New Mozart Edition II/ 7/1 Arias, Scenes, Ensembles and Choruses

WOLFGANG AMADEUS MOZART

Series II

Works for the Stage

WORK GROUP 7:
ARIAS, SCENES, ENSEMBLES AND CHORUSES WITH ORCHESTRA
VOLUME 1

PRESENTED BY STEFAN KUNZE

1967

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New Mozart Edition II/ 7/1 Arias, Scenes, Ensembles and Choruses

Neue Mozart-Ausgabe (New Mozart Edition)*

WOLFGANG AMADEUS MOZART

The Complete Works

BRENREITER KASSEL BASEL LONDON

En coopration avec le Conseil international de la Musique

Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm

Agents for
BRITISH COMMONWEALTH OF NATIONS: Brenreiter Ltd. London
BUNDESREPUBLIK DEUTSCHLAND: Brenreiter-Verlag Kassel
SWITZERLAND and all other countries not named here: Brenreiter-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 fr Forschung und Technologie, Bonn and
Bayerisches Staatsministerium fr Unterricht und Kultus
Ministerium fr Kultur der Deutschen Demokratischen Republik
Bundesministerium fr 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.

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CONTENTS
Editorial Principles .... VI
Foreword.. VII
Facsimile: Leaf 4v of Leopold Mozarts copy of KV 21 (19c) = No. 1. XXII
Facsimile: Leaf 4v of Leopold Mozarts copy of KV 21 (19c), version as
reworked by Leopold Mozart = No. 1a. (Appendix I) XXII
Facsimile: Leaf 1r of the autograph of KV 23 = No. 2.. XXIII
Facsimile: Leaf 1r of Leopold Mozarts copy of KV 23 = No. 2 XXIII
Facsimile: First page of the autograph of KV 23, probably a later reworking
= No. 2a. (Appendix I) XXIV
Facsimile: Leaf 4r of the autograph of KV 78 (73b) = No. 3.. XXIV
Facsimiles: Leaf 7r und 7v of the autograph of KV 79 (73d) = No. 4. XXV
Facsimile: First page of the Paris partial autograph of the Galimathias musicum
KV 32 with the fragment KV6: 73 D. XXVI
Facsimile: Leaf 12r of the autograph of KV 70 (61c) = No. 6 XXVI
Facsimile: Leaf 1r of the autograph of KV 217 = No. 15. XXVII
1. Va, dal furor portata, aria for tenor and orchestra KV 21 (19c). 3
2. Conservati fedele, aria for soprano and orchestra KV 23.. 13
3. Per piet, bell'idol mio, aria for soprano and orchestra KV 78 (73b). 17
4. Oh, temerario Arbace! Per quel paterno amplesso, recitative and aria
for soprano and orchestra KV 79 (73d).. 23
5. Or che il dover Tali e cotanti sono, recitative and aria
for tenor and orchestra KV 36 (33i) 33
6. A Berenice Sol nascente, recitative and aria for soprano
and orchestra KV 70 (61c).. 47
7. Cara, se le mie pene, aria for soprano, two horns, violin, viola and bass KV6: deest 59
8. Fra cento affanni, aria for soprano and orchestra KV 88 (73c).. 65
9. Misero me! Misero pargoletto, recitative and aria for
soprano and orchestra KV 77 (73e). 83
10. Se ardire e speranza, aria for soprano and orchestra KV 82 (73)103
11. Se tutti i mali miei, aria for soprano and orchestra KV 83 (73p)115
12. Non curo l'affetto, aria for soprano and orchestra KV 74b 125
13. Si mostra la sorte, aria for tenor and orchestra KV 209 131
14. Con ossequio, con rispetto, aria for tenor and orchestra KV 210. 139
15. Voi avete un cor fedele, aria for soprano and orchestra KV 217... 147

Appendix
I: 1a. Va, dal furor portata, aria for tenor and orchestra KV 21 (19c),
reworked by Leopold Mozart 163
2a. Conservati fedele, aria for soprano and orchestra KV 23, probably a later reworking. 173
11a. Se tutti i mali miei, aria for soprano and orchestra KV 83 (73p), first version 177
II: Ridente la calma, aria (Canzonetta) for one voice with (arranged?)
piano accompaniment KV 152 (210a) 191

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EDITORIAL PRINCIPLES
The New Mozart Edition (NMA) provides for research footnotes, all additions and completions in the music
purposes a music text based on impeccable scholarship volumes are indicated, for which the following scheme
applied to all available sources principally Mozarts applies: letters (words, dynamic markings, tr signs and
autographs while at the same time serving the needs numbers in italics; principal notes, accidentals before
of practising musicians. The NMA appears in 10 Series principal notes, dashes, dots, fermatas, ornaments and
subdivided into 35 Work Groups: smaller rests (half notes, quarters, etc.) in small print;
slurs and crescendo marks in broken lines; grace and
I: Sacred Vocal Works (14) ornamental notes in square brackets. An exception to
II: Theatrical Works (57) the rule for numbers is the case of those grouping
III: Songs, Part-Songs, Canons (810) triplets, sextuplets, etc. together, which are always in
IV: Orchestral Works (1113) italics, those added editorially in smaller print. Whole
V: Concertos (1415) measure rests missing in the source have been
VI: Church Sonatas (16) completed tacitly.
VII: Large Solo Instrument Ensembles (1718) The title of each work as well as the
VIII: Chamber Music (1923) specification in italics of the instruments and voices at
IX: Keyboard Music (2427) the beginning of each piece have been normalised, the
X: Supplement (2835) disposition of the score follows todays practice. The
wording of the original titles and score disposition are
For every volume of music a Critical provided in the Critical Commentary in German. The
Commentary (Kritischer Bericht) in German is original notation for transposing instruments has been
available, in which the source situation, variant retained. C-clefs used in the sources have been replaced
readings or Mozarts corrections are presented and all by modern clefs. Mozart always notated singly
other special problems discussed. occurring sixteenth, thirty-second notes etc. crossed-
Within the volumes and Work Groups the through, (i.e. instead of ); the notation
completed works appear in their order of composition. therefore does not distinguish between long or short
Sketches, draughts and fragments are placed in an realisations. The NMA generally renders these in the
Appendix at the end of the relevant volume. Sketches
modern notation etc.; if a grace note of this
etc. which cannot be assigned to a particular work, but
kind should be interpreted as short an additional
only to a genre or group of works, generally appear in
chronological order at the end of the final volume of indication is given over the relevant grace note.
the relevant Work Group. Where an identification Missing slurs at grace notes or grace note groups as
regarding genre is not possible, the sketches etc. are well as articulation signs on ornamental notes have
published in Series X, Supplement (Work Group 30: generally been added without comment. Dynamic
Studies, Sketches, Draughts, Fragments, Various). Lost markings are rendered in the modern form, e.g. f and p
compositions are mentioned in the relevant Critical instead of for: and pia:
Commentary in German. Works of doubtful The texts of vocal works have been
authenticity appear in Series X (Work Group 29). adjusted following modern orthography. The realisation
Works which are almost certainly spurious have not of the bass continuo, in small print, is as a rule only
been included. provided for secco recitatives. For any editorial
Of the various versions of a work or part of departures from these guidelines refer to the relevant
a work, that version has generally been chosen as the Foreword and to the Critical Commentary in German.
basis for editing which is regarded as final and A comprehensive representation of the
definitive. Previous or alternative forms are reproduced editorial guidelines for the NMA (3rd version, 1962)
in the Appendix. has been published in Editionsrichtlinien musikalischer
The NMA uses the numbering of the Denkmler und Gesamtausgaben [Editorial Guidelines
Kchel Catalogue (KV); those numberings which differ for Musical Heritage and Complete Editions].
in the third and expanded edition (KV3 or KV3a) are Commissioned by the Gesellschaft fr Forschung and
given in brackets; occasional differing numberings in edited by Georg von Dadelsen, Kassel etc., 1963, pp.
the sixth edition (KV6) are indicated. 99-129. Offprints of this as well as the Bericht ber die
With the exception of work titles, entries in Mitarbeitertagung und Kassel, 29. 30. 1981,
the score margin, dates of composition and the published privately in 1984, can be obtained from the
Editorial Board of the NMA. The Editorial Board

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FOREWORD

Classification and grouping of the compositions But the term Concert Aria, on the other hand, does
not include even all the arias in the present work
From 1765, the year of his first extant vocal group, which do not represent one self-contained
composition, the Aria KV 21 (19c), up to the last year genre. They differ from one another not only in terms
of his life, Mozart wrote at more or less regular of the circumstances which gave rise to them, but also
intervals a considerable number of compositions for in their purpose. Seen from this point of view, a first
voice with orchestra, partly as independent works and classification of the whole corpus can be made.
partly to be incorporated into works by other
composers. Most of them are arias, and, with few During the first great European tour and the first
exceptions, Italian arias. To this category of journey to Italy, the Arias were written, mainly as test-
compositions, however, belong also ensembles, the pieces in the art of composition (e.g. KV 21/19c, KV
Quartet KV 479, the Trio KV 480 as well as the 23 etc.). They fulfilled the purpose of showing the
outline of an operatic Introduzione KV 434 (480b). But compositional abilities of the boy in a genre which was
a very important inclusion alongside these self- seen in the 18th century as the prerequisite for a
contained arias and ensembles are those compositions generally valid Science of Composition. It is
that Mozart wrote later for existing dramatic works of enlightening in this context to read a description in
his own. It is naturally a matter of course that such Leopold Mozarts letter to Hagenauer of 30 July 1768
pieces are edited within the NMA in connection with from Vienna of how Leopold had Wolfgang compose
the main works to which they belong. In individual an aria in the presence of several respected persons, in
cases, however, this principle can lead to substantial order to counteract slanders that the boy was not
inconsistencies. For example, the Scena con Rond capable of writing an aria.3
KV 490 for Soprano with concertante Violin, written
by Mozart for an amateur performance of Idomeneo in I asked them to take the first part of the works of
Vienna in March 1786, is really a concert aria, like the Metastasio that came to hand, open the book and
later Recitativo con Rond with concertante Piano KV present the first aria they came across to Wolfgang; he
505, which incidentally also took its text from took the pen and wrote, without pausing for thought, in
Idomeneo.1 It is also difficult in some cases to draw a the presence of many respected persons, the music to it
sharp boundary between between Lieder [Songs] and with many instruments at the most astonishing speed.
Orchestral Arias. This applies equally to the Lied as He did this in the house of Music Director Bono, at
a genre, showing in Mozart occasional tendencies Abb Metastasios, at the Hasses and in the residence
towards Aria and Arietta or Canzonetta, and to of the Titular Duke of Braganza and Prince of
probably reflecting this situation the transmission.2 Caunitz.

