WOLFGANG AMADEUS MOZART. Sacred Vocal Works

Transcription

1 WOLFGANG AMADEUS MOZART Series I Sacred Vocal Works WORK GROUP 2: LITANIES, VESPERS VOLUME 2: VESPERS AND VESPER PSALMS PRESENTED BY KARL GUSTAV FELLERER AND FELIX SCHROEDER 1959 III

2 Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. IV

3 CONTENTS Editorial Principles.... VI Foreword.. VII Facsimile: Leaf 1 r of the autograph of KV 193 (186 g ).. XIV Facsimile: Leaf 1 v of the autograph of KV 321. XV Facsimile: Leaf 7 v of the autograph of KV 321. XVI Facsimile: Leaf 44 v of the autograph of KV XVII Facsimile: Leaf 3 v of the Violine I part of KV 339 XVIII Addendum XIX Dixit et Magnificat for soloists, mixed choir, orchestra and organ KV 193 (186 g ) 1 Vesperae solennes de Dominica for soloists, mixed choir, orchestra and organ KV Vesperae solennes de Confessore for soloists, mixed choir, orchestra and organ KV Appendix Magnificat for soloists, mixed choir, orchestra and organ KV 321 a (fragment) V

4 The New Mozart Edition (NMA) provides for research purposes a music text based on impeccable scholarship applied to all available sources principally Mozart s autographs while at the same time serving the needs of practising musicians. The NMA appears in 10 Series subdivided into 35 Work Groups: I: Sacred Vocal Works (1 4) II: Theatrical Works (5 7) III: Songs, Part-Songs, Canons (8 10) IV: Orchestral Works (11 13) V: Concertos (14 15) VI: Church Sonatas (16) VII: Large Solo Instrument Ensembles (17 18) VIII: Chamber Music (19 23) IX: Keyboard Music (24 27) X: Supplement (28 35) For every volume of music a Critical Commentary (Kritischer Bericht) in German is available, in which the source situation, variant readings or Mozart s corrections are presented and all other special problems discussed. Within the volumes and Work Groups the completed works appear in their order of composition. Sketches, draughts and fragments are placed in an Appendix at the end of the relevant volume. Sketches etc. which cannot be assigned to a particular work, but only to a genre or group of works, generally appear in chronological order at the end of the final volume of the relevant Work Group. Where an identification regarding genre is not possible, the sketches etc. are published in Series X, Supplement (Work Group 30: Studies, Sketches, Draughts, Fragments, Various). Lost compositions are mentioned in the relevant Critical Commentary in German. Works of doubtful authenticity appear in Series X (Work Group 29). Works which are almost certainly spurious have not been included. Of the various versions of a work or part of a work, that version has generally been chosen as the basis for editing which is regarded as final and definitive. Previous or alternative forms are reproduced in the Appendix. The NMA uses the numbering of the Köchel Catalogue (KV); those numberings which differ in the third and expanded edition (KV 3 or KV 3a ) are given in brackets; occasional differing numberings in the sixth edition (KV 6 ) are indicated. With the exception of work titles, entries in the score margin, dates of composition and the footnotes, all additions and completions in the music EDITORIAL PRINCIPLES volumes are indicated, for which the following scheme applies: letters (words, dynamic markings, tr signs and numbers in italics; principal notes, accidentals before principal notes, dashes, dots, fermatas, ornaments and smaller rests (half notes, quarters, etc.) in small print; slurs and crescendo marks in broken lines; grace and ornamental notes in square brackets. An exception to the rule for numbers is the case of those grouping triplets, sextuplets, etc. together, which are always in italics, those added editorially in smaller print. Whole measure rests missing in the source have been completed tacitly. The title of each work as well as the specification in italics of the instruments and voices at the beginning of each piece have been normalised, the disposition of the score follows today s practice. The wording of the original titles and score disposition are provided in the Critical Commentary in German. The original notation for transposing instruments has been retained. C-clefs used in the sources have been replaced by modern clefs. Mozart always notated singly occurring sixteenth, thirty-second notes etc. crossedthrough, (i.e. instead of ); the notation therefore does not distinguish between long or short realisations. The NMA generally renders these in the modern notation etc.; if a grace note of this kind should be interpreted as short an additional indication is given over the relevant grace note. Missing slurs at grace notes or grace note groups as well as articulation signs on ornamental notes have generally been added without comment. Dynamic markings are rendered in the modern form, e.g. f and p instead of for: and pia: The texts of vocal works have been adjusted following modern orthography. The realisation of the bass continuo, in small print, is as a rule only provided for secco recitatives. For any editorial departures from these guidelines refer to the relevant Foreword and to the Critical Commentary in German. A comprehensive representation of the editorial guidelines for the NMA (3 rd version, 1962) has been published in Editionsrichtlinien musikalischer Denkmäler und Gesamtausgaben [Editorial Guidelines for Musical Heritage and Complete Editions]. Commissioned by the Gesellschaft für Forschung and edited by Georg von Dadelsen, Kassel etc., 1963, pp Offprints of this as well as the Bericht über die Mitarbeitertagung und Kassel, , published privately in 1984, can be obtained from the Editorial Board of the NMA. The Editorial Board VI

