=2 (accessed Nov. 1, 2009). 29 Ibid.

28

11
Example 2: K. 361 Movement 2, Menuetto: Trio 130

1st Movement: Largo-Molto allegro 2nd Movement: Menuetto 3rd Movement: Adagio 4th Movement: Menuetto; Allegretto 5th Movement: Romance; Adagio-Allegretto-Adagio 6th Movement: Tema con Variazioni; Andante 7th Movement: Finale; Molto allegro

Mozarts K. 361 or K.3 370a is a seven-movement serenade, or sometimes referred to as a Harmonie ensemble31 or Harmoniemusik32, and is in B-flat-major for wind ensemble containing two oboes, two clarinets, two basset horns, four horns, two bassoons, and a double bass33. The extra basset horns, horns, and double bass were an unusual addition to the normal

Ibid., 165. Stanley, Sadie. The New Grove: Mozart (New York: WW Norton, 1983), 99. 32 Daniel N. Leeson, gran Partitta: a book about Mozarts Serenade in B-flat, K361 for 12 Wind Instruments and String Bass (Bloomington, IN: AuthorHouse, 2009), 51. 33 Ulrich Konrad, Mozart: Catologue of his Works, Trans. J. Bradford Robinson, (London: Brenreiter 2006), 102-103.
31

30

12 eight-member chamber wind ensemble.34 This work is often performed nowadays with a contrabassoon instead of a double bass.35 It is often called gran Partitta which is written on the manuscript, or the Grand Partita or Gran Partita. This subtitle has created some controversy because it is not written in Mozarts hand and is a German-Italian non-standardized combination of words and grammar.36 The date of composition, along with why it was written and its commissioner are questionable and are long lost. The date of composition is either 1780-81 while Mozart was in Munich37 or was 1783-84 while Mozart was in Vienna. The compositional date of the work is under debate due to the watermark research resulting in a date of 1782.38 Mozart and his dog could have contributed to the reason why conflicting watermarks are noticed when they possibly knocked things around and mixed up his sheet music supply. This would have caused older paper to be used39 thus resulting in a dating error. Whenever the date was, it was before 1784 because on March 23 of that year, four movements of the Serenade were premired by Stadler and twelve other musicians at the National Hoftheater in Vienna and reviewed in the Winerblttchen newspaper.40 According to Daniel Leeson, he believes that no one can definitively establish when it was written, what circumstances that led to its creation, or who might have commissioned it.41

Sadie. New Grove, 99. Neal Zaslaw and William Cowdery ed., The Compleat Mozart: a Guide to the Musical Works of Wolfgang Amadeus Mozart, (New York: W. W. Norton, 1990), 248. 36 Leeson, gran Partitta, 41. 37 Sadie, New Grove, 76. 38 Zaslaw, Compleat, 248. 39 Leeson, gran Partitta, 20. 40 Zaslaw, Compleat, 248. 41 Leeson, gran Partitta, 13.
35

34

13 Mozart could have possibly written it due to the influence of the great basset horn virtuosi David and Springer who were in Vienna at the time.42 On the other hand stylistic evidence suggests that it may have been written for Anton Stadler.43 Most likely the presence of four excellent clarinet and basset horn virtuosi must have inspired Mozart to write such a work.44 Anton Stadlers playing and Mozarts compositions were admired greatly and described in Johann Friedrich Schinks memoirs.45 Schink describes Stadler as a braver Virtuoso due to his soft vocal qualities in tone to which no one with a good heart could withstand.46 If all four clarinetists were the inspiration, an interesting question arises in which who played what part. If Stadler played first then, it is likely David and Springer would have had to borrow Stadlers basset horn, for the key was different and the range was greater than the horn they had could accommodate.47 The work is full of rich sonorities that emote a feeling of breathlessness and intimacy in the concert hall. It is fitting that it closes Mozarts great period of wind writing.48 The two basset horns play a pivotal role throughout the work and are often paired with the two clarinets, especially in the first trio of the first Menuetto (example 2). Mozart likes not only in this work, but in others to pair the basset horn with the oboes. Mozarts use of thematic material that is dialogue in nature while contrasting between tutti and smaller groups, has allowed for a variety

42 43

Ibid., 58. Zaslaw, Compleat, 248. 44 Lawson, Mozart Concerto, 19. 45 Zaslaw, Compleat, 248. 46 Rendall, Clarinet, 82. 47 Newhill, Basset Horn, 95. 48 Zaslaw, Compleat, 248.

14 of instrumental combinations and is ultimately kaleidoscopic writing [which stands] without parallel in wind music today.49

K. 384 AMA: V/No. 15 [R 13]

Die Entfrung aus dem Serail50

NMA: II/5/12 [Pb 6] BA 4591 Vcs, HM

Example 3: K. 384, No. 10, mm. 1-351

49 50

Sadie, New Grove, 99. Mozart, NMA: II/5/12, 174. 51 Ibid.

15 Die Entfrung aus dem Serail or The Abduction from the Seraglio, K. 384 is an opera singspiel in three acts. It was begun in 1781 in Vienna and finished by late May 1782. It calls for two soprano, two tenor, and a baritone soloist, along with a full SATB choir, a piccolo, two flutes, two oboes, two clarinets/basset horns, two bassoons, two horns, two trumpets, timpani, German drum, triangle, cymbal, Turkish drum, full orchestra strings including first and second violin, first and second viola, violoncello and basso continuo with either fortepiano or harpsichord. The author of the text was Christoph Friedrich Bretzner, and arranged by Johann Gottlieb Stephanie the younger. It was premired in Vienna at the Burg Theater on July 16th, 1782.52 The basset horn only makes a short appearance in the opera and is included in most of the aria of No. 10, Traurigkeit ward mir zum Loose.53 Here Mozarts favorite instrument is used to portray longing54 with a charming melody55 to accompany the unhappy Constanze in her Gminor aria portraying sadness.56 Often this aria is deleted from the opera57 possibly because of the required use of basset horns.

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

52

16 K. 410 (440d, 484d) AMA: X, p. 79 [R 25] NMA: VIII/21, p. 120 [Pb 18] Adagio58

Example 4: K. 410, mm. 1-459

The Kanoniches or Canonic Adagio, K. 410, K3 440d, K6 484d, is for two basset horns and bassoon. It is in F-major and was written in Vienna around 1784 or 1785560 or even around 1782 or 1783.61 This miniature gem62 is of somewhat serious nature63 and is apart of Mozarts Masonic columns of harmony where instruments are linked by their nature to breath and life.64 This work is officially recognized as Masonic in nature including how one flat in the key signature reflects the first degree, Entered Apprentice, of freemasonry.65 This and K. 411 are presumably to be written for the Stadler brothers, namely Anton, who was a virtuoso on the basset horn. The brothers are probably the first performers of the

58 59

Mozart, NMA: VIII/21, 120. Ibid. 60 Konrad, Mozart, 102-103. 61 Zaslaw, Compleat, 247. 62 Newhill, Basset Horn, 78. 63 Zaslaw, Compleat, 247. 64 Henry, Mozart the Freemason, 19. 65 Ibid., 28.