A passage from a letter of Wolfgangs from Rome, 21

1
F. Spiro demonstrated the close connection between both April 1770, to his sister should also be quoted:4 In
compositions (Die Entstehung einer Mozart'schen Florence he [sc. Manzuoli] therefore also sang me
Konzertarie, in: Vierteljahrsschrift fr Musikwissenschaft four or five arias, including some by myself, which I
IV, 1888, pp. 255269). had had to compose in Milan, because no-one had
2
KV 52 (46c), for example, represents an arrangement,
heard any theatrical things by me at all, so that they
probably not by Mozart, of Aria No. 11 from Bastien und
Bastienne as a song with piano accompaniment, drawing on
could see whether I was capable of writing an opera.
the model of the French Ariette. (Cf. on this E. A. Ballin in
the Foreword to NMA Serie III, Work Group 8: Songs, p. naschen [Men are always looking for something to
IX, and idem in: Acta Mozartiana 8 [1961], pp. 1824.). In nibble], transmitted in Mozarts hand only as an outline in
the case of the Lied KV 349 (367a), closely related to the score, finally became widely known primarily as a song
Italian Arietta, Ballin voices justified doubts (NMA, loc. with piano accompaniment.
3
cit.) regarding the authenticity of the piano accompaniment. Mozart. Briefe und Aufzeichnungen. Complete edition,
The songs KV 476 and KV 519 (Das Veilchen [The edited by the International Mozart Foundation, Salzburg,
Violet]and Das Lied der Trennung [The Song of collected and elucidated by W. A. Bauer and O. E. Deutsch
Separation]) were published by Artaria in 1789 as Zwey (hereafter BauerDeutsch), Kassel etc., 1962/63, I, No. 135,
deutsche Arien beym Clavier, IIter Theil [Two German p. 271, lines 5562. Cf. on this also below, pp. XIIf.
4
Arias at the Piano, IInd Part]. The piano accompaniment of BauerDeutsch I, No. 177, p. 339, lines 7679. The
the Aria (Canzonetta) KV 152 (210a) Ridente la calma purpose of these works is also nicely illuminated by a
(see Appendix II, pp. 191193, of this volume = unaltered passage from the recollections written down by Mozarts
reprint from the Appendix of the volume Songs der NMA; sister for Schlichtegroll in 1792 (BauerDeutsch IV, No.
cf. also p. XV below) as well as the Aria KV 178 1212, lines 233235): The son [sc. Wolfgang]
(125i/417e) Ah! spiegarti, oh Dio (cf. Ballin, NMA op. distinguished himself particularly here [sc. in Milan, 1770]
cit., p. VII, and Appendix No. 2) can very probably be in the presence of the maestro Samm Martino [sc. G. B.
considered as arrangements of orchestral settings. The Sammartini] and a crowd of the most skilfull people in
Singspiel song KV 433 (416c) Mnner suchen stets zu different tests of his knowledge.

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The occasional technical uncertainties in the early aria As a rule, of course, they are pathos-filled
compositions, although it is astonishing how seldom monologues, often set as accompagnatos with a
they occur, do not only offer researchers a welcome closing aria. An aria demanding sensibility is always
opportunity to look into Mozarts development as a preceded by a recitative in pathos.9 If an accompanied
composer, but should also always be taken into recitative of this kind is followed by an aria or duet, it
consideration when performing these pieces.5 In this is called a scene, because it is a monologue or
connection I would like to point out only a few such dialogue disguised as one piece, at the end of which
passages, e.g. No. 1, m. 27, m. 96; No. 3, m. 7; No. 4, the scene also ends.10 Thus the musical term scene
Aria, mm. 119/120; No. 5, Aria, m. 28 and the is only partially congruent with its dramatic
analogous passages (text setting); No. 6, Aria, m. 44; counterpart. The insertion and substitution arias, on
No. 7, mm. 28f. (tempo!); No. 8, m. 106, m. 112; No. the other hand, were written exclusively for buffa
9, Recitative, m. 86. operas (KV 209, KV 210, KV 217, KV 256, KV 418,
KV 419, KV 420, KV 479, KV 480, KV 541, KV 578,
The two Licenze KV 36 (33i) and KV 70 (61c), written KV 582, KV 583). Among these, the ensembles
during the sojourn in Salzburg that followed the grand mentioned at the beginning are of course even more
tour of 1763-1766, belong to a special genre. A licenza closely bound than the arias to a concrete situation
is an operatic scene consisting of a recitative and aria, within a dramatic scheme.
and often a concluding chorus, inserted at the
conclusion or at some point within an opera (without The Works in this Volume
any reference to its plot) in order to pay homage to a
princely patron in allegorical form. Most licenze The present first volume of Arias in the NMA (II/7)
require a change of scene, and include detailed and brings together the arias that the young composer
specific stage directions.6 The licenza contributed wrote on his first European tour, between 1763 and
vitally to opera serias identity as a courtly genre. 1766 (KV 21/19c, KV 23, and possibly KV 78/73b and
The majority of Mozarts concert arias were written KV 79/73d), the licenze from the periods in Salzburg
for singers amongst the composers circle of friends, from 1766-1767 and 1769 (KV 36/33i, 70/61c), the aria
either as scenes in their own right or as insertions into of uncertain date Cara, se le mie pene (KV6 deest.),
operas by other composers. Only the former can be the series of arias composed during the first Italian
considered as concert arias in the strictest sense, since journey from December 1769 to spring of 1771 (KV
they were, without exception, not meant for the stage, 88/73c, KV 77/73e, KV 82/73o, KV 83/73p, KV 74b),
and their dramatic content is given a special setting in and, finally, the arias composed in Salzburg in 1775
a framework of concertante ideas. They are set (KV 209, KV 210, and KV 217). Approximately the
primarily to texts from dramas by Metastasio, that is, same number of arias from the earliest period is
they are part of the seria tradition.7 Most of them are probably lost. The majority of the fifteen arias
scenes, a term used for vocal compositions presented here belong, if one views them from the
consisting of recitative and aria or duet and held point of view of compositional technique, to Mozarts
closely together by dramatic tension and heightened musical apprenticeship; the last three display the
affect, regardless of the number of persons involved.8 beginnings of mastery. The volume therefore
represents in a certain sense a rounded-off group, since
5 KV 217 was followed by a decisive caesura in
It is most remarkable that such uncertainties always relate
Mozarts production of concert arias.11 One work
to individual passages and never to the shaping of the
whole.
appears that was previously unknown, the aria Cara,
6
Metastasio writes in several letters to Farinelli (P. se le mie pene, which is not included in K6. The
Metastasio, Opere postume, Vienna, 1795, e.g. Vol. II, p. review of the sources undertaken in preparing this
85, p. 106 and p. 114) about the insertion of Licenze. volume has in fact led to new datings of individual
7
The following Mozart arias are set to texts by Metastasio: arias (KV 78/73b and KV 79/73d), and to new insights
KV 21 (19c), KV 23, KV 71 (fragment), KV 74b, KV. App.
2 (KV 72b=KV6 73A, lost), KV 77 (73e), KV 78 (73b), KV
79 (73d), KV 82 (73o), KV 83 (73p), KV 88 (73c), KV 294, 9
See J.A. Hiller, Anweisung zum musikalisch-zierlichen
KV 295a (486a), KV 368, KV 369, KV 432 (421a), KV 440 Gesange (Leipzig, 1780), p. 100.
(383h), KV 512, KV 538. These come from the following 10
Ibid., p. 200. Mozart himself called many of his later
dramas by Metastasio: Ezio (II, 4; III, 12), Artaserse (I, 1, 2, concert arias Scene, which usually refers to the unit aria
5; II, 11), Demofoonte (I, 1, 2, 4, 7, 13; II, 6; III, 4, 5), and recitative. The generic label Scena con Rond (for
Olimpiade (III, 6), Didone abbandonata (II, 6), Temistocole example in KV 505), which one encounters occasionally in
(III, 8), Leroe cinese (I, 2), and Demetrio (I, 4). For the the works of J.C. Bach, is an exception to this practice. See
texts of these works see Tutte le opere di P. Metastasio ed. also J.J. Rousseau regarding the Scena, Dictionaire de
B. Brunelli (A. Mondadori Editore, 1953). Musique (Paris, 1768), p. 424.
8 11
That a scene implies more than one person, as implied See Stefan Kunze, Die Vertonungen der Arie Non s
by the discussion of KV 79 in KV6, is false. See also the donde viene von J. Chr. Bach und W.A. Mozart, in:
entry there for KV 256 in KV6 (= sixth edition of the Kchel Analecta Musicologica: Studien zur italienisch-deutschen
Verzeichnis). Musikgeschichte II (1965), pp. 85-111.