5 FOREWORD Of the psalms and the settings of the canticle Magnificat in Mozart s Vespers, Alfred Einstein wrote, No-one knows Mozart who does not know his pieces in this genre. As early as 1774, Mozart had written a Dixit and Magnificat, that is, an opening and a final piece for the Vespers, for Salzburg. 1 We know as little about the occasion for which this Dixit and Magnificat KV 193 (186 g ) was written as about the reasons for Mozart s compositing the complete Vespers KV 321 and 339 in the years 1779 and That this Vesper was intended for Salzburg Cathedral can be deduced from the absence of horns, since Leopold Mozart reported in 1757 that the flute is seldom, the French Horn never to be heard in the Cathedral Church. 3 This report delivers a clear picture of the capacities available for church music in Salzburg Cathedral. It lists by name 8 violinists, 2 viola players, 2 cellists, 2 double-bass players, 4 bassoonists, of whom 2 were simultaneously oboists, 3 oboists and flautists, 2 horn players and also 3 organists and harpsichordists as members of the Royal Chapel. 4 As solo singers, 5 sopranos (castratos) and 4 basses are listed, in addition to whom 2 to 3 sopranos and as many altos from the High Prince s College are constantly required. The choir is formed by the 21 canons, 8 choristers and 15 choir-boys. Finally, 3 trombonists are additionally employed along with the choir, to play namely the alto, tenor and bass trombones, which the City Master of the Watch with two 1 In contemporary resources for the Vespers, Dixit, Magnificat and Psalmi are notated separately, e.g. in the material for KV 321; for KV 339, only a copy of the outer movements has come down to us; in the Lambach copy of KV 321, separate copies of the outer movements and the other psalms have been preserved; the Magnificat also appears on its own, e.g. in a score copy in Salzburg Cathedral Music Archive. The individual movements of complete Vesper compositions were therefore also performed separately. On the fly-leaf of the Göttweiger copy of KV 339, performance dates between 1822 and 1890 have been noted; amongst the entries are: 17th Jun Magnif:, 29th Aug Laud. Dom., 3rd Sept Confitebor etc. Besides complete performances of the piece, it was expressly noted that the Laudate Dominum was very often used as an Offertory in the Mass. 2 The diaries of Schiedenhofen, Nannerl, Mozart and Hübner contain no information regarding dates and purpose of the Vespers. 3 Nachricht von dem gegenwärtigen Stande der Musik Sr. Hochfürstl. Gnaden des Erzbischofs zu Salzburg im Jahre 1757 [Report on the current state of the music of His High- Princely Grace the Archbishop of Salzburg in the year 1757], in Marpurg s Historisch-Kritischen Beiträgen zur Aufnahme der Musik, Berlin, The musicians are often employed on several instruments and appear in variously constituted ensembles. of his subordinates has to provide in return for a certain annual salary. 5 In the instrumentational practice of the 17th century, 6 the trombones were counted as part of the choir, regardless of whether the parts were written out or not. These were improvised from the choral parts if individual parts had not been written out. This use of trombones is ad libitum in contemporary performance practice and, like the organ, served to support the choir. 7 The scoring and also the hurried composition of the two Vespers betray that they were works for Salzburg Cathedral. The additional evidence of the sequence of psalms shows that the Vespers can only have been intended for a church whose Office Liturgy was celebrated according to the Roman Breviary. 8 St. Peter s is therefore ruled out, as the Vesper in the Benedictine Breviary only has four psalms. In its transmission, the Vesper KV 321 is usually described as Vesperae de Dominica and the Vesper KV 339 as Vesperae solennes de Confessore. The term Vesperae de Dominica is liturgically incorrect. According to liturgical ordnances, the Vesperae de Dominica comprehend the psalms 109, 110, 111, 112, 113 (In exitu Israel) and not Ps. 116 (Laudate Dominum), which is included in both Vespers by Mozart. The Liturgy distinguishes the Vesperae de Confessore Pontifice and de Confessore non Pontifice. While the sequence of psalms in the 1st and 2nd of the Vespers Confessor non Pontifex is the same (Ps. 109, 110, 111, 112, 116), the sequence also obtaining in the sequence of psalms for the 1st Vesper Confessor Pontifex, the 2nd Vesper of this kind has Ps. 131 (Memento Domine David) instead of Ps. 116 (Laudate Dominum). The autograph KV 321 bears no title in Mozart s hand. Franz Gleissner 9 initially gave the composition the correct title, Vesperae de Confessore, on the first page of the original manuscript and also in his thematic catalogue of 1800 for the items from Mozart s estate (No. 19) acquired by J. A. André. This is also the title used in J. A. André s manuscript catalogue (No. 133). Later, the term De 5 Nachricht [ ] op. cit., p R. Haas, Aufführungspraxis der Musik, Potsdam, K. G. Fellerer, Die Aufführungspraxis der katholischen Kirchenmusik in Vergangenheit und Gegenwart, Einsiedeln, 1933, pp. 23f. 7 Cf. below, pp. XI/XII. 8 S. Bäumer, Geschichte des Breviers, Freiburg, J. A. Jungmann, Der Gottesdienst der Kirche, Innsbruck, Cf. E. F. Schmid, Neue Quellen zu Werken Mozarts, Mozart-Jahrbuch 1956, Salzburg, 1957, pp. 35f. VII