17 work, although David and Springer might have been the catalyst for this work among other basset horn works.66 The pleasant and secretive sound of the basset horns probably induced the Vienna Freemasons to make use of them during solemn occasions. This seriousness and construction of harmony probably shows that they were probably written for a festive occasion. The basset horns present a quietly flowing contrapuntal cannon over a freely moving bass.67

K. 411 (440a, 484a) AMA: X, p. 80 [R 25] NMA: VII/17/2, p. 223 [Pb 17]

Adagio68

Example 5: K. 411, mm. 1-869

The Adagio in B-flat-major K. 411, or K3 440a, K6 484a is for two clarinets and three basset horns. It was probably written around 1782 or 178370. It is a splendid piece with

66 67

Lawson, Mozart Concerto, 19. Zaslaw, Compleat, 247. 68 Mozart, NMA: VII/17/2, 223. 69 Ibid. 70 Konrad, Mozart, 102-103.

18 interesting sonorities71 and a tonal gem that is of serious solemn Masonic nature.72 Though believed to be composed in 1782 or 1783, Henry believes it would be a mistake to date them before December 1784.73 It along with K. 410 are officially recognized as being Masonic. Although labeled as Adagio, it is processional in nature that can accompany a ritual march in the Lodge such as bringing the sacred to the assembly.74 This, along with K. 410, is fundamental to understand Mozarts Masonic compositions.75 Like K. 410, this was also written probably for a festive occasion, which is shown by the construction of the rich harmony and the serious nature of the work.76 Unlike K. 410 it might have been intended to be a part of a much larger work.77 Masonic thoughts and symbols are what Mozart used to inspire him to write this work, which allowed Mozart to perceive these beliefs as melodies and harmonies.78 Like K. 410, K. 411 was probably inspired by the Stadler brothers and/or David and Springer.79 There are five parts, which could mean that all four virtuosi performed this work with perhaps the likes of Griesbacher or Lotz who were also fellow masons.

71 72

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

19

K. 346 (439a), K. 436, K. 437, K. 438, K. 439, K. 549 Vocal Notturni and Canzonetta

During the years 1787 to 1788, Mozart wrote a series of vocal chamber works, including five Notturni and a Canzonetta with similar characteristics. They were all written for two soprano and one baritone soloists with wind instrument accompaniment. The accompaniment included three basset horns, or two soprano clarinets and one basset horn.80 They were most likely written in Vienna, in 1787 and not 178381 as previously thought. The author of all the texts is or is thought to be Pietro Mestastasio, an important 18th century librettist. These works are short and simple songs where the text and music evoke feelings of love and happiness82. These works are likely inspired by Mozarts friendship with the family Jacquin, whose son Gottfried and daughter Franziska were also very musical. Franziska was one of Mozarts best piano students and likely influenced by her to compose the clarinet or Kegelstatt Trio, K. 498. Mozart was also very fond of Gottfried and most likely influenced by him to compose the five Notturni and Canzonetta. Mozarts widow Constanze supposed that Gottfried and Mozart collaborated on these works, although Mozart is widely accepted as the composer.83 The date 1783 is most likely inaccurate because Mozarts friend and inspiration, Gottfried, would have only been sixteen, was not a prodigy, and the friendship is only documented after 1785.84

80 81

Konrad, Mozart, 40-41. Newhill, Basset Horn, 98. 82 Zaslaw, Compleat, 97. 83 Zaslaw, Compleat, 97. 84 Hildeishemer, Mozart, 180.

20 It is somewhat unusual for basset horns to be used as accompaniment considering they were only used in Mozarts music several times before. Anton and Johann Stadler must have made a profound impact on Mozart and must have inspired Mozart to experiment with the instrument. These ensembles of light music are tender and intimate, contain flowing melodies, reverberations, reminiscences, and anticipations of things that would come later. These evenings of bringing three wind player friends to perform at the Jacquins were probably the happiest evenings Mozart experienced and not only enriched just Mozart but future generations as well.85 The basset horns are used as accompaniment throughout the works and provide depth and character to the soundscape. They play mostly the same notes and rhythms as each of their corresponding vocal part with basset horn 1 being linked to soprano 1, basset horn 2 linked to soprano 2, and basset horn 3 linked to the baritone. Mostly the variation in notes and rhythms only occur at the ends of phrases and where the rhythm is stagnate. Like most of the Notturni an extended range basset horn must have been used for there are many extended notes present throughout.

85

Ibid.

21 K. 346 (439a) Nocturne "Luci care, luci belle"86

NMA: III/9, p. 42 [Pb 10] BA 5326

Example 6: K. 346, mm. 1-387

The Nocturne, "Luci care, luci belle", K. 346 is one of several vocal chamber music works including three basset horns. Different from the other Notturni is the Kchel number that has been readjusted in the later catalog listing to be grouped with the others. Also different is that the author of the text is unknown88 and the text might have been possibly and probably partly written by Gottfried von Jacquin, though Mestastasio is likely to be the author.89 Here the basset horns are mere accompaniment and the third basset horn contains numerous low basset note Cs.
86 87

Mozart, NMA: III/9, 42. Ibid. 88 Konrad, Mozart, 40-41. 89 Ibid.

22

K. 436

Nocturne Ecco quel fiero istante90 AMA: VI/2/No. 30, p. 65 [R 19] NMA: III/9, p. 31 [Pb 10] BA 5326 S

Example 7: K. 436, mm. 1-291

The Nocturne Ecco quell fiero istante, K. 436 is one of several vocal chamber music works including three basset horns. The text is from Mestastasios Canozonetta La partenz.92 Here the basset horn role is merely accompaniment with an endearing melody93 and contains obbligati parts. The early performers must have had a low C-sharp and a low C available for

90 91

Mozart, NMA: III/9, 31. Ibid. 92 Konrad, Mozart, 40-41. 93 Ward, Mozart and the Clarinet, 138.

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

K. 437

Nocturne "Mi lagner tacendo"94 AMA: VI/2/No. 31, p. 67 [R 19] NMA: III/9, p. 35 [Pb 10] BA 5326

Example 8: K. 437, mm. 1-395

The Nocturne Mi lagner tacendo, K. 437 is one of several vocal chamber music works including two A clarinets and one G basset horn. The text is from Mestastasios Sirve II, 196.

94 95

Mozart, NMA: III/9, 35. Ibid. 96 Konrad, Mozart, 40-41.

24 This work approaches that of an operatic terzetto97 and is scored unusually for clarinets in A and basset horns in G, an instrumentation that only occurs in this nocturne. This work contains more adventurous parts with sequential runs and leaps for both the clarinets and basset horns. The parts also include a wide compass98 with many of the extended lower notes being required in the basset horn part on several occasions. The reasoning for clarinets in A and a basset horn in G, could be because the key made the piece easier with the lower pitched instruments, or maybe even it was written with David or Springer in mind considering they performed on basset horns in G.