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into the compositions themselves. For this first volume in Salzburg:15 5 or 6 operas have been performed
of arias in particular, the dispersal of Mozart sources here, the first was Ezio, the 2nd Bernice, both of which
during and just after World War Two has fortunately were pasticcios from the hands of the most diverse
not affected the source situation significantly. At the masters, the 3rd was Adriano in Syria, newly composed
same time, hardly any new sources have surfaced in by Sig. Bach. It is however unlikely that Wolfgangs
the years since. Our edition depends entirely on aria was sung by Ciprandi as an insertion aria in a
autographs or on manuscript copies in the hand of performance of Ezio; Leopold would hardly have
Leopold Mozart, as, understandably, there are no passed up the chance to mention such an event in his
contemporary prints or manuscript copies. Only in the correspondence.16 It is probable that the aria was
case of KV 74b was the editor forced, in the absence of meant as test piece or for one of Mozarts own
the autograph, to rely on a later manuscript copy. concerts, perhaps one of the two organised by Mozart
Manuscript copies by Leopold Mozart can be on 21 February and 13 May 1765 with Vocal and
considered to be primary sources for the early works of Instrumental Music.17 As we know from the
Wolfgang, since the father clearly assisted the son to a reminiscences committed to paper much later by
considerable degree in the process of their Mozarts sister, the boy sang arias with the greatest
composition, as the numerous entries by Leopold in sensibility himself during this time.18 This much is in
the autographs demonstrate. It would, however, be the meantime certain: at that time, Mozart was
neither sensible nor practically possible to attempt to intensively concerned with composition of arias, as is
distinguish typographically between Leopold and undeniably attested by Barringtons description of
Wolfgangs respective contributions in the printed Wolfgang improvising various types of arias in his
music text (for a fundamental discussion of this issue presence, including a deeply-felt aria on the word
see the Kritischer Bericht [Critical Report, available in affetto and a rage aria on the word perfido.19 In
German only].) our aria the central affective point of reference is the
word furor. The situation in Metastasios Ezio (II,
The following remarks on the individual pieces 4), rounded off by the aria, is as follows: Massimos
include in addition to compressed information on attempted assassination of the Emperor does not
compositional history, occasion, dating, and source succeed. Suspicion, however, falls on Ezio, the lover
situation a short characterization of the dramatic of Massimos daughter Fulvia, who is disgusted by her
setting for the scene. Mozart, indeed, once later fathers machinations. Massimo is consequently
recommended that singers should in this way put enraged, and accuses his daughter of abusing his trust
themselves into the affective state of the characters and betraying her father, whom her acts almost
they depict.12 destroyed.

KV 21/19c Va, dal furor portata (= No. 1) The source situation for this aria is a typical example
of the pointlessness of attempting to distinguish
Mozarts first surviving vocal composition is dated in Leopolds individual contributions to Wolfgangs
both its sources (see below) with the remark di compositions. The aria is transmitted in two
Wolfgango Mozart Londra 1765. It was thus written manuscript copies in Leopolds hand, which differ
during the Mozart familys sojourn of almost a year in from one another in several passages (Munich,
the British capital in 1765. In the catalogue of his Bavarian State Library and Paris, Bibliothque
sons works Leopold compiled in Vienna in 1768, he nationale); we consider both sources to be of equal
notes the following: 15 Italian arias composed partly authority. They should not be seen as copies in the
in London and partly in The Hague.13 The present usual sense of the word, especially since we need not
Aria belongs to this group and is probably one of the
earliest. The occasion of its composition is not
15
completely clear. It is possible that it was intended for BauerDeutsch 1, No. 95, p. 179, lines 1821.
16
the tenor Ciprandi, who sang the supporting role of The aria Non s donde viene by J.C. Bach in this
Massimo in a pasticcio production of Ezio at the pasticcio, where Wolfgang heard it for the first time,
Kings Theatre in the Haymarket, premired on 24 continued to stimulate his fantasy in much later years.
November 1764 and repeated often thereafter.14 On 8 Mozarts encounter with it bore fruit in KV 294, composed
at Mannheim in 1778. A selection from the pasticcio
February 1765 Leopold wrote to his friend Hagenauer
appeared in The Favorite Songs in the Opera Ezio (London:
Bremner, [1765]).
17
Mozart. Die Dokumente seines Lebens, compiled and
12
See Mozarts letter of 30 July 1778 to Aloysia Weber on elucidated by O.E. Deutsch, , Kassel etc., 1961, NMA X/34
KV 272 (BauerDeutsch II, No. 470, p. 420, lines 15-20). (hereafter Dokumente), pp. 40, 41, and 44. In the second
13
BauerDeutsch I, No. 144, p. 288, lines 21-22. concert, given on 13 May, the only participating singer
14
It is certain that the Mozarts had made Ciprandis named was soprano Sig. Cremonini, which probably rules
acquaintance, cf. Leopolds account of their meeting in his out a performance of KV 21 (19c).
18
notes on the familys travels (BauerDeutsch I, No. 99, p. BauerDeutsch IV, No. 1212, p. 188, line 107.
19
194, line 76). Dokumente, p. 89.

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assume that Leopold copied them from a complete October 1765. The other, now lost, has come down to
autograph. One could indeed imagine that Leopold us via a copy, likewise now untraceable, by Charles
worked from a more or less incomplete and somewhat Malherbe and his edition of the aria from this copy for
less than perfect autograph sketch (see the remarks the AMA (Series XXIV, 3, No. 54); this autograph
below on KV 78/73b = No. 3). We provide the texts of appears to have diverged substantially from the Paris
both versions here (pp. 312 and in Appendix I, pp. autograph, and included a set of parts, now also lost,
163172). That the Paris copy, in comparison to the supposedly marked with the date 1765 (see KV6). It
Munich copy, is heavily corrected, and that in the is not clear how authentic this marking is. The
latter, in the case of some of the divergences, the Paris surviving autograph bears no date. The third source,
readings are still visible, suggests that the Paris version Leopolds manuscript copy in Munich (Bavarian State
is closer to Wolfgangs original conception. According Library), is based, with slight revisions, on the Paris
to this scheme, the Munich score would be a copy autograph and dated January 1766.21 There are no
from the Paris source, to which Leopold also added indications as to when the version in the lost autograph
some further retouching while copying. Thus we have was composed. This autographs text differs from that
placed the Paris version, as the probably more original, of the Paris autograph and Leopolds copy these are
in the main part of the volume and the Munich version, certainly directly related most of all in mm. 39/40
as a probable later redaction by Leopold, in the and 74/75, in which the coloratura is either missing
Appendix. The divergences between the two scores entirely or is considerably simpler. This could be an
concern the following passages: m. 5 Violin I, m. 10 indication that Mozart simplified the arias vocal part,
Violins and Bassi, m. 20 Bassoon I, m. 21 Violin I, m. perhaps before the onset of his illness on 15 November
39 Bassoons, m. 51 Violins, Bassi, and Bassoons, m. 1765, or after January 1766, possibly in order to make
53 Violins and Bassoons, m. 67 Bassoons, m. 68/69 it more suitable for a performance at court. It is less
(see the two facsimiles on p. XXII), m. 87 Violins, m. likely yet impossible to rule out that the lost
96 Violin I and Oboes. autograph represents the original version of the aria.
That simplified versions of the vocal line in Mozarts
Neither source includes an indication of the tempo: the works are more typically an indication of later revision
editorial addition Allegro is to be understood in the (see KV 83/73p) speaks against this theory, as does the
sense of Tempo giusto or Allegro aperto. The very specific date (October 1765) on the Paris
editor has not added a new tempo indication at the autograph: a revised version would hardly have
beginning of the second part of the aria, which differs received such a precise dating mark. Thus our edition
clearly in its ductus from the first part (m. 90 ff.) uses the Paris autograph and Leopolds copy of it as its
Depending on the tempo chosen for the first part, one primary sources, since we judge them to be the earlier
could either retain the original tempo or choose one ones. Once again, we chose here not to view
slightly more peaceful than the Allegro. In measure Wolfgangs autograph and Leopolds revision in
104, however, the tempo primo should be taken up isolation from one another. Our reconstruction of the
again. second version, made from Malherbes copy, from the
text of the AMA, and from a facsimile of the first page
KV 23 Conservati fedele (= Nr. 2) of the missing autograph given in a catalogue of
Henricis auction house (cf. facsimile. p. XXIV), is
This aria is also one of the 15 listed in Leopolds due to its problematic transmission given in an
catalogue of 1768. It was composed in The Hague in appendix (pages 173-176 of this volume). There is,
October 1765 and probably revised in January 1766, as is so often the case, no tempo for the second part of
possibly for the occasion of Wolfgangs appearance at the aria. To mark the obvious change of tempo, we
Court during the celebrations of the majority of Prince have supplied Allegretto. The aria, from Metastasios
William V of Orange on 11 March 1766. On 16 May Artaserse (I, 1), stands at the end of the nocturnal
1766, Leopold wrote to Hagenauer from Paris: In farewell between Arbace and Mandane with which the
addition, he [Wolfgang] had to write something for the drama begins. Mandane speaks of her painful feelings,
Princes concert, and also compose arias etc. for the and of her wish and promise to keep her memory of
princess [Caroline of Nassau-Weilburg, the princes Arbace alive.
sister].20 KV 23 may be one of these arias. Here
again, however, the source situation presents us with KV 78 (73b) Per piet, bell idio mio (= No. 3) and
puzzles as to the arias dating and the degree of KV 79 (73d) Oh, temerio Arbace! Per quel
Leopolds participation in its composition. KV 23 is paterno amplesso (= No. 4)
(or was in one case) transmitted in two autograph
versions and a copy in Leopolds hand. One of the
21
autographs (Paris, Bibliothque nationale) is dated The indication found in both KV3 (= third edition of the
Kchel Verzeichnis, edited by A. Einstein, Leipzig, 1937)
and KV6 that the Munich copy contains two cadenzas refers
20
BauerDeutsch I, No. 108, p. 219, lines 14-15; see also most likely to the vocal coloraturas in the cadential mm.
ibid. IV, No. 1212, p. 190, lines 146-147. 39/40 and 74/75.