6 Dominica was added to Gleißner s title in the autograph, whether by error or to indicate its frequent use as a Sunday Vesper. This liturgically incorrect designation was also used by Leopold Mozart in the copy donated to the monastery in Lambach, marked Vesperae solemnes de Dominica. 10 Similarly, the copies of this Vesper in Salzburg Cathedral are marked as Psalmi de Dominica and Vesperae de Dominica. This nomenclature is not surprising, because the loose application of liturgical rules in the 18th century allowed Mozart s Vesper also to be used as a Sunday Vesper, although it could have been rendered suitable for that day by replacing the 5th psalm by another composition or by choral psalmody. In either case, the Vesper KV 321, according to the sequence of its texts, should properly be called Vesperae de Confessore, as in Gleißner s original description. For the Vesper KV 339, the correct title de Confessore has become established. As a consequence of World War II, the autograph has been lost [but see addendum below]. According to A. Einstein, who had seen it, a title in Mozart s hand is missing here as well. An unknown hand had added the designation Vesperae Solennes de Confessore to the autograph. Perhaps it was also Gleißner who gave it this title, since it appeared in the same form in his catalogue entry (No. 20) for KV 339. This liturgically correct term was also written on Köchel s copy of the score (Vienna, Gesellschaft der Musikfreunde [Association of the Friends of Music]). Leopold Mozart gave this Vesper in the Lambach copy the wrong designation Vesperae solemnes de Dominica, an erroneous formulation which re-appeared in the score copy in Salzburg Cathedral. J. A. André, in contrast, names it correctly in his manuscript catalogue (No. 166). Taken exactly, it should be designated as de Confessore non Pontifice, since these large-scale musical Vespers were sung predominantly on the Feast for which the Liturgy requires the 2nd Vesper, while the 1st Vesper for Confessor Pontifex Feasts, which uses the sequence of psalms set by Mozart, is celebrated on the previous evening (Vigil) and was therefore probably performed only seldom in the large-scale musical form. The importance Mozart himself attached to his Vespers 11 can be seen from the fact that he asked his father, in a letter of 12 March 1783, to send both works to him in Vienna so that he could make Baron Gottfried van 10 Solemnis was not a liturgical term in this case, but a normal designation for church music involving soloists, choir and orchestra in the 18th century. 11 H. Abert, W. A. Mozart, Leipzig, 1923, pp. 799ff.; K. G. Fellerer, Mozarts Kirchenmusik, Salzburg/Freilassing, 1955, pp. 117ff. Swieten acquainted with them. 12 The Office settings Vesperae de Dominica KV 321 and Vesperae solennes de Confessore KV 339, both for 4 voices, 2 violins, 2 clarino trumpets, timpani, basses (violoncello, double-bass and bassoon), 3 trombones and organ, contain the Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and the canticle Magnificat. The individual psalms are independent pieces of music; the concluding doxology is in each case developed from thematic material in the corresponding psalm. The limitations on the scoring of church music in Salzburg are clearly visible in both the Vespers and the Salzburg Masses. The brevity demanded by the Prince- Bishop in the music for the Mass also sets the example for the compact dimensions of the Vesper psalms. Some texts overlap in the contrapuntal parts of the settings. The counterpoint in the setting of Ps. 112 (Laudate pueri) follows the Italian/Southern German tradition, in which this psalm no doubt because of its text was usually set in stile antico. This psalm is placed in the Vesper as an element contrasting with the other movements in the sequence, particularly with the Laudate Dominum, which is usually set in the expressive freedom of the stile moderno. Mozart retained the special status for Psalm 112 already established in the general practice of the 17th and 18th centuries. Imitation is the dominant feature of the stile antico, with which Mozart had become familiar, both in Salzburg and with Padre Martini in Italy, as a special means of expression available in church music. 13 It was typical practice in both stile antico and stile moderno to place imitative sections in alternation with homophonic, while the instrumentation more or less loosely followed the vocal parts. When Mozart begins the Laudate pueri in Vesper KV 321 with a canon or employs the theme in inversion at qui habitare in the 3rd section of Psalm 112 in Vesper KV 339 and combines both themes contrapuntally over a pedal-point in the Gloria, it becomes clear what a significant role he wished to give to the contrapuntal arts of the strict church style. The weaving of melodic lines around the choral composition in such cases by the two violins helps to round-off the form, a point which gained importance through Padre Martini s influence on Italian church music. If homophony is still dominant in Psalm 112 in Mozart s 1st 12 L. Schiedermair, Die Briefe W. A. Mozarts, vol. II, Munich, 1914, p K. G. Fellerer, Der Palestrinastil und seine Bedeutung in der vokalen Kirchenmusik des 18. Jahrhunderts, Augsburg, VIII