97 98

Ibid. Ward, Mozart and the Clarinet, 138.

25 K. 438 Nocturne Se lotan, ben mio tu sei99 AMA: XXIV/8/No. 46, p. 67 [R 40] NMA: III/9, p. 29 [Pb 10] BA 5326 S

Example 9: K. 438, mm. 1-2100

The Nocturne Se lotan, ben mio tu sei, K. 438 is one of several vocal chamber music works including two B-flat clarinets and one basset horn. The text is from Mestastasios Strofe per musica.101 This work is significantly slower than the others vocal works and contains frequent leanings towards the minor reflecting the text. The clarinet and basset horn parts stick with their counterparts except most noticeably where the basset horn is an octave lower at measure 6-7 and contains the only instance of any extended lower notes. Also musically

99

Mozart, NMA: III/9, 29. Ibid. 101 Konrad, Mozart, 40-41.

100

26 effective are the clarinets entering one octave above the sopranos at the end to help with the fading and dying away effect.

K. 439

Nocturne "Due pupille amabili"102 NMA: III/9, p. 26 [Pb 10] BA 5326 S

Example 10: K. 439, mm. 1-2103

Example 11: K. 439, 3rd BH, mm. 14-19104

102 103

Mozart, NMA: III/9, 26. Ibid. 104 Ibid., 26-27.

27 The Nocturne Due pupille amabili, K. 439 is one of several vocal chamber music works including three basset horns. The author of the text is unknown but is most likely Mestastasio, who was the same librettist for the other Nocturnes.105 Again the basset horns are used as accompaniment and vary slightly in notes and rhythms from their vocal counterparts. The noticeable difference is that this work contains a substantial and nice obligatti 3rd basset horn line, measure 14-19 (example 11), which shows off ones technical facility in the lower register including the frequently used extended low notes.

105

Konrad, Mozart, 40-41

28 K. 549 Canzonetta "Pi non si trovano"106 AMA: VI/2/No. 41, p. 185 [R 19] NMA: III/9, p. 44 [Pb 10] BA 5326 S

Example 12: K. 549, mm. 1-2107

The Canzonetta "Pi non si trovano", K. 549 is one of several vocal chamber music works including three basset horns. Unlike the other Notturni it was most likely written in Vienna, in July of 1788. The text is from Mestastasios opera LOlimpiade I, 7. The accompaniment music is questionable and might not have been composed by Mozart108. The basset horns are used as accompaniment throughout, however, they do contain some fine
106 107

Mozart, NMA: III/9, 44. Ibid. 108 Konrad, Mozart, 40-41.

29 obbligati parts, especially in the 3rd basset horn part. The third basset horn also contains several low extended Ds and Cs.

K. 477 (479a) AMA: X/No. 12, p. 53 [R 25]

"Maurerische Trauermusik"109

NMA: IV/11/10, p. 11 [Pb 12] BA 4709 S, PM; TP 18

Example 13: K. 477, mm. 1-8110

The Maurerische Trauermusik or Masonic Funeral Music, K. 477 or K3 479a was composed on November 17th, 1785 in Vienna.111 It is in C-minor and calls for two oboes, a
109 110

Mozart, NMA: IV/11/10, 11. Ibid.

30 clarinet, three basset horns, a contrabassoon, two horns, and full orchestral strings including first and second violin, first and second viola, violoncello and bass. This one movement work is thought to be composed for the Masonic commemoration of the death of fellow masons, Georg August Duke of Mecklenburg-Strelitz and Franz Count Esterhzy of Galntha.112 Mozart had already arranged some funeral music months before from the Meistermusik but in this work Mozart removed the voices for the cantus firmus. At the second performance of the funeral music, on December 9th, Mozart added a contrabassoon and two more basset horn parts, most likely for Lotz and the Stadler brothers who were also fellow masons.113 Mozart probably added the additional two basset horn parts to preserve the balance between the three (a Masonic ideal) wind groups of which have three instruments each; two oboes and clarinet, three basset horns, two horns and contrabassoon.114 The basset horns play the cantus firmus as a solid flow of sound that contrasts the undulating strings beneath. Though the first two have sustaining chords, the third basset horn moves in harmonizing eighth notes, and all three switch to dotted rhythms symbolizing a Masonic ideal.115

K. deest Meistermusik, replevit me amaritudinibus 116 This is most likely the original form of the Masonic Funeral Music, K. 477 (479a) that has been restored. Composed in Vienna in July 1785 and in its original form it called for unison mens voices, two oboes, a clarinet, a basset horn, two horns and strings. Most likely it was

Newhill, Basset Horn, 100. Konrad, Mozart, 82-83. 113 Zaslaw, Compleat, 37. 114 Georgina Dobre, The basset horn in Cambridge Companion to the Clarinet, ed. Colin Lawson, (New York: Cambridge University Press, 1995), 61-63. 115 Ward, Mozart and the Clarinet, 139. 116 Zaslaw, Compleat, 37.
112

111

31 composed for a ceremony at the True Concord Lodge, on August 12 1785 for the elevation of a visiting brother, Carl von Knig, to the rank of master. The cantus firmus is based on the psalm tone for singing of the Miserere and Lamentations of Jeremiah during Holy Week. Mozart used the verses he filled me with bitter herbs and made me drunk with wormwood. Waters flooded over my head; I said I am lost. The first verse alludes to the Masonic trials by earth and the second by water. The music is somber with its low orchestra timbres, dramatic dynamic changes and a sweeping violin descant above the chanting voices below.117

K. 484e Fr. 178X/B NMA: X/30/4, p. 213

Allegro118

Example 14: K. 484e, mm. 1-4119

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

117 118

Ibid., 37-38. Mozart, NMA: X/30/4, 213. 119 Ibid.

32 but otherwise lost composition.120 Is of note that the manuscript is among other basset horn fragments located in the Salzburg.121

K. 487, (496a)

Zwlf Duos122

AMA: Nos. 1, 3, 6: XV, p. 19 (2vn) NMA: VIII/21, p. 49 (12 Duos) [PB 18]

Example 15: K. 487, Movement 1, mm. 1-6123

1. Allegro 2. Menuetto; Allegretto 3. Andante 4. Polonaise 5. Larghetto 6. Menuetto 7. Adagio 8. Allegro

120 121

Konrad, Mozart, 204-205. Newhill, Basset Horn, 81. 122 Mozart, NMA: VIII/21, 49. 123 Ibid.