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These two were assigned significantly later dates by indications supplied in both pieces (in KV 79/73d only
Einstein in KV3, a lead followed by the editors of KV6, in the aria) should be viewed as suggestions.
placing them with the Milanese arias of Spring 1770.
The autographs (State Library Berlin Prussian The opening of an earlier version (KV6: 73 D) of KV
Cultural Heritage, Music Department) contain no 79 (73d) survives on the first page of the autograph of
indications of dating. The features of the notation, the the Galimathias musicum KV 32 (see the facscimile on
unclear writing with certain idiosyncracies and, not p. XXVI above). This gives one point of reference for
least (if with some reservations), the stylistic qualities dating the aria: KV 79 (73d) was probably written soon
of the arias Hermann Abert found them far less after KV 32, which was composed in The Hague in
successful than, for instance KV 77 (73e), one of the March 1766. The text of KV 78 (73b), Antaserses
Milanese arias from 177022 (Mozart I, Leipzig 7/1955, aria from Metastasios Artaserse (I, 5) speaks for
p. 150) speak for a much earlier date of itself, especially since Mozart only set its first strophe.
composition.23 On the other hand, it ought to be KV 79 (73d) is a scena involving two characters,
stressed that KV 78 (73b) in particular, if one Arbace and Artabano (Artaserse II, 11), but expressed
overlooks a little somewhat clumsy writing in the short entirely through the mouth of one singer. Here, once
transitional sections of the solo part, defies simplistic again, Mozart did not set the second part of the aria
chronological views of Mozarts musical development (three verses). The situation depicted is as follows:
through its generous melodic invention and, most of unjustly accused of regicide, Arbace has been
all, the expansion of the main melodic idea throughout informed of his death sentence by his own father,
the movement. These elements point towards a much Artabano. He refrains from presenting evidence of his
later period and must be counted amongst the baffling innocence in order to protect the real assassin: the
products of the young composers creative abilities. It same Arbatano. Moved by conflicting emotions
is most likely that the two arias were composed during sudden desperation, then contrition and pain he begs
the first grand tour or the Mozart familys first sojourn his father for forgiveness. In the end, however, he
in Vienna in 1768 (for more on the latter see pp. XII ff. magnanimously accepts his fate as inevitable, and asks
below). This would mean that all of Mozarts settings that his father honour his memory, console his
of texts from Metastasios Artaserse, i.e. KV 23, KV beloved, and protect the king.
78 (73b), and KV 79 (73d), would date from about the
same time, and the number of surviving arias from the KV 36 (33i) Or che il dover Tali e cotanti sono
fifteen he composed in 1765/1766 would be increased (= No. 5)
by four. The autograph of KV 78 (73b) offers
particularly clear evidence of Leopolds participation This aria was written in December 1766 in Salzburg as
during the works first written version for this is one of the first compositions after the Mozart familys
what we have before us. The score is in some parts return from their grand tour. The occasion was the
more of a sketch, notated by Wolfgang in lead pencil; anniversary of the consecration of Archbishop
such sections were then gone over again, partly by Sigismond von Schrattenbach on 21 December 1766.
Wolfgang, partly by Leopold, in ink. Moreover, the The Salzburger Hofdiarien [Salzburg Court Diaries]
manuscript is brimming with corrections of every kind record the event as follows:
(see the facsimile on page XXIV). The autograph of
KV 79 (73d) is perhaps even less homogeneous, even On 21 December 1766 [the day of the
if Leopolds correcting hand is largely missing. anniversary]after the Ave Maria in the eveninghis
Judging from sudden changes in the ductus of the Grace made his wayto the Italian comedy, which
handwriting, the manuscript seems to have been was performed by the banda present at the time. The
composed in several stages (see the two facsimiles on comedy bore the title Il cavaliere del spirito, then a
p. XXV). This explains the occasionally rough musical intermezzo for four voices with the title Le tre
passages in the orchestration (e.g. mm. 119/120 in the gobbi rivali per amore by Madame Sazzea [?], and
aria) and the once again in some sections finally by a licenza consisting of a recitative and an
fragmentary character of the score (cf. mm. 115-120 aria, to which music was set to everyones admiration
and 133ff; are oboes missing here?). The tempo by the young Wolfgang Mozard, son of the Vice
Capellmeister and an astonishing young man of ten
years, a perfect master of the instrument, just recently
22
In the Gleissner Catalogue the aria is listed as number 66
arrived from England. The entire production lasted
(Rondo aria a Soprano Solo: ex Es) and is described as until 8:30 in the evening.24
also one of the earliest works of Mozarts youth. A
24
photocopy of the Gleissner Catalogue is kept by the Dokumente, p. 67. See also F. Pirkmayer, ber Musik und
Editorial Board of the NMA in Augsburg. Theater am f.e. salzburgerischen Hofe, 1762-1775 in:
23
Wolfgang Plath is to be thanked for these observations, Salzburger Zeitung 1886, special number 23 and F. Martin,
enabling the new, earlier dating of KV 78 (73b) and KV 79 Vom Salzburger Frstenhof um die Mitte des 18.
(73d). My own examination of the autographs in person Jahrhunderts, special number of Mitteilungen der
confirm his conclusions, in particular regarding paper types. Gesellschaft fr Salzburger Landeskunde, 1952, p. 132. In

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The licenza mentioned is certainly identical with the Personal Physician Wolf is also lost.29 Previous
one we present here; its autograph is also labelled commentators have not noticed that many of the lost
Licenza on its first page and was performed without arias must have been composed in Vienna before 30
a doubt directly after the intermezzo mentioned above. July 1768, as Leopolds letter of that date to
The comedy noted in the Court Diaries was Goldonis Hagenauer (cf. quotation above, p. VII) shows without
Cavaliere di spirito.25 The once again very hurriedly the shadow of a doubt. Mozarts sister adds precise
and messily written autograph (State Library Berlin details to her fathers claims in the notes she made in
Prussian Cultural Heritage, Music Department), which 1792, describing how her brother was indeed subjected
shows no signs of intervention by Leopold Mozart and to a test of his aria-writing abilities by every one of the
is covered with corrections, is apparently a first draft, experts Leopold mentions in the letter.30 These lost
and reveals much about the process of the licenzas arias have received the temporary KV numbers 45c-g.
composition. First Mozart entered the vocal and bass The possibility that KV 79 (73d) features of the
parts throughout, and afterwards the instruments. One notation would speak for this or perhaps KV 78
can also distinguish two layers of corrections: those (73b) is identical with one of these arias must be
made in the course of the first notational process and considered.
those made looking over it later. After KV 36 (33i),
Mozarts production of arias seems to have been Aria KV 70 (61c) A Bernice Sol nascente (=
interrupted for a long period. In addition to at least 11 No. 6)
lost arias of the 15 Italian arias Leopold noted in his
catalogue, the aria Quel destrier che allalbergo This piece is, like KV 36 (33i) a licenza, and, judging
vicino from the Capricci KV 32a (written in London from the text of its recitative, must have been
in December 1764 and also lost) does not survive. We performed in connection with an opera titled Vologeso.
know of the Capricci from Constanzes letter of 13 A possible occasion of its composition was the
February 1799 to Breitkopf & Hrtel in Leipzig26 in birthday of the Archbishop Sigismund von
which she writes: I have in my possession a little Schrattenbach, who is mentioned in the text, on 28
booklet with the title Capricci di W. Mozart a Londra February. Nevertheless, the dating is disputed. One
nel mese Decembre 1764 [Caprices by W. Mozart in possible point of reference for the genesis would be
London in the month of December 1764], (that is, the performances of Sartis or Jomellis opera
when he was eight years old), which include, written in Vologeso in Salzburg in December 1765,31 their re-
his own hand, short compositions based on various staging in 1766, and a new production in 1767 (final
ideas and an aria, Quel destrier che allalbergo rehearsal on 26 February, first performance on the
vicino, of which the original is worth too much to me Archbishops birthday). Although the handwriting in
that I should want to part with it.27 An aria (KV the autograph (today State Library Berlin Prussian
43aa)28 written in Olmtz for the daughter of a Cultural Heritage, Music Department) seems to
suggest an earlier dating, sometime around the
composition of KV 36 (33i) in 1767, Einsteins choice
in KV3 of a later date (28 February 1769) cannot be
addition cf. H. Klein, Unbekannte Mozartiana von 1766/67, ruled out.32 As is often the case, there are no tempo
in: Mozart-Jahrbuch 1957, p. 180, fn. 25. indications in the second part of the aria (mm. 124 ff.)
25
A libretto from a performance in Bologna in 1764 is A quarter note = eight note relation between the
Munich, Bavarian State Library (sign. P.o. ital. 8o 44m/10).
common time Allegro moderato A section and the 3/8
The full title of Goldonis comedy is Il Cavaliere di Spirito
ossia La donna di testa debole. Commedia del Sig Avvocato
B section should be appropriate.
Goldoni VenezianoOn this see also A. Kutscher, Das
Salzburger Barocktheater (ViennaLeipzigMunich, 1924),
pp. 89 and 132. (Aria and licenza, listed here as two separate Handbuch, ed. O. Schneider and A. Algatzy (Vienna, 1962),
pieces, are of course identical.) See also Klein, op. cit., pp. p. 142.
29
168 ff., Salzburg 1958. See Leopolds letter of 28 May 1778 (BauerDeutsch II,
26
BauerDeutsch IV, No. 1234, p. 226, lines 19-23. No. 450, p. 363, lines 155157). The suggestion in
27
See also the passage in the announcement of the concert Einsteins KV3 and in KV6 that this aria is identical with KV
given by the Mozart children in the Amsterdamsche 53 (47e) is not tenable, as has been shown by K. Pfannhauer,
Dingsdagsche Courant of 25 February 1766 (see Zu Mozarts Kirchenwerken von 1768, in: Mozart Jahrbuch
Dokumente, p. 51): [] et le Fils Jouera la Fin sur 1954, p. 163.
30
l'Orgue de ses propres Caprices, des Fugues et d'Autres For the exact wording of their correspondence see Bauer
Pices de la Musique la plus profonde.[[] and the son Deutsch IV, No. 1212, p. 192, lines 201204.
31
will perform on the organ, at the conclusion of the concert, See A. Kutscher, Salzburger Barocktheater, p. 89.
32
his own caprices, fugues, and other pieces of music most The early dating results from archival evidence provided
profound. See also BauerDeutsch IV pp. 232, 235, 295, by H. Klein (Mozart-Jahrbuch 1957, p. 182 and fn. 34).
303, 374 and 389. These records, however, break off in 1767. It is worth
28
This Kchel number is not to be found in either KV3 or noting Gleissners remark in his catalogue of Mozarts
KV6. It is taken from the internal numberingoriented works (No. 65), that the aria is also one of the earliest
around the traditional KV numbersused in the Mozart- works.