7 Vesper, it is pushed more into the background in the same psalm in the 2nd Vesper. The chromatic thematic material of the Amen with its sequential patterns adopts features, as do the harmonic progressions, which distinguish this stile antico of the 18th century from the diatonic basis of earlier polyphony. The Laudate pueri KV 321 was initially printed by Diabelli as the Offertory Amavit eum Dominus (KV Appendix 119), 14 the 112th Psalm of the Vesper KV 339 as the Offertory Sancti et justi (KV Appendix 114). 15 The stile antico, much favored in settings of the Proper, enabled the underlay of Offertory texts to these pieces. The original significance of this stile antico movement was no better preserved in being torn out of its place within the whole concept of the Vesper than was the sensitive treatment of the words, which was destroyed by the underlay of a foreign text. The idea of the praise of God offered by both church and world led to the stile antico of the Laudate pueri being set off against the stile moderno in which the worldly, affective Laudate Dominum is cast. In both of Mozart s Vesper compositions, the solo writing in the latter deliberately contrasts with the stile antico of the choral Laudate pueri, but also with the style of the other psalms of the Vesper. The introductory psalm Dixit Dominus, predominantly homophonic, in KV 321 very much determined by the patterns of the text, allows choir and solo to alternate in KV 321, while in KV 339 the Doxology ( Gloria Patri ) has a solo introduction. In both Vespers, the urgent aim of Ps. 110 (Confitebor) is the expression of the word. In a poetic summoning up of the atmosphere, the varied content is reflected in the music, the expression achieving, particularly in KV 321, a notable depth. The unity in the treatment of the orchestra and common thematic material in the individual sections, as in linking of the Doxologie KV 339 to the orchestral interlude, furnish the movement with a rounded-off form. Ps. 111 (Beatus vir) is placed as a counterweight to the second psalm of the Vesper. This development of this movement, with its alternation of solo and choir, takes place in the sonorous orchestral lines woven around the vocal parts, without however interpreting individual textual points. In the character of its contrapuntal work, 14 A. Diabelli & Co., Vienna, parts: publisher s number 2245, around 1826; score: publisher s number A. Diabelli & Co., Vienna, Ecclesiasticon 76, parts: publisher s number 2244, around this psalm in KV 339 comes close to the following movement, dominated by counterpoint in stile antico. The cyclical unity of the two Vesper compositions is sealed by the concluding canticle Magnificat, whose key and character point to the musical concept of the opening psalm. As in the various psalms, the general atmospheric emphasis of the canticle in KV 339 is more pronounced than in the first Vesper. The basic form of both Vespers is the same because of the liturgical conventions in Salzburg, as are the means of expression in the individual psalms and their sequence. They differ from one another in that KV 321 is more strongly tied to the word, while KV 339 shows a finer development of the musical expression because of the text and its interpretation. Each of the psalm compositions is self-contained. 16 Their use was foreseen not only in the cycle of the Office, but also as polyphonic renditions of individual psalms in services in which the other psalms were sung choraliter or in settings by other composers. Individual polyphonic psalms and partial settings of the Vesper are as frequent amongst Office compositions of the 18th century as the complete settings. With the Dixit and Magnificat KV 193 (186 g ), Mozart wrote such a partial setting, whose missing psalms had to be performed choraliter or made up with other compositions. 17 After a homophonic motto, Mozart lets the vocal parts in Ps. Dixit KV 193 (186 g ) enter in imitation, embedded in uniform orchestral figures, with the exception of the passages in which the voices are briefly fused into homophonic blocks. Recurrences of thematic material create formal symmetries. With the emphatic effect of a transparent contrapuntal texture, this psalm moves to its close in the Doxology. In a similar way, the following Magnificat is also dominated by contrapuntal voiceleading and imitations, a technique encountered 16 This self-contained character facilitates the use of the individual psalm compositions with the original or underlaid text. Beside the printed editions by Diabelli mentioned above, the individual psalms have been used variously in the Mass, the Office and outside the Liturgy with original and altered text. Cf. footnote 1 above. 17 In a manuscript in Lambach Monastery, the Dixit and Magnificat of the Vesper KV 321 are bound together, while the other psalms of this Vesper are missing. In more modest surroundings and for minor Feasts, polyphonic performance was restricted to the opening psalm and the canticle. Cf. footnote 1 above. IX