33 9. Menuetto 10. Andante 11. Menuetto 12. Allegro

K. 487 or K3 496a is an interesting and enchanting composition containing twelve duos in Eb for two horns. It was composed on July 27th, 1786 in Vienna.124 Only duos No. 1, 3, and 6 have corresponding manuscripts in Mozarts own hand.125 This work has had a controversial past. First is the notion of utern kegelscheibe which appears on the manuscript and means while laying skittles. Because the Kegelstatt trio or skittle alley trio was written a week or so later, the duos were probably forgotten and not performed.126 In the last century this work was originally believed to be for two basset horns because of the heavy demands on the first player which has a compass of three octaves and a fifth with high G appearing several times.127 Because of these factors, editors have published them for basset horns and some researchers have even identified them as the lost Anh. 11 or K. 41b, which has continued to foster the controversy.128 It has even been published that they might have been written for the Stadler brothers.129 The duos would have been possible to have been performed on natural horns but would have required a horn virtuoso similarly to Joseph Leutgeb130. Mozart wrote most of his concerti and quite possibly the duos for Leutgeb because

124 125

Konrad, Mozart, 102-103. Zaslaw, Compleat, 248. 126 Ibid. 127 Kroll, Clarinet, 65. 128 Newhill, Basset Horn, 72-73. 129 Ward, Mozart and the Clarinet, 145. 130 Konrad, Mozart, 89.

34 they require incredible demands on the player to perform in the upper registers.131 Due to this and an examination of Mozarts writing for two or three basset horns, no one could possibly accept that these duets were intended for basset horns.132

131 132

Zaslaw, Compleat, 248. Newhill, Basset Horn, 72.

35 K. 577 Soprano Aria; "Al desio di chi t'adora"133 AMA: V/No. 17, p. 411 [R 14] NMA: II/5/16, p. 602 [Pb 7]

Example 16: K. 577, mm. 1-3134

K. 577, "Al desio di chi t'adora" or to the desire of the one who adores you is a soprano aria Mozart composed for the revival of Le Nozze di Figaro or The Marriage of Figaro, K. 492. This aria is in rondo form and was composed in July 1789. The Marriage of Figaro was

133 134

Mozart, NMA: II/5/16, 602. Ibid.

36 revived in Vienna at the Burg Theater in August 1789. It calls for soprano soloist, with two basset horns, two bassoons, two horns, and full string orchestra with first and second violin, viola, violoncello and bass for accompaniment.135 It is possible that Lorenzo da Ponte wrote the text, but this is questionable. The original Susanna, English soprano Ann Selina (Nancy) Storace, had been replaced by Francesca Adriana Gabrielli also known as Il Ferrarese, had a great range and brilliance. This was the first of two replacement arias and was intended to replace the 4th act aria, Deh vieni, non tardar where Susanna is teasing Figaro, by knowing he is eavesdropping just to make him jealous.136 This aria lies neglected today, except for the rare concert aria performances, partly because of its unusual scoring which includes two basset horns. The reasons why Mozart added the basset horn still remain unknown.137 The two basset horns, two bassoons, and two horns act as a concertante group providing only accompaniment for a greater part of the aria. The aria is in two parts with a slow introduction followed by an allegro section. The basset horn solo in this aria was probably written for Anton Stadler. There are places where the second basset horn line is more important the first important basset horn line, which suggests that Stadler performed second due to his fixation of the chalumeau register.138 Brahms after hearing this aria performed is thought to have commented about the basset horn that no instrument adopts itself so closely to the human voice, [where] the tone is midway between cello (bassoon) and clarinet.139 It is a shame and one cannot help regret that this great aria is not performed more today.140

135 136

Konrad, Mozart, 62-63. Zaslaw, Compleat, 82. 137 Ward, Mozart and the Clarinet, 137. 138 Newhill, Basset Horn, 62. 139 Kroll, Clarinet, 110. 140 Newhill, Basset Horn, 63.

37 K. 581 Quintet for Clarinet and String Quartet141 AMA: XIII/No. 6, p. 112 [R. 28] NMA: VIII/19/Sec. 2, p. 15 [Pb 17] BA 4776

Example 17: K. 581, Movement 1, mm. 1-9142

Movement 1: Allegro Movement 2: Larghetto Movement 3: Menuetto Movement 4: Allegretto con Variazioni

The clarinet Quintet, K. 581 is one of the true masterpieces that Mozart composed for Anton Stadler. The Quintet is in A-major and calls for clarinet in A, first and second violin, viola, and violoncello. It was composed in Vienna on September 29, 1789 and was presumably for Stadlers new basset clarinet, though the original manuscript has been lost.143 The Quintet evokes the same feeling and mood that are displayed in additional late Mozart works, including the Concerto for Clarinet, K 622. Mozart differed from the normal
141 142

Mozart, NMA: VIII/19/Sec. 2, 15. Ibid. 143 Konrad, Mozart, 122-123.

38 configuration of a quintet and added a minuet and trio movement with a rare two trios, thus making the work four movements long. The characteristics and melodic development of the whole work demonstrates Mozarts extreme genius.144 Because of the time period of the composition it is believed that Mozart might have written this work with Masonic intentions and beliefs although it is not officially recognized.145 The three sharps in A-major along with Stadler as the performer shows that it could be influenced by Masonic ideals. In addition to being for Stadler, research and analysis of the strange shapes of phrases and melodic intention show that the work was originally composed to a lesser extent for Stadlers new basset clarinet.146 An example of this is at the beginning of measure 9 (example 16), where the melodic phrasing would suggest that the C be performed an octave lower, which would have been available on the basset clarinet, but has since been adjusted for the normal compass of the soprano clarinet.

144 145

Zaslaw, Compleat, 256. Henry, Mozart the Freemason, 41. 146 Brymer, Clarinet, 37.

39 K. 584b, 621b Fr. 1787v Konzertsatz fr Bassethorn und Orchester KV 584b (KV6 621b) Faksimile-Wiedergabe des autographen Entwurfs Concerto Movement147

Example 18: K. 584b, mm. 1-4148

K3 584b, or K6 621b, Fr. 1787v has genuinely allowed researchers and clarinetists to finally accept that the famous Mozart Concerto for Clarinet, K. 622 was written for basset clarinet. K. 584b is the long lost sketch for a basset horn concerto in G. This autographic sketch located in the Rychenberg Stiftung at Winterthur, Switzerland, consists of 199 bars of an allegro movement in G for a basset horn in G. The opening measures in the sketch are just about identical to the same opening measures of the Clarinet for Concerto, K. 622. Because of the Wolfgang Amadeus Mozart, Konzertsatz fr Bassethorn und Orchester KV 584b (KV6 621 ) Faksimile-Wiedergabe des autographen Entwurfs, NMA online. 148 Ibid.
b 147