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Cara, se le mie pene (= No. 7) Shortly before, at Carnival (27 February),

Leopold had written to his wife that
This aria, discovered by Wolfgang Plath in Wolfgang is busy composing two arias.37
contemporary manuscript part copies in Salzburg These are most likely KV 88 (73c) and KV 77
(Museum Carolino Augusteum), also belongs to the (73e). If one adds to these the lost aria Misero
late 1760s.33 It is remarkable but no challenge to the tu non sei, finished as early as 26 January
pieces authenticity that, both in respect of its text 1770, to a text from Metastasios Demetrio (I,
the arias we have up to this date are, apart from the 4) (KV App. 2 = KV6: 73A), we can conclude
two licenze KV 36 (33i) and KV 70 (61c), all settings (see the letter passages quoted above) that
of Metastasio and its forces, this aria seems to have Mozart wrote three arias during this stay in
little in common with the other aria compositions of Milan. Our edition of KV 88 (73c) and KV
this period. It seems most likely to have been 77 (73e) is based on Mozarts autographs,
composed for a private or domestic performance, which are dated as Milan 1770 (Bavarian State
which may have obliged Mozart to choose such Library, Munich and State Library Berlin
modest forces. The parallels with the similarly small- Prussian Cultural Heritage, Music
scale aria fragment Un dente guasto e gelato (dated Department). In both, corrections in Leopolds
perhaps too late, 1775, in KV6, where it bears the hand figure prominently. In addition, a violone
number KV 209a) are quite remarkable.34 Following part, which includes the vocal part in the
this line of thought a little farther, one can speculate recitative, survives in Wolfgangs hand for
whether this aria is in fact the lost Aria written for KV 77 (73e); the same, this time in Leopolds
the daughter of Personal Physician Wolf in Olmtz hand, survives for the aria (see his letter of 13
in 1767. March 1770, cited above).38 The score to KV
88 (73c) includes no indications as to
KV 88 (73c) Fra cento affanni (= No. 8) and KV 77 instrumentation. Our assumption that the aria
(73c) Misero me! Misero pargoletto (= No. 9). was composed for an orchestra with two horns
and two trumpets and not four horns is,
The journey to Italy in the middle of December 1769 however, generally secure: in Mozarts earlier
offered Wolfgang the opportunity to return to the dramatic works we encounter both
composition of single arias for various occasions, possibilities, but works with two trumpets and
including his own musical evenings and appearances two horns are in the clear majority. (See
(mostly in circles frequented by the nobility). The Ascanio in Alba, Nos. 14 and 16, while No. 19
series of arias from the years 1770/1771, which has for has four; Mitridate No. 1, while duet No. 18
the most part survived, began with these two has four; Il r pastore, arias Nos. 4 and 13;
compositions written in 1770 for a soire in the house Lucio Silla, arias Nos. 1, 4, 5, 9, 13, 19, 20,
of Count Firmian in Milan on 12 March; the second and scene VII). In addition, when Mozart
work, a Scena, includes Mozarts first large-scale specifies four horns, he usually makes use of
dramatic accompagnato. On 13 March Leopold wrote instruments in varying tunings. The text to KV
to his wife:35 88 (73c) is taken from Metastasios Artaserse
(I, 2), a preferred source for earlier arias as
It was impossible for me to write last well. Arbace is forced by his father Artabano,
Saturday, because Wolfgang had to who has just murdered his king, to take
compose three arias and a recitative responsibility for the assassination himself and
with violins for the concert yesterday at to flee. In the aria, Arbace is moved by
Count Firmians house, and I was desperation, horror, fear and pain. The scena
obliged to copy out the violin parts KV 77 (73e) is set to texts from Metastasios
myself and then to have duplicates made Demofoonte (III, 4 and 5). In Metastasios
of them in order that they not be original, between scene 4, which is set entirely
stolen.36 as recitative in Mozarts version, and the aria
text at the end of scene 5, an extended
33 ensemble scene in recitative is inserted, but the
For a detailed discussion of the discovery, authenticity,
dating and performance see the comprehensive Foreword to
Plaths edition (Kassel etc., 1966, BA 4758), whose musical likely. Mozart would then have written three, not four
text appears unchanged in the NMA. (KV3), arias in Milan.
34 37
See the Foreword to the edition (see fn. 33), p. IV. BauerDeutsch I, No. 162, p. 317, lines 24-25.
35 38
BauerDeutsch I, No. 165, p. 320, lines 4-8. Wolfgang informed his sister of the lost arias text in his
36
It seems likely that recitative refers to the large-scale letter to her of 26 January 1770, see BauerDeutsch I, No.
accompagnato KV 77 (73e) and notas Abert surmisesto 158, p. 309, lines 1221. The composition of this aria must
a fourth aria that Leopold fails to mention (Mozart I, have been induced by the performance of Hasses Demetrio
Leipzig, 7/1955, p. 149). That the recitative and aria in KV on 10 January 1770 in Mantua, of which Wolfgang writes in
77 are from two separate scenes makes this even more the same letter (p. 310, lines 22 f.).

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dramatic situation, which seems to have been the arias original form; this is given here in
derived from the Oedipus story, is the same: the Appendix. The tempo indication in the
Timante, supposedly the son of King second part of KV 82 (73o) is an addition by
Demofoonte, has discovered that Dircea, with the editor (m. 109); the marking tempo primo
whom he is secretly wedded, is really the at the transition to the da capo in m. 128
kings daughter and therefore his sister. The shows that there must be a change. The
recitative (III, 5) is a monologue expressing suggested Allegro moderato ought to be
his desperation. In the aria he turns, in much interpreted in the sense of un poco pi
pain, first to the child (present on stage) of his mosso; at a not-to-slow andante tempo in cut
union with Dircea and then, in the second time the quarter note pulse can stay almost the
strophe, to his spouse and his father. same. An interesting feature in this aria is the
occasionally very high register of the
Aria KV 71 Ah, pi tremar non voglio violoncello part, notated at such times in the
autograph in alto clef and often lying above
Also composed to a text from Demofoonte (I, the second violins.
1), this aria was also most probably composed Both arias were composed to texts from
during or just before the Mozarts journey to Metastasios Demofoonte: the text for KV 83
Italy, at the end of 1769 or beginning of (73o) (= No. 10) is Timantes aria from Act 1,
1770.39 The aria comes down to us as a scene 13. Timantes consort Dircea has been
fragment; only 48 measures, on the first eight condemned to death. Desperate, he tries to
autograph pages, survive; it will be printed in think of a plan to save her, together with her
the fourth, and last, NMA Arias volume. KV supposed father, Matusio. But the difficulty of
71, along with KV 77 (73e), KV 82 (73o), and the situation threatens to overwhelm him, his
KV 83 (73p), is the fourth of what one might courage and his poise leave him. The text to
call a series of settings from this libretto. KV 83 is from the conclusion of Act 2, scene
6. Dircea is condemned to die because of her
KV 82 (73o) Se ardire e speranza and KV secret marriage to Timante. On her way to
83 (73p) Se tutti i mali miei (= Nos. 10 and execution she meets Creusa, whom King
11) Demofoonte has chosen to be his supposed
son Timantes wife. Suffering painfully, yet
These two arias were written in Rome at the resigned to her fate, Dircea attempts to awaken
end of April and the beginning of May 1770, pity in Creusa, and to persuade her, by
the next works after the Milan arias. describing her own hopeless situation, to come
Concerning the first, Wolfgang wrote to sister to the aid of the desparate Timante.
on 21 April 1770 from Rome that I am a this
moment working on the aria Se ardire e KV 74b Non curo laffetto (= No. 12) Per il
speranza ;40 his next report, on 25 Teatro di Pavia 1771
April, was that Laria finita [the aria is
finished].41 The second aria, the autograph of This aria has come down to us only in the
which is dated as Rome 1770, was probably form of manuscript copy from the early
composed immediately afterwards, perhaps for nineteenth century; nothing more is known of
the same occasion. J.A. Hasses setting of the the occasion or time of its composition. In any
same text from his Demofoonte (Dresden, case, it is clear that Mozart did not visited
1748) was, at the time, one of his most famous Pavia on either of his first two Italian tours.
compositions. That this is so, however, does not
Our edition of both arias is based on their automatically discredit the works authenticity
autographs (today Paris, Bibliothque or the information on the title page of the
nationale, and State Library Berlin Prussian manuscript copy, today in [Prague, University
Cultural Heritage, Music Department). One Library/Clementinum]. The text of the aria is
remarkable feature of the manuscript of KV 83 likewise from Metastasios Demofoonte (I, 7).
(73p) are the many radical cuts found in it, Here Creusa has been rejected by her promised
possibly at the insistence of a singer. It is husband, Timante, and demands her pride
possible to reconstruct a complete version of injured of Timantes brother that he
revenge her. The brother, however, hesitates, a
reaction which provokes disappointment and
39
Wyzewa and St. Foix (W.-A. Mozart. Sa vie musicale e rage in Creusa. Mozart only set the arias first
son uvre, Paris, 1936, II, p. 425) date the aria later, to the strophe. It does not seem that Mozart
end of 1772, around the time of Lucio Silla. composed any further arias on his first Italian
40
BauerDeutsch I, No. 177, p. 339, lines 85. journey. On 4 August, looking back on the
41
BauerDeutsch I, No. 179, p. 342, lines 16.