8 repeatedly in the church music tradition, particularly in closing sections. This tendency towards contrapuntal structure is also clearly visible in the Magnificat settings in KV 321 and 339. In the Magnificat of KV 339, the soprano solo ( Et exultavit, mm. 6f., and later Suscepit Israel, mm. 53f.) is an unmistakable anticipation of the second subject of the Overture to La clemenza di Tito (E. F. Schmid). The text of the psalms, conforming to ecclesiastical directives, is complete apart from minor errors; in Ps. 110/4 it should read misericors et miserator Dominus, but Mozart writes in both Vespers misericors et miserator et justus, which is actually Ps. 111/4. In the Vesperale Romanum, Ps. 110/8 reads Redemptionem misit populo suo, whereas Mozart has Redemptionem misit Dominus populo suo in both Vespers. In Ps. 111/7, Mozart omits the phrase confirmatum est cor ejus in both Vespers. The comprehensibility of the text and the formal clarity of the sections of the psalms also comply with liturgical regulations. 18 More clearly than his Mass compositions, Mozart s Office compositions 19 respond to the liturgical significance. In keeping with the custom of the day, the character of these works as ecclesiastical art is underlined by the counterpoint and the peculiar feature of stylised declamation in the homophonic passages. Mozart consciously drew a boundary between this manner of composing and his secular works. 20 The Encyclical Annus qui of was decisive for the direction Mozart took in his church composition. The present edition of KV 193 (186 g ) and KV 321 is based on the autographs, 22 kept in the National Library in Vienna and the Bibliothèque du Conservatoire National de Musique in Paris; these sources have been supplemented by the following copies: for KV 193: City Archive, 18 G. de Bona, Psallentis ecclesiae harmonia, Rome, 1658 (De divina psalmodia, 1676). 19 K. G. Fellerer, Mozarts Officiumskompositionen in: Mozart-Jahrbuch 1954, Salzburg, 1955, p K. G. Fellerer, Mozarts Kirchenmusik, op. cit., pp. 26ff. 21 Fl. Romita, Jus musicae liturgicae, Rome, 1947, pp. 253ff. 22 In the Neues Mozart-Jahrbuch III, Regensburg, 1943, pp , W. Boetticher identified in his study Neue Mozartiana the divergences of the old Mozart complete edition (AMA) from the autograph of Vesper KV 321; he failed to mention, however, the most important divergence, in measures of the Magnificat, a passage in the which the trombones have individual notation and on which the whole question of the colla parte trombones for the whole work depends; his remark regarding the Bratschenbehandlung [ treatment of the violas ] results from a misunderstanding. Augsburg (Heilig Kreuz collection 23, now in the Staatsund Stadtbibliothek Augsburg) and Salzburg Cathedral Music Archive 24 ; for KV 321 and 339: beside the two archive copies mentioned, copies from the monasteries of Lambach and Göttweig and from the Westdeutsche Bibliothek, Marburg [now in the State Library Berlin Prussian Cultural Heritage, Music Department]. The autograph of KV 339 used to be kept in the Prussian State Library in Berlin; it was moved out for safety and has been untraceable since 1945 [new information: see Addendum below]. In this case, three sources were of particular value: the copy from the Holy Cross collection in Augsburg, which also contains written-out trombone parts which, like the other parts, show additions by Wolfgang and Leopold 25 and are therefore of substantial interest regarding performance practice, a score prepared by L. von Köchel after the autograph in the collection of the Gesellschaft der Musikfreunde [Association of the Friends of Music] in Vienna with comments by C. F. Pohl, and finally a score in the Westdeutsche Bibliothek, Marburg [now in the State Library Berlin Prussian Cultural Heritage, Music Department], which, as can be seen from the concordances with the score just mentioned, with very great probability goes back to the autograph. The autograph of the Magnificat fragment KV 321 a was once in the possession of W. A. Mozart jun.; the basis for this edition was the reprint in the music supplement of the Mitteilungen der Mozart-Gemeinde Berlin, 31st Issue, 1911; this reprint was based on an notarially attested copy by W. A. Mozart jun., but this is likewise now lost. 23 E. F. Schmid, Mozart und das geistliche Augsburg, insonderheit das Chorherrenstift Hl. Kreuz in: Zeitschrift des historischen Vereins Schwaben, vols. 55/56 (Augsburger Mozartbuch), Augsburg, 1942/43, pp ; idem, Neue Quellen zu Werken Mozarts, in Mozart-Jahrbuch 1956, Salzburg, 1957, pp. 37f. The Heilig Kreuz [Holy Cross] copies came originally from Leopold s estate and reflect the manifold personal ties between father and son Mozart and Augsburg. Cf. the Nachrichten zur Übernahme eines Teils von Leopold Mozarts Musikalien-Nachlaß bei W. Hitzig, Die Briefe Franz Xaver Niemetscheks und der Marianne Mozart an Breitkopf und Härtel, in Der Bär, Leipzig, 1928, p. 114, further Gustav Nottebohm, Mozartiana, Von Mozart herrührende und ihn betreffende zum großen Teil noch nicht veröffentlichte Schriftstücke, Leipzig, 1880, pp. 136/ Discovered in January 1956 by E. F. Schmid; this early copy carries a heading by Leopold Mozart on the Battuta part, Di Amadeo Wolfgango Mozart, a proof that the material is authentic; E. F. Schmid, Neue Quellen zu Werken Mozarts, op. cit. 25 Walter Senn, Mozart-Überlieferung im Stift Hl. Kreuz zu Augsburg. Manuscript kindly made available by the author. X

9 The aim of the NMA is to render Mozart s intention as faithfully as possible, not only where this has been transmitted in an autograph but also where it has had to be deduced from secondary sources. Departures from the original readings, wherever they lie beyond the remit of the senior editor in the Foreword, have been dealt with separately in the Kritischer Bericht [Critical Report, available in German only]. The abbreviatures used by Mozart have been written out, and additions resulting from the direction unisono in some parts, particularly the second violin, have not been specially marked. Parts for two trumpets in one staff have been written on one stem only for intervals of an octave or more and have otherwise been written with separate stems. Passages in the string parts for which double stopping is clearly intended have been written on single stems. Dottings extending over barlines have been written out in the modern form. Dashes, wedges and dots as accents or staccato marks could not always be distinguished in the autographs, especially since the different forms could merge within single groups of notes or appear simultaneously in parallel figures; a further complication is that even the authentic copies in which Mozart himself had made additions often diverge from one another on this point. 26 The dash and wedge should however not be interpreted schematically in the sense of the technical studies of the 19th century, where this meant martelé (hammered bow strokes). In unisons involving violins and bass, bowing is often indicated only in the bass, not only in Mozart s Vespers, but also in all of his works for the church, where the organ always joins the bass strings. The ambiguous significance of the dash in the continuo part, where it could serve as a staccato, or accent, mark or as a replacement for the thorough-bass figure 1, has already been attested to by Ph. E. Bach; 27 in a thorough-bass method, Kurzgefasste General Bass Schule, ascribed to W. A. Mozart and published by Steiner in Vienna, the author comments, But if one sees straight dashes of the same kind above the notes, these notes are performed with one hand alone without accompaniment, no matter what clef applies. In choruses and tutti passages, and also symphonies (when forte or fortissimo is indicated), one can make octaves all'unisono; at the beginning of fugues, however, not Cf. the Kritischer Bericht [Critical Report]. 27 C. Ph. E. Bach, Versuch [ ] Part 1, Section III, On this cf. Hellmut Federhofer, Striche in der Bedeutung von tasto solo oder Ziffer 1 bei Unisonostellen in Continuostimmen. This as yet unpublished study was kindly made available by the author. Of particular interest in this context is the passage in measures on pp. 155f. of our volume, where the sources differentiate exactly between the figures 1 and 8. Combined ties and slurs have been rendered as in the original; inaccurate bowings were corrected. Cautionary accidentals appear in square brackets; repeats of accidentals within the same measure were dispensed with. Original tutti and solo directions in the form of T and S have been written out without comment as Tutti and Solo. Missing text underlay in the autographs of KV 193 (186 g ) and 321 which are obvious from the text in other passages and are mostly marked by Mozart with the sign, have been made up without comment. The orthography follows the latest edition of the Vesperale Romanum. In the solo vocal parts, which Mozart usually notates without dynamic marks, no dynamic marks were made up; such marks were made up in the choral parts only in exceptional cases. For the realisation of the fermata in Laudate Dominum KV 321, p. 87, measure 128, the following was suggested by E. F. Schmid: In the two Laudate pueri settings in the Vespers, the time signature indicates an alla breve movement; this serves as a basis for setting the tempo within the framework of church music practice of the day. In the Basso continuo, only treble and bass clefs have been set. The use of the violoncello, indicated in the original by the tenor clef (senza Basso), has been indicated, if not already marked in the autograph, by Vc. ; for KV 339 the score copy by Köchel, apparently made from the autograph, was particularly helpful in providing valuable information. For practical reasons of overall impression and clarity, a writing-out in two or three staves could not be avoided; Mozart adopted the same procedure himself in the autograph of KV The remark Bassi soliti the usual basses designated the collective notation on one staff for all bass instruments normally employed according to Salzburg practice, namely the Battuta part, from which probably the violoncello, double-bass and bassoon played, as opposed to the written-out Organo concertato part. 30 The indications a tre and a 4 in the Basso continuo for Laudate pueri in KV 321 refer to the number of vocal 29 Dixit, measures 43/ Minos E. Dounias, Foreword to Series IV, Work group 16, Church Sonatas, in the Neue Mozart-Ausgabe [NMA], Kassel Basel London, 1957, p. X. XI