40 absence of an original clarinet concerto manuscript, scholars have debated for more than a century on the origins and instrumentation of the concerto. The unusual configuration of the solo clarinet part and askew melodic shaping and phrasing, scholars believed the clarinet concerto to be for basset clarinet in A. This sketch just about proves this belief while also insisting that the concerto as we have it today is really an arrangement of another work.149 The debate was started in 1936 led by Alfred Einstein ascribing K. 584b with a date of late 1789 and then expressing the view that Mozart later revised his sketch for the clarinet concerto. George Dazeley discussed in the Music Review of 1948 that the original concerto was a long lost version for clarinet in A with an extension to low C.150 Kroll also concluded that the original was for a clarinet extended to low C,151 and this opinion was expressed due to numerous passages with peculiar shaping that would have been logical to extend to low D and C. Also this idea is supported because Mozart wrote for Stadlers basset clarinet in other works including Cos Fan Tutte, La Clemenza di Tito, and the quintet including the quintet fragments. Dr. Josef Saam in Das Bassethorn disagrees with the notion that even a basset clarinet existed and agrees that the concerto was intended for basset horn despite being completely unaware of the numerous works for basset clarinet by Mozart and other composers. Another point that shows that the concerto was not intended for basset horn is the key change to A by Mozart, signifying that Mozart changed his mind before the end of the sketch. This implies that the sketch was written before the concerto, which thus created a number change to 621b in the Kchel catalogue. When researching about this sketch and the concerto, Newhill poses two questions, including why did Mozart write for the basset horn in G, and why did he suddenly change from that instrument to

149 150

Newhill, Basset Horn, 39. Ibid. 151 Kroll, Clarinet, 37.

41 A. Pamela Weston suggested that all the G basset horns parts were most likely written for Springer and not Stadler who performed on a G basset horn. Whatever Mozarts reasonings for change have since allowed the clarinetist to gain and ensures that a superb work will never go without performed.152

K. 588

Cosi fan tutte ossia La scuola degli amanti153 AMA: V/No. 19 [R 16] NMA: II/5/18 (2 sub volumes) [PB 8] BA 4606 VcS, HM; TP 314

Example 19: K. 588, No. 24, mm. 1-5154

Cosi fan tutte ossia, La scuola degli amanti or Thus do they all, The school for lovers, K. 588 is a two act drama giocoso and opera buffa. It calls for three soprano, one tenor, and two
152 153

Newhill, Basset Horn, 39-40. Mozart, NMA: II/5/18 (2 sub volumes), 383. 154 Ibid.

42 baritone soloists, with full SATB choir, two flutes, two oboes, two clarinets with one basset clarinet, two bassoons, two horns, two trumpets, timpani, and full string orchestra with first and second violin, viola, violoncello, and bass. It was begun in the autumn of 1789 in Vienna and completed in January of 1790. Its author was Lorenzo da Ponte and was premired in Vienna at the Burg Theater on January 26, 1790.155 The Lotz basset clarinet used by Anton Stadler has to be associated with this work especially in No. 24, Ferrandos aria Ah lo veggio. The 2nd basset clarinet in B-flat contains numerous low Ds, which were not available on the normal B-flat soprano clarinet.156

K. 620 AMA: V/No. 20 [R 17]

Die Zauberflte157

NMA: II/5/19 [Pb 9] Ba 4553 VcS, HM; TP 155

155 156

Konrad, Mozart, 54-55. Lawson, Mozart Concerto, 26. 157 Mozart, NMA: II/5/19, 127, 191, 194

43
Example 20: K. 620, No. 8, mm. 1-2, No. 9, mm. 1-8, No. 10, mm. 1-7158

158

Ibid.

44 Die Zauberflte or The Magic Flute, K. 620 is a German singspiel in two acts. It calls for nine soprano, four tenor, and five baritone soloists, with full SATB choir, two flutes with piccolo, two oboes, two clarinets plus two basset horns, two bassoons, two horns, two trumpets, timpani, three trombones, glockenspiel, and full string orchestra with first and second violin, first and second viola, violoncello and bass. It was most likely begun in the spring of 1791, dated Vienna, July 1791, and finished in September. The author was Emanuel Schikaneder and was premired in Vienna at the Theater auf der Wieden.159 This Masonic opera uses basset horns in No. 8, the finale to Act 1, No. 9, March of the Priests, and No. 10, the aria O Isis und Osiris.160 The basset horn portrays the solemn gravity of Sarastro161 and in the music for the High Priests it is perfect vehicle for dignified and perfect utterance.162 The basset horns make their colorfully rich statements in the finale of Act 1, paired with the oboes and switch to clarinet shortly before No. 9, which saves the surprise of their magnificent entry in the second act. In No. 9a, they play with the flutes where the andante pace allows for the reedy timbre to be heard throughout the hall and eventually the mystical feeling of the awe inspiring march belongs to quiet but resonant and reedy basset horns. In No. 10, the basset horns are able to express the nobility and serenity of Sarastro by allying them with the trombones with Sarastros low vocal tone and timbre.163 It might be possible to say that because

159 160

Konrad, Mozart, 54-55. Newhill, Basset Horn, 99. 161 Kroll, Clarinet, 108. 162 Brymer, Clarinet, 36. 163 Ward, Mozart and the Clarinet, 134-135.

45 in the Magic Flute, Mozart was defending Masonic initiation and Masonic beliefs164 and is probably the reason why he included the Masonic instruments of basset horns.

K. 621 AMA: V/No. 21 [R 17]

La Clemenza di Tito165

NMA: II/5/20 [Pb 9] BA 4554 VcS, HM; BA 4554b

Example 21: K. 621, No. 9, mm. 1-8, No. 23, mm. 1-

10166

164 165

Henry, Mozart the Freemason, 7-8. Mozart, NMA: II/5/20, 102, 265. 166 Ibid.

46 La Clemenza di Tito or The Clemency of Titus, K. 621 is an opera seria in two acts. It calls for four soprano, one tenor, and one baritone soloists, with full SATB choir, two flutes, two clarinets with solos for basset clarinet and basset horn, two bassoons, two horns, two trumpets, timpani, and full string orchestra including first and second violin, first and second viola, violoncello, and bass. It was begun in Vienna, probably in middle of July 1791 and completed in Prague on September 5, 1791. The original author was most likely Pietro Mestastasio and was finished by Caterino Mazzo. The premire took place at the National Theater in Prague on September 6, 1791 and was composed for the coronation of Leopold II as King of Bohemia in Prague.167 The basset horn and basset clarinet play important roles in this opera. The opera contains a fine virtuosic basset clarinet obbligato in Sextus aria No. 9, Parto! Ma tu ben mio. The basset horn performs another extended obbligato part in Vietellias aria in No. 23 Non pi di fiori. Here flute, two oboes, two bassoons, two horns, and strings accompany the soloist and basset horn. The aria is in two parts, Larghetto and Allegro, with the Larghetto theme returning in the allegro section. Mozart truly understood the basset horn and its capabilities by writing for it as a melodic instrument, bass instrument, with difficult passages to be tongued, and difficult arpeggiated runs that run up and down the full compass of the instrument. It is a shame that such a superb aria is heard so rarely today.168 Like most of the other works including basset horn and basset clarinet, it is believed that these two arias were written for Anton Stadler. Stadler journeyed to Prague to perform in the opera169 because Mozart could not trust any other clarinetist to execute the solos so perfectly.170

167 168

Konrad, Mozart, 54-55. Newhill, Basset Horn, 63. 169 Kroll, Clarinet, 66.