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trip, he wrote: In the meantime I have already

composed four Italian symphonies, in addition KV 217 Voi avete un cor fedele (= No. 15)
to the arias, of which I have written at least 5
6.42 Soon thereafter he began work on This aria was written for insertion into a
Mitridate. dramma giocoso by Galuppi, Le nozze di
Dorina. The autograph (State Library Berlin
KV 209 Si mostra la sorte (= No. 13) Prussian Cultural Heritage, Music
Department) is dated 26 October 1775. For its
After the first Italian tour, there followed Salzburg performance, Galuppis opera seems
several years during which Mozart composed to have undergone severe changes, judging
almost his all of his early dramatic works and from the serious differences between Mozarts
wrote no more single arias. He returned to the text and the original libretto, changes that do
concert aria in 1775 in Salzburg, but this time not stop even at decisive alterations to the
with a series of buffo arias. These are all either plot.44 In Goldonis original the chambermaid
insertions or substitutions for Italian opere Dorina addresses snappily her two lovers,
buffe performed in Salzburg, written probably whom she distrusts; in the text set by Mozart,
for singers with whom he was acquainted at there is only one lover.
the Archbishops court. The opera into which
the tenor aria Si mostra la sorte was inserted We mentioned above that the border between
is not known. The autograph (State Library song and concert aria with orchestra is a fluid
Berlin Prussian Cultural Heritage, Music one. The aria KV 152 (210a), which was
Department) is dated in Leopolds hand as del composed between 1772 and 1775, already
Sgr. Cav: Amadeo Wolfgango Mozart d. 19 published in the NMA volume Songs, is
Maij 1775. [by Signore Sir Amadeo probably the piano reduction of a composition
Wolfgango Mozart, 19th May 1775] originally scored for voice and orchestra.45
The piece is therefore in its unchanged
KV 210 Con ossequio, con rispetto (= No. form as a piano reduction to be found in
14) Appendix II of this volume (see Appendix II,
pp. 191193).
Like KV 209, the autograph of the aria buffa
KV 210 (State Library Berlin Prussian On the Edition and Performance
Cultural Heritage, Music Department) is also
dated May 1775. It was intended, as was KV The fact that the editions here are based
256 (see Vol. 2 of Work Group 7) as an with one exception on Mozarts autograph,
insertion into Piccinis LAstratto ovvero Il and that many of them are additionally
giocatore fortunato (libretto by G. supported by copies in his fathers hand
43
Pietrosellini). The text itself is not found in presented special problems. Since the
Pietrosellinis libretto, yet it fits easily into II, autographs were not written for publication or
20; KV 256 seems to have been written for the even circulation, they display in many cases a
same scene. The situation is as follows: certain provisional character; indeed, they are,
Captain Faccenda [Things-to-do], disguised as often enough, hastily written ad hoc drafts
the learned Doctor Testa Secca [Dry-head], is without any particular claim to finality. The
courting at the same time boasting task was therefore to seek a solution doing
profusely the daughter of the rich and justice both to Mozarts intentions and the
moody landowner Don Timoteo. legitimate demands placed on an edition.
Questions of detail will find their answers in
the remarks on individual pieces and in
42
From an addition of Wolfgangs to a letter of Leopolds footnotes in the musical text itself. Following
from Bologna; see BauerDeutsch I, No. 202, p. 377, lines eighteenth-century practice, in all passages in
5657.
43
Textbook in Munich, Theatre Museum, shelf mark 18168:
44
LAstratto ovvero Il giocatore fortunato. Dramma Giocoso The libretto to Galuppis opera: Bologna, Museo Civico
per MusicaDresda, lanno 1772. See also E.G.Th. Bibliografico Musicale, see U. Sesini, Catalogo della
Sonneck, Catalogue of Opera Librettos (Washington, 1914), Bibliotheca del Liceo Musicale di Bologna vol. V (Bologna,
I, p. 176. Piccinis opera had its premire in Venice in 1772; 1943), No. 1870. A libretto from a performance in Florence
there is a manuscript copy of the score (Vienna, 1774) in the in 1761 is in Munich, Bavarian State Library (shelf mark P.
Frstl. Thurn und Taxisschen Hofbibliothek (catalogue of o. ital. 747m/3). In both librettos the title is simply Le Nozze.
45
the operas by S. Frber: Das Regensburger Frstlich Thurn See E.A. Ballins discussion in his Foreword to NMA
und Taxisschen Hoftheater und seine Oper 17601786. II/8, p. IX. Ballin does not share Wyzewa/St. Foixs (W.A.
Special reprinting from: Verhandlungen des Histor. Vereins Mozart II, Paris, 1936, p. 236) and Einsteins (KV3) doubts
von Oberpfalz und Regensburg, Vol. 86 (1938), p. 133). about its authenticity.

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which an intentional difference between All of the arias require accompaniment by an

staccato dots and staccato strokes cannot be orchestra, with the exception of No. 7 Cara,
made out, we have chosen to set staccato dots. se le mie pene, which seems to us only to be
Dots are unambiguously meant in this form, performable one on a part, or at the most with
two or three players in the violins and perhaps
with a double bass reinforcing the violoncello.
, of which Leopold Mozart writes In orchestral practice at the time, the doubling
that the notes must be played not only in one of the basso with bassoons was a matter of
bow stroke, but, with a light emphasis placed course, unless these had their own staves in
on each note, are to be played slightly distinct the score.49 This practice emerged from the
from each other.46 A usually clear distinction often very modest forces in the basso (few
between dot and stroke can be made out in violoncelli) and violas in Italian opera houses
Wolfgangs manuscripts only from around and in smaller court orchestras.50 J.A. Scheibe
1775 (see e.g. in this volume KV 217). Mozart attests that bassoons should reinforce the
often supplies long (sixteenth) runs with dots basso whenever oboes are also involved.51 J.J.
and isolated eighths and quarters with strokes; Quantz, on the other hand, specifies that a col
we believe that this difference implies basso role for the bassoon is indispensible,
different manners of performance, which are even in pure string ensembles, if more than six
often obvious in the musical context: strokes violins are playing.52 Joseph Haydn gives a
are for notes that the composer wishes clearly clear opinion on the matter in his instructions
detached, each with its own bow-stroke, and for the performance of one of his sacred
performed one separated from the other,47 cantatas at the monastery in Zwettl in 1768,
whereas dots are for light and short staccato.48 probably with the weak available string forces
At the same time, it must be emphasised, in mind: In the soprano aria the bassoon can
however, that the decision to use dot or stroke be omitted, if necessary, but I would prefer it
is not subsumable under any universally to be present, as an obbligato support for the
applicable rule, but must be made taking into bass; I prefer music with the three bass
account the sources in question. Only in the instruments violoncello, bassoon, and violone
case of KV 74b did we leave staccato dots to six violones and three violoncellos53 All
throughout, as in the earliest available source, of this suggests that bassoons were only used
a manuscript copy from the early nineteenth as reinforcement when the string bass
century. In some pieces, many editorial instruments were not sufficiently numerous;
additions have been necessary, e.g. key there can therefore be no objection from the
signatures, articulations, and tempo markings, point of view of the practice of the day to have
but have been limited to cases where a bassoon play col basso in pieces
misunderstandings are possible. This is true performed otherwise only by strings. In the
most of all for our performance directions. In aria KV 36 (33i) (= No. 5) it is not clear from
order to avoid crowding the page, we supply the autograph if the bassoon should continue
such suggestions as a rule only once.
Occasional inconsistencies of articulation have 49
been left as they appear in the sources, for Cf. C. Br, Zum Begriff des Basso in Mozarts
Serenaden, in: Mozart-Jahrbuch 1960/61, p. 145; also R.
example in the arias in KV 70 (61c) and KV 77
Haas, Zur Frage der Orchesterbesetzungen in der 2. Hlfte
(73e). des 18. Jahrhunderts, in: Wiener Kongrebericht 1909 and
the same authors foreword to DT 18/2, Das Wiener
Singspiel.
50
See L.F. Tagliavinis Foreword to Mitridate (NMA
46
Leopold Mozart, Versuch einer grndlichen Violinschule II/5/4), p. XIII and fn. 30, and Schreiber, Orchester und
(Augsburg, 1756), p. 43. The staccato dot was, however, Orchesterpraxis zwischen 1780 und 1850, Berlin, 1938, pp.
not completely unknown at the time (L. Mozart, J.J. Quantz; 128, 129. In Italy it seems that even the trombone often
cf. H. Kellers contribution to the first publication listed in doubled the double basses in opera buffa. See op. cit., p.
footnote 48 below). 143.
47 51
L. Mozart, Versuch, p. 45. Critischer Musicus, Leipzig, 1745, p. 713: When
48
See on these questions: Die Bedeutung der Zeichen Keil, trumpets and timpani are present the basses should
Strich und Punkt bei Mozart. Fnf Lsungen einer consist, in addition to the concert bass, of three to four
Preisfrage, ed. H. Albrecht on behalf of the Gesellschaft fr smaller basses and a pair of bassoons. Further on, Scheibe
Musikforschung, Kassel etc., 1957. See furthermore E. writes that when oboes are used, the basses must always be
Zimmerman, Das Mozart-Preisauschreiben der Gesellschaft supported by bassoons (p. 714).
52
fr Musikforschung, in: Festschrift fr Joseph Schmidt-Grg Versuch einer Anweisung die flute traversire zu spielen,
zum 60. Geburtstag, Bonn, 1957, pp. 400408, and P. Mies, Breslau, 1752, p. 185.
53
Die Artikulationszeichen Strich und Punkt bei W.A. Mozart, Joseph Haydn. Gesammelte Briefe und Aufzeichnungen
in: Die Musikforschung XI (1958), pp. 428 ff. edited and elucidated by D. Bartha, Kassel etc., 1965, p. 60.