10 parts and are placed here for the orientation of the organist, as are the directions Solo and Tutti in the same staff. In the autograph of KV 193 (186 g ), there is no mention of trombones, although, on the other hand, the copy in Salzburg Cathedral Music Archive, just referred to, and which can be considered as authentic parts material used for contemporary performances, contains parts for this instrument; 31 collaparte play for trombones is an old tradition, originating in the cantata practice of the 17th century and also widespread in Salzburg. 32 In the Magnificat KV 321 the trombones have a different notation in mm from that of the vocal parts; as the stems show, this was not a later addition (cf. the facsimile on p. XVII); the whole question of use of the trombones in the entire work, however, depends on this special notation, as there is no direction for the trombones next to the relevant vocal staves at the head of the score; furthermore, the contemporary copied parts already mentioned contain trombone parts for the entire work. For KV 339, the Heilig Kreuz copy in Augsburg contains trombone parts; here the directions senza Tromboni, which most often occur in piano passages, coincide with those in Köchel s score copy, which was probably made from the autograph, and in the score in the Westdeutsche Bibliothek in Marburg [now in the State Library Berlin Prussian Cultural Heritage, Music Department]. The trombone parts were adjusted to match the corresponding vocal parts, as far as the representation of phrasing and context is concerned, by the addition of ties and slurs (as dotted lines), without any intention that these marks should be considered binding in all cases. 33 A number of contemporary copied parts, e.g. in the monastery at Lambach, which bears remarks by Leopold Mozart, have no trombones. In a modern performance it is therefore possible, if absolutely necessary, to do without the trombones, which have no parts in the autographs available to us with the exception of the measures in the Magnificat of KV 321 already referred to, although this will be at the cost of the characteristic tone color. The use of bassoons is confirmed by the remark Violoncelli e Fagotti at the beginning of the Confitebor of KV 321 (cf. the facsimile on p. XVI); furthermore, all copied sets of parts contain bassoon parts headed Fagotto or Fagotti. In the performance practice of the period, 34 the bassoon plays unisono with the basses; if it is to go with the violoncello where violoncello and double-bass separate, this has been explicitly marked; there is no visible evidence in the scores or the parts material of divisi in the bassoons. But as a last resort the bassoon can also be left out, as even the independent bassoon part in the Laudate Dominum of KV 339 (pp. 158ff.) is marked ad libitum. 35 The parts in Holy Cross, Augsburg and Salzburg Cathedral Music Archive distinguish between Organo concertato and Organo ripieno; the Organo concertato is employed throughout the whole work, while the Organo ripieno accompanies only the Tutti. In Mozart s day, there were 6 organs in Salzburg Cathedral, 36 concerning whose use Leopold Mozart prepared a report 37 The High Prince s Cathedral Church has at the back, by the entrance to the church, the great organ, at the front by the choir 4 side organs, and below in the choir a small choir organ, with the choir singers next to it. When music with large forces is played, the great organ is used for preludes only, but during the music itself one of the four side organs is always played, namely the one nearest to the altar on the right side, where the solo singers and the basses are. On the opposite side are the violinists etc. by the by the left side organ and at the other two side organs are the two ensembles of trumpets and timpani. The organ in the lower choir and violone join in when all forces are required. 38 If one compares the parts material with this 31 The parts for alto, tenor and bass trombone in contrast to modern practice were not played on the same instrument, a tenor trombone with a bass valve; trombones at that time came in various sizes and therefore various timbres; the alto trombone in particular, with its wide bore and correspondingly narrow bell, had a much more gentle sound than the modern tenor trombone; on this cf. Fritz Ramin, Die Posaune in Der Weg zu den Blasinstrumenten, in Hohe Schule der Musik, ed. J. Müller-Blattau, Potsdam, 1936/ A Salzburg chronicler listed the following instruments at a High Mass on 12 November 1612: trumpets, lutes, theorbos and trombones. Cf. Constantin Schneider, Geschichte der Musik in Salzburg, Salzburg, 1935, p. 59. Cf. also p. VII above. 33 Cf. the Kritischer Bericht [Critical Report]. 34 K. G. Fellerer, Die Aufführungspraxis der kath. Kirchenmusik, op. cit. 35 Cf. the Kritischer Bericht [Critical Report]. 36 Details of the organs, in particular of their disposition, in: Hans Dennerlein, Zur Problematik von Mozarts Kirchensonaten, Mozart-Jahrbuch 1953, Salzburg, 1954, p H. Spiess, Die Salzburger großen Domorgeln, Salzburg, Marpurg, Historisch-Kritische Beiträge zur Aufnahme der Musik, op. cit., p In Marpurg (III, 3, p. 187), three organists are referred to. The two gentlemen organists have to officiate in alternation at the great organ (which stands at the back of the church) and the side organ (where the concert singers are). The third organist has at all times to play the small organ below XII

