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Mozart Harmoniemusik

In the latter part of the 18th century and the early 19th century, the term Harmoniemusik defined a specific instrumentation. The traditional Harmonie consised of pairs of oboes, clarinets, horns and bassoons with or without a part for double bass. Flutes were almost always excluded. The term Harmoniemusik differentiated wind music written tor Harmonie front that written for wind band or wind ensemble. Mozart wrote two known works for this specific instrumentation:

Serenade in E Flat, KV. 375

Serenade in c minor,. KV. 388 The Serenade in B Flat, KV. 361 (Gran Partitta) is a basic Harmonie ensemble with the addition of two horns and two bassethorns. The Divertimenti KV. 166 and 186 are written for Harmonie with the additon of two cor anglais

Level 1
Harmoniemusik composed by Mozart

Level 1
Harmoniemusik attributed to Mozart

In the Eighth Edition(K8) of Köchel Verzeichnis, itself a reprint of K6 and K7,  there is a series of Anhang. or appendices.. These appendices contain works attributed to Mozart, but authenticity is deemed to be of a spurious nature (possibly counterfeit) or the works may thought to be by Mozart, but are unable to be confirmed as such. For example. a popular work attributed to Mozart that is considered spurious is the Sinfonia Concertante for oboe, clarinet. bassoon. horn and orchestra. K. Anh. C. 14.01. Anhang C 17.xx, contains works for Harmonie called Partitta (Partita, Parthien pl). There are arguments both for and against their authenticity as compositions by Mozart..

The first three entries in Anhang C 17.xx (C17.01, C17.02 and C17.03) were first published in l80l in a collection published by Breitkopf & Härtel, Seven  Pièces de Harmonie. The source for these pieces was a set of manuscript parts – there was no score or autograph available. This publication also contained an arrangement for eight players (2 oboes, 2 clarinets, 2 bassoons, 2 horns) of the complete (though disordered) Gran Partitta. K.361 (K.370a) as well as a sextet version of the Serenade in E Flat K 375 ( 2 clarinets, 2 bassoons, 2 horns) and a sextet arrangement by Joseph Heidenreich of K. 407, the Quintet for Horn and Strings in E-flat. Alfred Einstein, editor of K3, had believed that the three aforementioned Parthien works were authentic Mozart and catalogued them as K.V. 196e, K.V. 196f, and K.V. 196g respectively.

There are two copies of the original manuscript parts of the l80l B&H parts, and these are located in Berlin. The only extant score of C17.01, C17.02 and C17.03 is in the hand of Alois Fuchs dating from about 1837 and this was assembled from the Breitkopf set of parts. The plates for the original 1801 B&H publication were destroyed in Leipzig as a result of the Allied bombing campaign during the Second World War.

The source for K. Anhang C 17.04, C 17.05 and C 17.07 was, until 1972, thought to be a manuscript copy made by the early eighteenth century Mozart aficionado, Alois Fuchs, but an earlier and much more important source was found in the Klementinum library at the University of Prague..[leeson Northdale]. These works have become known to scholars as the Prague Partitas.

The Pro Authentic Argument:

Mozart had a deep fondness and great skill writing for Harmonie. The demand for Harmoniemusik in the 1780s and 1790s and the apparent lack of it composed by Mozart has astonished scholars., Given Mozart’s oft-precarious financial state, one might postulate that Mozart would have been motivated to write more Harmonie for the commission fees if nothing else.

The Parthien of Anh. C are closely connected to Mozart through his wife. Constanze, and Johann Traeg, a favorite copyist of Mozart and family friend. Constanze wrote in her correspondence about a number of “works for harmonie. some incomplete”. Constanze was protective of Mozart’s unfinished works and it would be unlikely that she would have allowed just anyone to complete them. Daniel N. Leeson and David Whitwell believe that the four Parthien  in Prague are identical with those advertised in August of 1792 by Johann Traeg. .

In the Bayerische Staatsbibliothek Mus. MS 1709, is a set of parts of six divertimentos by Mozart for pairs of oboes, bassoons and horns. These copies were obviously made by the same copyist as the score in the University Library in the Clementinum, Prague

After Mozart's death Constanze directed Traeg to contact Anton Stadler (the clarinetist for whom Mozart wrote the Concerto. K 622 and the Quintet, K. 581) regarding a number of manuscripts in Stadler's possession. There was also sizeable debt owed to Mozart by Stadler,. This debt was more than half of Mozart's yearly court stipend. Is it possible that this debt could was the commissioning fee for  number of commissions including the Prague Parthien?

On August ll,1792, there appeared in the Weiner Zeitung an advertisement:

From Johann Trag [sicl ... the following works by Mozart are to be had:

6 Masses by W.A. Mozart

2 Pianoforte concertos à 2 Clavicemb

2 Concerti à Corno Princ

1 Concerto à Violino Princ.

l5 Sinfon.