47 K. 622 Concerto for Clarinet 171 AMA:XII/Sec. 2/No. 20, p. 207 [R 27] NMA: V/14/4, p. 83, [Pb 14]; reconstructed version for 'basset cl': V/14/4, p. 3 [Pb 14] BA 4773 S, PR (cl in A), PR (basset cl), PM; TP 254

Example 22: K. 622, mm. 1-4172

The Mozart Concerto for Clarinet, K. 622 is probably the most substantial and influential work ever composed for the clarinet. Not only does it display ones musicianship and virtuosity, it is also shrouded in mystery as it does not have a clear history. The Concerto is for solo clarinet in A or basset clarinet in A, and calls for two flutes, two bassoons, two horns, and full string orchestra including first and second violin, first and second viola, violoncello and bass. It is in A-major and was composed in Vienna, probably during 1791. It was finished on November 15th, 1791 a month or so before Mozarts death. Most dubiously, the concerto was written for
170 171

Ward, Mozart and the Clarinet, 135. Mozart, NMA: V/14/4, 3. 172 Ibid.

48 Anton Stadler and his newly designed basset clarinet, although no surviving manuscript exists though a nearly identical sketch for basset horn in G exists.173 Numerous scholars and performers have researched the history and origin of the concerto although no one has since found the original manuscript. The only surviving edition is the original published version by Andr (from 1801) that was published after Mozarts death and is used as the basis to explain and understand the work.174 These early-published versions were severely adapted to fit the normal compass of a clarinet in A, instead of the basset clarinet. Analyses of the melodic shapes and phrases have determined that the range of notes was extended down a major third to low C 175,176,177. The instrumentation of the accompaniment lacks oboes and instead uses the gentle toned flutes, bassoons, and horns for tone colors that offset the clarinet sound.178 It is believed that Mozart may have composed the concerto, like numerous other works in his later composition years, with Masonic intentions. Stadler, a fellow mason, influenced Mozart greatly with his virtuosity on the clarinet, basset clarinet, and basset horn. Stadler also highly admired Mozarts writing and said to himself I have to get something good out of this Mozart before hes finished; let him sing one more time, even if it should be his swan song.179 The specific reason for the concerto is to be unknown.180 Mozart had many other works to finish during this time, especially the works he was getting paid for such as the Requiem, K. 626. Mozart instead spent time on a composition that was not urgent, to someone who owed him
173 174

Konrad, Mozart, 88-89. Sadie, New Grove, 159. 175 Ibid., 157 176 Brymer, Clarinet, 37. 177 Lawson, Mozart Concerto. 178 Sadie, New Grove, 157. 179 Hildesheimer, Mozart, 353. 180 Rendall, Clarinet, 132.

49 money, and to satisfy his friend and musical talent.181 The concerto does express and openly glorifies the convictions of the Masonic ideals though discreetly. For example, the key of Amajor signifies the ideal of three with three sharps in the key. The musical character and expressions of intensity, calmness, and warmth are ideas that arise from the Masonic vision of harmony and beliefs joining together to create a perfectly inspired and constructed work.182 With its unbroken intervals, intervals becoming more and more heavy, increasingly momentous and transparent events, cantabile lines, minor virtuoso decorations, dense but not thick harmonies, the concerto shows a complete Mozartean statement that demonstrates what a wind concerto should portray and tell symbolically and musically.183 Although it is one of Mozarts last completed and best works, it is ultimately his greatest concerto for a wind instrument and will continue to be studied and performed for years to come.

181 182

Henry, Mozart the Freemason, 102. Ibid., 104. 183 Hildesheimer, Mozart, 353.

50 K. 626 Fr. 1791h NMA: I/1/Sec. 2, Subvolume 1 [See also X/30/4, CR, p. 275 BA 4538] Requiem184

Example 23: K. 626, Requiem Movement, mm. 1-7185

Mozarts famous Requiem, K. 626, Fr. 1791h, is probably one of his most important compositions involving basset horn. It is in D-minor and calls for soprano, mezzo, tenor and baritone soloists, with full SATB choir, two basset horns, two bassoons, two trumpets, timpani, three trombones, and full string orchestra including first and second violin, viola, and bass strings with organ. It was started in Vienna, in the autumn of 1791 and was commissioned for Franz Count Walsegg. Mozart died completing this work, however his students and contemporaries Joesph Eybler and Franz Xaver Smayr finished it in 1792. Mozart only

184 185

Mozart, NMA: I/1/Sec. 2, Subvolume 1, 3. Ibid.

51 finished the Requiem movements, the Kyrie and Sequence were in draft score, and only eight measures of the Lacrymosa. The Sanctus, Benedictus, and Agnus Dei were not even started.186 Because this work is so powerful and fulfilling, modern scholars do not like the idiosyncrasies of Smayr, so many scholars have attempted to complete the Requiem in their own way and sound more Mozartean. Most significant is probably the addition of an Amen fugue in the Lacrymosa, which is believed to be how Mozart wanted to finish the movement.187 The movie Amadeus, albeit historically incorrect, promotes the belief that Mozart did not have time to finish the requiem and was fearful of death. It is believed by Henry, that Mozart had ample of time to finish the Requiem and simply decided not to and instead work on more satisfying works. The last official work entered into Mozarts catalogue is the Masonic Cantata, K. 623 which has just about the same music the Requiem and was commissioned at the same time, five months before his death. More time was spent on the Cantata probably because Mozart was more conscious of the universal and eternal meaning of the Masonic ideals and universal beliefs in which he leads man in harmony beyond simple earthly existence.188 Mozart was not focused on death or things associated rather he was in a state of inspiration that reflected on positive visions of the blessed state beyond death.189 It is very interesting to note that during his last moments, Mozart seemed to be displaying strength, courage, and complete serenity by humming at the same time the Lacrymosa and the Papageno theme from the Magic Flute.190

186 187

Konrad, Mozart, 202-203. Newhill, Basset Horn, 99. 188 Henry, Mozart the Freemason, 121. 189 Ibid. 190 Ibid., 13.

52 Because of his use of the basset horn, it is believed that Mozart used his favorite instrument to begin his greatest work with the subject announced by the second basset horn.191 The basset horn replaced the clarinets and horns from the orchestra most likely for its ability to portray solemn and longing melodic lines with its very distinctive tone and timbre portraying sadness, softness, shyness and intimacy unlike the other instruments in the orchestra. The basset horns appear in all twelve numbers and have some of the most exquisite and sublime music of the Requiem despite leaving the work unfinished.192

Anh. 11 (K.3 41b)

Pieces or Processions193

Viele Stcke fr zwei Corni di Bassetto or Many Pieces or Processions, Anhang 11 or K3. 41b for basset horn, trumpet, or clarinet have long been lost. These pieces are composed sometime before the end of 1768.194 Leopold Mozart list these in his catalogue of his sons works as being composed in 1767.195 No such pieces are known and musicologists believe that if they did exist that they were probably youthful duets with no true instrumentation.196

Zaslaw, Compleat, 36. Ward, Mozart and the Clarinet, 139. 193 Wolfgang Amadeus Mozart, Verzeichnis aller meiner Werke und Leopold Mozart Verzeichnis der Jugenderwerke W.A. Mozarts, Ed. E. H. Mueller von Asow, (Vienna: Verlag Doblinger, 1956), 3. 194 Konrad, Mozart, 102-103. 195 Mozart, Verzeichnis aller meiner Werke, 3. 196 Newhill, Basset Horn, 73.
192

191

53 Anh. 54 (452a) Slow Introduction to a Quintet Movement197

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

Example 24: Ahh. 54, mm. 18198

Score

K. Anh. 54 (452a)
Mozart

Oboe

b 6 &b 8 &

. . .