11 report, the following could result: the organ which always had to play must have used the Organo concertato part; it accompanies primarily the soloists. The basses referred to were very probably a violoncello and a double-bass. Under violinists etc. we should probably also understand, besides the violinists, also the oboists, if their employment is foreseen, and the violoncellists; they were obviously placed near an organ whose player used the Battuta part and who was simultaneously the leader of the performance; 39 for a peculiarity of this part is that, as orientation, one measure of the violins is notated at the beginning of each psalm. The Organo ripieno part was used by the organist at the lower organ with the choir, that is, in the Tutti, when all forces are required ; here, probably, the violone and bassoon were to be found. The Göttweig parts material for Vesper KV 339 includes a part for Violonzello (sic); the part for the low strings in the Lambach copy of KV 321 presented to the monastery by Leopold is marked Violon et Violoncello, next to which on the right side is Fagotto; this copy also contains a nonindependent Viola oblig., whose only function is to reinforce the bass, an expression of an old practice. Information on the strength of the Salzburg strings and choir 40 can be gained from the number of extant parts in the copies in Heilig Kreuz, Augsburg and in Salzburg Cathedral Music Archive, both of which show considerable signs of use. The bound manuscripts contain: Organo conc. (a part from which, besides the organist, a cellist and a double-bass player also played, see p. XII above), Organo ripno., Battuta; for soloists there were one each of Canto conc., Alto conc., Tenore conc. and Basso conc.; in these parts the choral sections are also notated, distinguished by a Tutti after a previous Solo section. Regarding choral parts, marked ripieno, two each exist of Canto, Alto, Tenore and Basso; from each choral part, in which the note-heads were very large, up to three persons could sing. Violino primo and secondo are represented with two parts each; since one must assume that two players sat at each desk, the number of violins can be stated to be four first and four second. The Violone has a part of its own, from which the two bassoonists also played, as the title on this part is occasionally Fagotti. Of the brass instruments, trumpets and trombones, as well as timpani, there were probably generally only one of each. In total, approximately 50 persons must have taken part. 41 At this point, heart-felt thanks are offered to all persons and institutions who have advanced the work on the present volume by providing information and access to the sources: The Most Honorable Rev. Bruno Brandstetter (Melk Monastery), Library Director Dr. Martin Cremer (Westdeutsche Bibliothek, Marburg), Archive Director Dr. Heinz Friedrich Deininger (City Archive, Augsburg), Prof. Otto Erich Deutsch (Vienna), Prof. Dr. V. Fédorov (Bibliothèque du Conservatoire National de Musique, Paris), the Most Honorable Rev. Prior Suso M. Geiselhardt OP (Dominican Monastery and Treasury, Holy Cross, Augsburg), Dr. Walter Hummel (Salzburg), Director Dr. Hedwig Kraus (Collections of the Gesellschaft der Musikfreunde, Vienna), Prof. Hermann Lang, Music Archivist of the Benedictine Monastery, Lambach, Upper Austria, Cathedral Music Director Prof. Joseph Messner (Salzburg Cathedral Music Archive), Court Counsellor Prof. Dr. Leopold Nowak (Austrian National Library, Vienna), Lecturer Dr. Walter Senn (Innsbruck) and His Grace the Most Honorable Prelate Rev. Wilhelm Zedinek, Abbot of the Benedictine Monastery, Göttweig, Lower Austria. We owe particular thanks to Dr. W. Bittinger (Kassel) and Karl Heinz Füssl (Vienna) for reading the proofs, to Prof. Dr. Hellmut Federhofer (Graz) for many favours and to the Chief Editor, Dr. Ernst Fritz Schmid (Augsburg), who gave much helpful advice. Karl Gustav Fellerer Cologne, November, 1958 Translation: William Buchanan Felix Schroeder in the choir, where the choir singers are; and to officiate at the daily choral church services. 39 Battuta denotes the conductor s part (from battere, i.e. beat, set the tempo). Walter Senn, op. cit., p K. A. Rosenthal, Zur Stilistik der Salzburger Kirchenmusik von 1600 bis 1750, in: Studien zur Musikwissenschaft 17, Vienna, 1930, pp. 88ff. 41 According to the report in Marpurg (III, 3, p. 198) the number of all those who belong to the music or are paid at Court because of music amounted to 99. This also included instrument makers and bellows calcants. XIII