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to play col basso in the second part of the aria, arias, in which figures do not always imply
when the rest of the winds rest. On the other figured bass accompaniment.60 According to
hand, it seems to us to be clear that in this and eighteenth century practice, in an
in similar cases it would not be a good idea to accompagnato the orchestra should enter only,
add one wind instrument to the otherwise as a rule, when the singer has finished singing,
purely string sound Mozart intended. With e.g. No. 5, mm. 15-16.
string orchestras of normal strength, there
seems to be no reason to include bassoons at
all, unless they have obbligato parts. In a letter
of 15 December 1770 from Milan,54 Leopold, performed:
describing the performance of Mitridate,
describes the freedom with which orchestras
were typically put together at this time: the
orchestra had 14 first and second violins, two Corris stipulation that the orchestra must wait
claviers (that is, harpsichords), six basses, two until the singer rests reflects without doubt the
cellos, two bassoons, six violas, and two Italian practice much-emulated at the time.61
oboes, with the two flutes doubling the oboes Haydn expresses similar sentiments in his
wherever they did not have an obbligato part.55 instructions on the performance of his cantatas
of 1768: Thirdly, it is to be observed in the
The question of the inclusion of a harpsichord accompanied recitatives that the
is not always easy to settle, particularly in accompaniment has not to enter before singer
accompagnatos. Generally, figured bass has sung all of the text, even if the score often
accompaniment was the rule up until the end suggests the contrary...62
of the eighteenth century: the clavicymbal
[harpsichord] should accompany all kinds of This is the practice still suggested in the major
pieces, be they large or small.56 This is singing method of the nineteenth century, M.
particularly true of accompagnatos.57 In the Garcias Trait complet du chant (Paris,
accompagnati presented here, therefore, a 1847),63 which is for the most part based on
discrete figured bass accompaniment with eighteenth century models: in sung recitative
some sort of keyboard instrument is absolutely (rcitativ instrument) the voice should always
necessary in passages where the voice is be completely free of accompaniment.
supported only by the bass line (harpsichord, Therefore chords should be sounded only at
or at least a piano). Such passages include KV the end of before the beginning of that which
79 (73d) = No. 4, mm. 14 and 18, KV 77 (73e)
= No. 9, mm. 13, 17/18, 24, 60, 67, 71/72, 99.
On the other hand, continuous accompaniment 109. Dr. Hans Schmid (Munich) kindly pointed out the
by a keyboard instrument which, in view of following quotation from J.J. Rousseaus Dictionnaire de
Mozarts texture, would be mostly Musique (Paris, 1968) (Article Accompagnement, p. 14),
unnecessary58 should always be as where the same tendency is noticeable: Les Italiens ne
transparent as possible, especially in arias. veulent pas qu'on entende rien dans l'Accompagnement, ni
dans la Basse, qui puisse distraire un moment l'oreille du
Indeed, the Italian tradition was not
Chant: & leurs Accompagnemens sont toujours dirigs sur
particularly enthusiastic about figured bass ce principe, que le plaisir & l'attention s'vaporent en se
accompaniment.59 This is especially true of partageant. [The Italians do not want to hear anything in
the accompaniment, not in the bass, which distract for a
54
BauerDeutsch I, No. 223, p. 408. moment the ear from the singing: and their accompaniments
55
See Tagliavini, Foreword to Mitridate (NMA II/5/4), p. are always directed towards the principle that the pleasure
XIII. and the attention evaporate in the moment in which they are
56
J.J. Quantz, Versuch, p. 185. felt.](Cf. also ibid., p. 13).
57 60
See C.P.E. Bach, Versuch ber die wahre Art das Clavier Even much earlier, for example in arias by A. Scarlatti,
zu spielen, Berlin, 1753, II, pp. 310, 315 ff. arias were often marked senza cembalo, although their
58
The aria Cara, se le mie pene with its chamber music basses were figured. C.Ph.E. Bach notes this as a particular
forces is an exception. See W. Plath, Foreword to his edition practice (Versuch II, p. 177).
61
(n. 33, above). A Select Collection of the most admired songs, duets etc.
59
See C.Ph.E. Bach, Versuch II, p. 177, where he speaks of from operas in the highest esteem By Domenico Corri
the Italians dislike for the rattling around of the Edinbourgh, (London, c. 1779) (Copy in Bologna, Civico
harpsichord in affetuoso arias. He himself recommends a Musia Bibliografico, signature: DD 38). See also J.A. Hiller,
special discretion in the accompaniment in such cases (ibid., Anweisung zum musikalisch-richtigen Gesange, Leipzig,
p. 242). It seems that it was the practice in opera buffa to do 1774, p. 203.
62
without figured bass accompaniment altogether. See F. J. Haydn. Gesammelte Briefe und Aufzeichnungen, p. 58.
63
Oberdrffer, Der Generalbass in der Instrumentalmusik des Abridged German edition by F. Volbach. Mainz, (1909),
ausgehenden 18. Jahrhunderts, Kassel, 1939, pp. 31 and p. 76.