. . ! !

. .

. . ! !

Clarinet in B b

Basset Horn

6 &b 8 ? b 6 b 8

6 . . 8 . ! !

. J j .

! !

. J J J J J . b j j j . J ! !

Bassoon

Piano

b 6 . . b & 8 ? b 6 . . j b 8 . . J ! ! ! ! ! ! ! ! !

Ob.

&b &

. b . ! ! J J J J ~~~~~~~~~~~~~~~~~ . . . . J ! j ! ! ! ! . J . . n ! ! ! ! ! ! ! ! ! ! ! !

j j j . J J

B b Cl.

Anhang 54 or K3 452a, Fr. 1783g is a fragmentary work containing the slow introduction

to a piano quintet. This thirty-five-measure work is in B-flat-major and calls for pianoforte,

B. Hn.

& oboe, clarinet, basset horn, and bassoon. It was probably started in 1783 in Vienna, however it
199 was never It ! is of a light horn seems ? b b completed. ! ! ! character ! and the basset ! ! to be paired!with the Bsn.

bassoon throughout. An interesting question 9 is provoked in measure 29 for there seems to be an

J j j . j j basset part, but like added second basset horn part. Perhaps Mozart intended to add another horn j j j j Pno. . . b . . . .. ? . . b b n. 197b . # b Mozart, J . , 57. J NMA: X/30/3 J 198
199

b . . &b

. . n # "

Ibid. Konrad, Mozart, 186-187.

54 several other fragments, no definitive evidence or music has been left to evaluate any of Mozarts intentions.

Anh. 61 (537b) Fr. 1786k

Concerto Movement200

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

Example 25: Anh. 61, mm. 1-6201

200 201

Mozart, NMA: V/15/8, 198. Ibid.

55 Anhang 61, or K3 537b, Fr. 1786k is another fragmentary work containing the opening measures to a piano concerto. This six-measure work is in D-minor and calls for pianoforte and orchestra including basset horn. It was probably started in late 1786 in Vienna, however it was never completed and there are no notes written for basset horn at all.202 It would have been very interesting to hear how Mozart would have used the basset horns in a pianoforte concerto setting.203

Anh. 88 (581a) Fr. 1790g

Rondo for a Quintet204

NMA: VIII/19/Sec. 2, p. XVIII (fol. 2r), 50 [Pb 17] ;; X/30/4, p. 199

Example 26: Anh. 88, mm. 1-5205

Anhang 88, or K3 581a, Fr. 1790g is another fragmentary work containing the opening measures for a clarinet quintet. This eighty-nine-measure work is in A-major and calls for clarinet, first and second violin, viola, and violoncello. It was written in Vienna sometime
202 203

Konrad, Mozart, 192-193. Ward, Mozart and the Clarinet, 142 204 Mozart, NMA: VIII/19/Sec. 2, 50. 205 Ibid.

56 between 1790-1791.206 It most dubiously calls for basset clarinet because of the low E-flat basset notes that were not available on the normal compass of B-flat soprano clarinet. Also intriguing is that Mozart used the bass clef to notate normal low notes. This suggests that Mozart quite possibly would have, if he had finished the work, added more extended basset notes..

206

Konrad, Mozart, 200-201.

57 Anh. 90 (580b) Fr. 1787q NMA: VIII/19/Sec. 2, p. XVII (fol. 1r), 45 [Pb 17] and x/30/4, p. 164 Allegro for a Quintet207

Example 27: Anh. 90, mm. 1-15208

Anhang 90, or K3 580b, Fr. 1787q is another fragmentary work containing the opening measures for a clarinet quintet. This one-hundred-two-measure work is in F-major and calls for

207 208

Mozart, NMA: VIII/19/Sec. 2, 45. Ibid.

58 clarinet in C, basset horn, violin, viola, and violoncello.209 It was probably written in Vienna in 1787 around the same time as the Stadler Quintet and Quintet fragment and may share some Masonic connections.210 It is interesting that Mozart uses both the clarinet and basset horn in this quintet and, although unfinished, might be a very nice performance work. Mozart completed the melody without accompaniment until near the end of the exposition. Several scholars have completed the work and Franze Beyers edition seems more Mozartean.211

Anh. 91 (516c) Fr. 1789d

Allegro for a Quintet212

AMA: XXIV/5/No. 22a, p. 41 [R 39] NMA: VIII/19/Sec. 2, pp. XV (fol. 1r), 41 [Pb 17] and X/30/4, p. 174

Example 28: Anh 91, mm. 1-11213

Example 29: Anh 91, mm. 54-57214

209 210

Konrad, Mozart, 194-195. Zaslaw, Compleat, 41. 211 Newhill, Basset Horn, 88. 212 Mozart, NMA: VIII/19/Sec. 2, 41. 213 Ibid. 214 Mozart, NMA: VIII/19/Sec. 2, 42.

59 Anhang 91 or K3 516c, Fr. 1789d is another fragmentary work containing the opening measures for the allegro movement of a clarinet quintet. This ninety-three-measure work is in Bflat-major and calls for clarinet, first and second violin, viola, and violoncello. It was composed in Vienna between late 1789 and 1791.215 Most likely this work calls for basset clarinet because of the low Ds that occur several times after measure 55 (example 29) and are not in the normal compass of the B-flat soprano clarinet.

Anh. 93 (440c, 484c) Fr. 1787g

Adagio216

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

Example 30: Anh. 93, mm. 1-6217

215 216

Konrad, Mozart, 198-199. Mozart, NMA: VII/17/2, 237. 217 Ibid.

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

Anh. 94 (580a) Fr. 1788a

Adagio219

NMA: VII/17/2, p. 238 [Pb 17] and X/30/4, p. 171

Example 31: Anh. 94, mm. 1-12220

Anhang 94, or K3 580a is another fragmentary work contain the opening measures of a clarinet quartet adagio. This seventy-three-measure work in F-major, calls for clarinet and three basset horns. It was probably composed in Vienna sometime in 1788.221 Although Mozart did not complete this work (with only the melody existing in the second half), several editors have
218 219

Konrad, Mozart, 194-195. Mozart, NMA: VII/17/2, 238. 220 Ibid. 221 Konrad, Mozart, 196-197.