1 Cassation à 2 Viol. 2 Cor. Viola é Basso

4 Parthien à 2 Obe 2 Clarinetti 2 Cor. 2 Fag. [emphasis added]

Quintetto à Corno 2 Viol. Viola b Basso

2 Duetti à Violino é Viola

24 Contredanses with all Parts

7 ____with an Overture

Sonata in D à 2 Clavicemb.

3 Sonates per il Clav.

Various Arias with ltalian text in Partitura

3 Sinfon. Arranged as Quintets for 2 Viol. 2 Viole é Basso

1 Quintetto in G min. arranged for Clar. Viol. Viola é Basso

ln addition to the above various further Quart. And Trios arranged for violin and Flute

This significant volume of works advertised as composed by Mozart was put up for sale with the knowledge and blessing of Constanze, Mozart's widow. In this release there are the Four Parthien, the works that Leeson had discovered in Prague.

The Non Authentic Argument:.

There exists no score in Mozart's hand (i.e. no autograph). .

The works were not mentioned Mozart's correspondence, a place in which he often mentioned his works, especially in letters to his father.

The works were released with a large number of works attributed to Mozart. Why were these works not made avail able during Mozart's lifetime, especially when he needed the income? .

The movements of the Prague Parthien are bundled in a manner that belies their identity as authentic Mozart

There are some stylistic concerns.

Earliest Source Materials Dr. Neal Zaslaw of Columbia University and Daniel N. Leeson are the co-editors of the Harmoniemusik of Mozart for the Barenreiter Neue Mozart Ausgabe Edition of Mozart's complete works. During his research in the late 1960s and early 1970s, Leeson had come across manuscripts in the Klementinum University Library in Prague. At that time, there were no photocopy machines in Communist held Prague, so Leeson hired a photographer to take photographs of each page of his discoveries which Leeson printed on 8 ½ x 11 photo paper.

These works photographed by Leeson were K. Anh. C 17.04. 17.05 and 17.07. Two are full-length partitas (five movements in 17.04 and four movements in 17.05 - 17.07 is a single movement work.) Leeson and Whitwell state that the Fuchs 1837 materials of the Anhang C Harmoniemusik were copied from the Prague scores. It is also believed that the Prague Score was copied from a set of parts,not from another "earlier" score.''  As the Prague materials can be traced to 1792 they pre-date the Fuchs copies by 45 years. Until the discovery of the Prague scores in 1972. the Fuchs parts were thought to be the earliest source material for these works.

First Editions The first editions of KV Anh. C 17.04, 17.05 and 17.07 using the Leeson photographs of the Prague Parthien as source materials were edited as critical editions and published in 1997 by Northdale International editions. All changes from the source materials were documented and are included in the score. Hundreds of changes were required in order to produce a viable performance edition. Though an earlier recording was made by Dieter Klöcker and the Consortium Classicum, the first sound recording of these works using the Prague based editions was made by The Festival Winds on CBC Records in 2006. References

Mozart's Harmoniemusik and Its Publishers

Roger Hellyer

The Musical Times, Vol. 122, No. 1661 (Jul., 1981), pp. 468-472

Published by: Musical Times Publications Ltd.

Partita in E flat Major K. Anh. C 17.04 (full score)

Northdale Music Press ISMN M-706012-09-4

Mozart's 'Spurious' Wind Octets

Daniel N. Leeson and David Whitwell

Music & Letters, Vol. 53, No. 4 (Oct., 1972), pp. 377-399

Published by: Oxford University Press

Letter from Constanze to Breitkopf & Härtel. 27 Oct. l798 and to J. André 1 May 1800

Daniel N. Leeson and Darid Whitwell. "Mozart’s 'Spurious' Wind Octets." Music and Letters Vol. 53. No. 4 (Oct. l972). PP. -377-399

Leeson and Whitrell. Op. cit.

Georges de St. Foix. Mozart et les instruments à vent. Bulletin de la Societé Union Musicologique 1925

Letter from Constanze to J. André 2l February. | 800 '

Otto Erich Deutsch, Mozart: A Documentary Biography (London, 1965)

David Bourque “The Mozart Partita Project: First Editions of Parthien (Harmoniemusik) attributed to Mozart – the Octets of K. Anhang C.”

The Clarinet Vol. 33, No. 2 (March 2006)

See Also

Mozart? The Festival Winds, CBC Records MVCD1173-2 (commercial CD sound recording)

?Mozart Vol 1 & 2

?Mozart! Consortium Classicum Vol. 1: MDG 301 0494-2

?Mozart! Vol. 2: MDG 301 0495-2

Level 1
Works attributed to Mozart