12 New Mozart Edition I/2/2 Vesper Psalms Facs. 1: Fol. 1r of the autograph of Dixit and Magnificat KV 193 (186g) after the autograph kept in the National Library, Vienna, Dixit, mm. 1 6; cf. pp International Mozart Foundation XIV

13 New Mozart Edition I/2/2 Vesper Psalms Facs. 2: Fol. 1r of the Vesperae solennes de Dominica KV 321 after the autograph in the possession of the Bibliothèque du Conservatoire de Musique [now in the Bibliothèque nationale Paris, Département de la Musique], Paris. Dixit, mm. 1 7; cf. pp International Mozart Foundation XV

14 New Mozart Edition I/2/2 Vesper Psalms Facs. 3: Fol. 7v of the Vesperae solennes de Dominica KV 321 after the autograph in the possession of the Bibliothèque du Conservatoire de Musique [now in the Bibliothèque nationale Paris, Département de la Musique], Paris. Confitebor, with the remark Fagotti et Violoncelli [...], mm. 1 11: cf. p. 45 and Foreword, p. XII. International Mozart Foundation XVI

15 New Mozart Edition I/2/2 Vesper Psalms Facs. 4: Fol. 44v of the Vesperae solennes de Dominica KV 321 after the autograph formerly in the possession of the Bibliothèque du Conservatoire de Musique [now in the Bibliothèque nationale Paris, Département de la Musique], Paris. Magnificat, mm ; special notation for the trombones in mm ; cf. p. 91 and Foreword p. XII. International Mozart Foundation XVII

16 New Mozart Edition I/2/2 Vesper Psalms Facs. 5: Fol. 3v of the Violine I part for the Magnificat of the Vesperae solennes de Confessore KV 339 after the copy kept in the City Archive, Augsburg [now in the Staats- und Stadtbibliothek Augsburg], Bestand Heilig Kreuz; Piano mark in staff 2, m. 45, in the hand of W. A. Mozart; cf. p International Mozart Foundation XVIII

17 VESPERS AND VESPER PSALMS Addendum 1988 The contents of the Bibliothèque du Conservatoire national de Musique (with the Malherbe Collection) are today in the Bibliothèque nationale Paris, Département de la Musique; this is relevant for KV 321 in the present volume, i.e. the facsimile legends on pp. XV XVII of the music volume and the information on source A (autograph) on p. b/12 of the Kritischer Bericht [Critical Report] must be changed accordingly. The sources described in the Foreword to the music volume and in the Kritischer Bericht [Critical Report] as being in the Westdeutsche Bibliothek Marburg (formerly Preußische Staatsbibliothek Berlin) are today kept in the State Library Berlin / Prussian Cultural Heritage (Music Department). The Heilig Kreuz collection, formerly kept in the Stadtarchiv Augsburg, are today on loan from the Dominican Monastery Heilig Kreuz, Augsburg to the Staats- und Stadtbibliothek Augsburg, i.e. the facsimile legends on p. XVIII and the corresponding source descriptions in the Kritischer Bericht [Critical Commentary] must be changed accordingly. The autograph of KV 339, one of the possessions of the former Prussian State Library, Berlin lost after 1945, is kept today in the Biblioteka Jagiellońska, Kraków and has been accessible since 1979/80. The work had to be edited in 1959 from secondary sources (cf. the Kritischer Bericht [Critical Report]). Changes in the musical text resulting from study of the once again accessible autograph are reserved for the NMA Work Group 31 (Addenda), in which a description of the original manuscript will be presented. Here a number of the substantial changes are listed in advance: Page Measure Staff Remarks Vln. II 1st and 2nd 8th-notes: for c''' c'' read c'' a' BOrg. 2nd half of measure: set figure 1 under all 16th-notes , 35 Vln. I set trill sign above 1st note (a'' and g'') BOrg. set figure 6 under 3rd 16th-note of 2nd quarter-note instead of under 1st 16th-note of the 3rd quarter-note BOrg. extend prolongation stroke after figure 6 only to 4th 8th-note instead of to end of measure BOrg. extend all prolongation strokes after 1st figure to 4th 8th-note instead of to 2nd 8th-note f. BOrg. advance forte from beginning of m. 154 to beginning of m /160 BOrg. figures: for read 145f. 175, 183, 186 BOrg. figures: for read Ten. 2nd and 3rd quarter-note: for read Bassi remove the notation for Vc. (= upper voice) Bassi for Vc. read , 44 Strings set piano at 3rd quarter-note instead of 2nd quarter-note , Org. remove piano in italics f. Bassi advance piano to the beginning of m Bassi for whole rests read: , 158 Org. set figure 8 under half-note d Org Figures in second half of measure: for read BOrg. set figure 6 under 1st note, under 2nd note SATB for piano (straight and italics) set pianissimo (straight) in all parts (choir) BOrg. BOrg. Basso Tenore Alto 73 Soprano BOrg. set Org.: tasto after 1st note figures: for read (last quarter-note: no figure) remove staccato dashes set staccato dashes on the descending 8th-notes (see also Kritischer Bericht, p. b/47) International Mozart Foundation XIX