61 completed the work with varying success. With Mozart leaving the instrumentation blank and an outside hand labeling cor anglais on the manuscript have fostered a controversy in determining the correct instrumentation of this work.222 This adagio is of Masonic character and is from the same period as the other Masonic influenced works using clarinet and basset horns. The characteristically processional rhythm and a theme of great beauty make this song both Masonic and religious.223

Anh. 95 (440b, 484b) Fr. 1786f

Allegro assai224

NMA: VII/17/2, p. 236 [Pb 17] and X/30/4, p. 144

Example 32: Anh. 95, mm. 1-7225

Anhang 95, or K3 440b, K6 484b, Fr. 1786f is another fragmentary work containing the opening measures of a potentially clarinet quintet allegro assai. This twenty-two-measure work in B-flat, calls for maybe two clarinets and three basset horns. This work appears on the
222 223

Newhill, Basset Horn, 81. Henry, Mozart the Freemason, 40-41. 224 Mozart, NMA: VII/17/2, 236. 225 Ibid.

62 autograph of clarinet 1 of, K. 411.226 Is of note that the manuscript is among other basset horn fragments located in the Salzburg Mozarteum.227

Anh. 229 (K.2 Anh. 229a, K.6 439b)

fnfundzwanzig Stcke (fnf divertimenti)228

AMA: XXIV/11/No. 62, pp. 1, 8, 15, 25, 31, (2cl; bn) [R 40] NMA: VIII/21, p. 67, p. 78, p. 89, p. 105, p. 114 (also p. 167) [Pb 18]

Example 33: Anh. 229, No. 1, Movement 1, mm. 1-3229

No. 1: Allegro, Menuetto: Allegretto, Adagio, Rondo; Allegro No. 2: Allegro. Menuetto, Larghetto. Menuetto. Rondo; Allegro No. 3: Allegro, Menuetto, Adagio, Menuetto, Rondo No. 4: Allegro, Larghetto, Menuetto, Adagio, Allegro; Rondo No. 5: Adagio, Menuetto, Adagio, Andante; Romance, Polonaise

226 227

Konrad, Mozart, 192-193. Newhill, Basset Horn, 87. 228 Mozart, NMA: VIII/21, 67. 229 Ibid.

63 Anhang 229, or K2 Anhang 229a, K6 439b also is an interesting work that has a controversial past. It is a collection of twenty-five pieces, in B-flat-major, that have been separated into five divertimenti for three basset horns. They have several different Kchel listings and names including K1 listing only Divertimento II, K2 listing as Anhang 229a, 3 Terzetti facili, and then finally K6 as 439b, 5 Divertimenti. They were allegedly composed between 1783 and 1788.230 These divertimenti have long been lost in their original form. Even in Mozarts time it is believed that Constanzes letter to the publisher Andr in May of 1800 claims that Stadler had in his suitcase some unknown trios for basset horns that were stolen or more acceptably believed, pawned among instruments and the manuscripts of other works possibly including the clarinet Concerto and Quintet for 73 ducats.231 A controversy arises because there are no original manuscripts, however, this collection of divertimenti were published in 1803 by Breitkopf and Hrtel under Mozarts name for two basset horns and bassoon, and later by Simrock for two clarinets and bassoon.232 It is widely believed that these divertimenti are the works in question that were lost by Stadler and have been generally accepted as composed for three basset horns and not with bassoon.233 The three basset horn approach makes more sense due to the fact that the upper clarinet parts and bassoon lower parts is too far apart and creates havoc in the harmonic structure. Mozart was also a fan of homogeneous instrumentation, which allows the pieces to sound better and coherent in timbre and sound with three basset horns.

Konrad, Mozart, 102-103. Pamela L. Poulin, A Report on New Information Regarding Stadlers Concert Tour of Europe and Two Early Examples of the Basset Clarinet in Bericht ber den Internationalen Mozart-Krongre Salzburg 1991, (New York: Brenreiter, 1992), 950. 232 Zaslaw, Compleat, 247. 233 Newhill, Basset Horn, 76.
231

230

64 It is unknown whether the divertimenti are supposed to be grouped the way they are published, since the first edition by Breitkopf and Hrtel grouped them as five sets of divertimenti. It is also possible they could have been twenty-five pieces to be performed randomly. It is also unknown whether there is supposed to be a sixth set of five arrangements from Mozarts operas that were also a part of the first published edition.234 Another controversy involves a dating error where the original Kchel catalogue included them at the end of the Notturni, K. 436-439, which are from 1783. Wyzema and Saint-Foix would then date these for 1786.235 A further controversy involves whether these divertimenti are of Masonic influence. In the flowing lines of the multiple slow movements, a Masonic character is certainly applied and is comparable to the Adagio, K. 411.236 The slow second melodic line supports the march of the brothers, as they would proceed during an opening or closing of a Lodge. Melody interruptions by silences correspond precisely to the interruptions in the procession. Most likely these pieces were not intended to be performed for larger audiences but rather were probably intended as gifts to remain among friends and masonry brothers. Mozart probably would be delighted to know that these divertimenti are sometimes unearthed and performed in Lodges, as Mozart probably intended. 237

Trio di Clarone, Forward in Five Divertimenti for Three Basset Horns by Wolfgang Amadeus Mozart, (Wedemark/Iffezheim: Breitkopf and Hrtel, 1987). 235 Henry, Mozart the Freemason, 39. 236 Ibid., 40. 237 Ibid., 39-40.

234

65 Bibliography

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66

---. Stadler Family. In The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon P. Keefe, 490. New York: Cambridge University Press, 2007. Rendall, Geoffrey F. The Clarinet: Some Notes on its History and Construction. New York: W. Norton, 1971. Rice, Albert R. The Clarinette dAmour and Basset Horn. The Galpin Society Jounal 39 (Sep. 1986): 97-111, http://www.jstor.org/stable/842136 (accessed Sep 19, 2009). Sadie, Stanley. The New Grove: Mozart. New York: WW Norton, 1983. Shackleton, Nicholas. The Earliest Basset Horns. The Galpin Society Journal 40 (Dec. 1987): 2-23, http://www.jstor.org/stable/841166 (accessed May, 19 2009). Trio di Clarone. Forward in Five Divertimenti for Three Basset Horns. Composed by Wolfgang Amadeus Mozart. Wedemark/Iffezheim: Breitkopf and Hrtel, 1987. Weston, Pamela. More Clarinet Virtuosi of the Past. London: Panda Group, 1977. Ward, Martha Kingdom. Mozart and the Clarinet. Music and Letters 28, no. 2 (Apr. 1947): 126-153, http://www.jstor.org/stable/855526 (accessed April 20, 2009). Zaslaw, Neal and William Cowdery, eds. The Compleat Mozart: a Guide to the Musical Works of Wolfgang Amadeus Mozart. New York: W. W. Norton, 1990.