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is sung. (See also ibid., p. 77). J.J. Quantzs text, on the other, must be paramount here.
directions concerning accompaniment This manner of free performance is
(Versuch, p. 272), which doubtless also reflect particularly appropriate to Mozarts first large-
contemporary practice, stand in opposition to scale dramatic scene, the accompagnato KV
this view: Quantz suggests that accompanying 77(73e) = No. 9. In contrast, the accompagnati
instruments should enter strictly on time and of the Licenze KV 36 (33i) and KV 70 (61c),
therefore, if necessary, come on top of the Nos. 5 and 6 here, require a more even and
singer, that is, not wait until the singer rests. In dignified declamation. We must point to one
the Tossi/Agricola vocal school,64 the leading further issue in which uncertainty is prevalent
authority in the eighteenth century, today, the result of Mozarts usual practice of
performance of accompagnatos is described not adding any dynamics to the vocal part. It is
thus: The short instrumental passages played in no way to be assumed that this requires to
between the accompanied recitatives must be singers to follow automatically the dynamics
played in time. Yet the singer is, for his part, in the orchestral part. Indeed, most of the
not bound to sing in time; he must only wait dynamics Mozart assigns to the orchestra are
for the end of the instrumental interludes, made necessary by the orchestras
unless he wants to come in amongst them, just accompanying function. Thus a fp in the
as the instrumentalists must wait for him. orchestra does not generally oblige the singer
One sees from these quotations that practice in to do the same (see, for example, No. 1, mm.
accompanied recitatives was in no way 80-81 and 93-94; No. 3, mm. 67, 68 and 90-
uniform or subject to general rules. 91; No. 5, Aria, mm. 24 ff. and 56-57; No. 7,
Nonetheless, the separation of vocal line and m. 34; No. 8, mm. 17-18, 77-78, 163-164, and
orchestral accompaniment seems to have been 178 ff.; No. 9, Aria, mm. 89-90 and 97, No.
rather more the rule than the exception.65 The 11, mm. 51-52; No. 13, mm. 34-35 and 40 ff.;
leading principle for accompaniment of the No. 14, mm. 19 ff.; No. 15, mm. 56 ff and 66.
accompagnati should be, in our opinion, the On the other hand, in No. 8 mm. 135-155, a fz
dramatic situation, the affect, and not the results automatically in the vocal part,
mechanical application of a rule. We would following the fp in the orchestra.) The
like to recommend the entrance of the dynamic markings in the orchestra as well,
orchestra in time (that is, before the singer has which, in Mozarts early works are limited
finished singing his text) in the following mostly to piano and forte one encounters
passages: KV 70 (61c) = No. 6, m. 31; KV 77 pp and mf only seldom also allow various
(73e) = No. 9, mm. 14, 22, 29, 34, 49, 52, 71, degrees of dynamic shading. The addition of
89, and 100. Sources on performance practice forte and piano, wrote D.G. Trk in 1789,
are in agreement, on the other hand, about the determines the expression only in a general
degree of rhythmic and agogic freedom and broad sense.66 This is particularly true of
permissible when the voice is alone or the opening dynamics added here frequently
accompanied by held chords. One sees, by the editor. The opening forte indications in
writes C.P.E. Bach in his Versuch (I, p. 124; KV 83 (73p) = No. 11 and KV 217 = No. 14,
see also II, p. 314), at least in the recitatives for example, are meant to be understood more
with accompaniment that tempo and metre in the sense of mf or mp.
must often be changed in order to call forth
many affects in quick succession or to restore The practices outlined in the many
calm. The metre is therefore often a performance treatises of the mid- and late
convenience of notation to which one is not eighteenth centuries by authors like
bound. J.A. Hiller writes in his Anweisung of Tosi/Agricola, C.P.E. Bach, J.J. Quantz, L.
1780 (p. 100) that It is well-known that Mozart, and J.A. Hiller are, for the very most
recitative is performed at all times without part, acceptable sources of information on the
observing the metre. Natural speech probable performance practices of Mozarts
declamation on the one hand and the dramatic early works. Only in his later works did
exigencies, in both affect and content, of the Mozart make interpretational demands going
beyond prevailing vocal tradition, calling for a
64
P.F. Tossi, Opinioni di cantori antichi e moderni o sieno practice based on the music itself.
Osservazioni sopra il canto figurato, Bologna, 1723,
translated and substantially expanded by J.F. Agricola as: Among these performance treatises, Hillers
Anleitung zur Singekunst, Berlin, 1757, p. 153. Anweisung, already mentioned, are based on
65
J. Riepel (Harmonisches Sylbenma, Regensburg, 1776,
p. 86), considers that orchestra and vocal line in
66
accompagnato can overlap to achieve an intensification of D.G. Trk, Klavierschule oder Anleitung zum
the affect. Klavierspielen, Leipzig, 1789, p. 348.

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both the Italian school of singing and the In recitative, however, the appoggiatura assumes
fundamental schools of G.B. Mancini and naturally an integrating function within the
Tosi/Agricola: it offers the broadest summary performance. Garcia writes:
and overview.67 Yet one should not
misunderstand the purpose of such practical The appoggiatura has its place in recitative as well,
works (including Garcias): they are not but not as ornamentation; instead, it gives more
collections of rules, but rather necessarily strength to the tonic accent of words in piano or
heterogeneous attempts to communicate sdrucciolo followed by a rest.71
aspects of a living and very diverse practice
from an immediate but also individual point of Regarding accompagnato, Garcia continues:
view.
The necessity of making the accent more strongly felt
A primary challenge is the treatment of the gives rise to the following rule: two equal notes which
appoggiatura.68 Todays singers are often usually end a phrase and are followed by a rest are
unsure of how to sing it; their approaches always to be altered, that is, the first of the two is to be
range from total disregard to stiff and pedantic treated, depending on the feeling, as an ascending or
application. The first important aspect to note descending appoggiatura.72
is that the appoggiatura has not so much an
ornamental as a prosodic function. In Italian According to this reasoning, the appoggiatura is the
vocal music the appoggiatura is the major emphasis of the accented syllable set to two notes of
component of the prosodic accent. It always the same pitch. In Tosi/Agricola we find the following
falls on the first part of the beat and on the possibilities for a final appoggiatura in recitative:73
long syllables of both masculine and feminine
words; it can, therefore, hardly be considered
to be ornamentation.69 If the first two notes of (In Mozarts day, this cadence was usually written
a measure are the end of a phrase, the first note out.)
always bears a prosodic accent and should
therefore be converted into an
appoggiaturaThe only exceptions to this
rule are when the two notes an essential part of
the motif.70 The appoggiatura concerned can
be a tone or semitone above or below the
printed note, depending on the melodic
context. The two passages cited from Garcia
apply to song of every kind. Here are just a
few examples of the kinds of prosodic
appoggiaturas which were certainly possible in
eighteenth century practice: Tosi/Agricola also mention the mordent between two
notes of the same pitch within one word:
Instead of

thus: .

67
J.A. Hiller, Anweisung zum musikalisch-richtigen Hiller warns, however, in his Anweisung (p. 100), that
Gesange, Leipzig, 1774, along with: Exempel-Buch der such ornamentation is to be used more sparingly in the
Anweisung zum Singen, Leipzig, 1774, Anweisung zum theatre than in the church or the chamber. As countless
musikalisch-zierlichen Gesange mit hinlnglichen Exempeln examples of the kinds of embellishment of the
erlutert, Leipzig, 1780. See also Sechs Italienische Arien ... notated vocal part expected of singers in the eighteenth
mit der Art sie zu singen und zu verndern ... , Leipzig, J.F. century testify, the appoggiatura was applied richly in
Junius, 1778. See also G.B. Mancini, Pensieri e reflessioni arias as well.74 Once again, however, the use of
pratiche sul canto figurato, Vienna, 1774 (reprint ed. Della
Corte in: Canto e bel canto, Turin, 1933 and Tosi, Opinioni,
71
1723, (cf. fn. 64). Ibid., p. 74.
68 72
Cf. Tagliavinis Forewords to Ascanio in Alba (NMA Ibid., p. 75.
73
II/5/5), pp. X and XI and Betulia Liberata (NMA I/4/2), p. Anleitung zur Singekunst, pp. 154 ff.
74
IX and F. Gieglings Foreword to the Schuldigkeit des Here one should mention above all Hillers methods (see
Ersten Gebots (NMA I/4/1), pp. VIII and IX. above), Corris Select Collection, and a Particella con
69
Garcia, Gesangsschule, ed. Volbach, II, p. 45. Rifiorimenti of J.C. Bachs aria Non s donde viene
70
Ibid., p. 47 (British Museum, London, signature RM 23 d. 5 11)an

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appoggiaturas must be left in individual cases to the the main note, while the main note takes the place of
musical judgment of the performer. Generally the rest:
speaking, there is no reason not to add appoggiaturas,
77
most of all in the case of words with feminine endings
that are followed by a rest. But since an appoggiatura It is necessary, however, to look at the whole score or
in an aria is strong tool of musical expression to possess sound judgement to be able to apply the
tending somewhat to pathos and weakness it should grace-note properly, for, depending on the
be applied with caution. Nothing would be more compositional context, the following rendering is also
unfortunate than to subject judgments made best in possible:78
individual musical contexts to the dictates of a
supposed rule. It is important to stress this because it
would be foolish to expect that we could, today, take One should also always bear in mind that It is not
up again the totality of eighteenth-century vocal possible to determine with complete precision by rules,
practice, which included alterations to the vocal line notwithstanding the four causes and occasions for
based on great sensibility, making frequent use of grace-notes given above and to which most cases will
appoggiaturas. Corresponding to the stylistic borders in fact belong, each and every place where a grace-
drawn in Mozarts era between theatre, chamber, and note is required and what duration these must have.
liturgical music, particularly in the case of recitative,75 There is always an arbitrary aspect involved,
a dramatic and pathetic scene of the seria kind (e.g. dependent on the taste and sensibility of the composer
KV 77/73e = No. 9) ought to be treated differently or performer.79 In particular, it must be emphasised
from a secco or accompagnato in buffa style. The same expressly that the short grace-note, usually notated
applies to the aria. It would, for instance, make sense #(IMAGE), is in no sense unchangeable, and that
to use appoggiaturas particularly sparingly in a buffo musical feeling has to determine the duration. An
aria like KV 217. Our suggested appoggiaturas, example for grace-notes with a status between
finally, set in smaller type, are meant rather to inspire changeable and unchangeable is given by
independent thinking about these questions than to Tosi/Agricola (Anleitung, p. 72):
offer ready-made solutions.
This is just as true of the suggestions in our music text
also in smaller print for the performance of This last is another instance, similar to the situation
grace-notes, often in cases that are less than clear-cut. with appoggiaturas, of the dependence of the
Their purpose, according to Leopold Mozart, is to realisation of grace-notes, within the framework of
make a melody more singable, indeed, they are the practice laid down in rules, on tempo and character of
elements that ultimately give coherence to a the composition.
performance (L. Mozart, Versuch, p. 193). In the In conclusion, a word on the cadenzas. Here again, the
eighteenth century, one generally distinguished volume editor has prepared suggestions which appear
between vernderlich [transigent, changeable] at the margin in the relevant places in the music text.
(long) and unvernderlich [intransigent, The principle applied here was that the extent of the
unchangeable] (short) grace-notes; there was, cadenza should also be in proportion to the format of
however, often no difference in the notation.76 It the aria. Invaluable models for those seeking their own
always depended on the musical context. The basic solutions could be provided by the cadenzas KV 293e
rule regarding the long grace-note, for example, which Mozart wrote in 1778 for the arias Cara, la
according to which the grace-note should occupy half dolce fiamma (Adriano in Siria), O nel sen di
the duration of the main note, or 2/3 in the case of a qualche stella (Catone in Utica) and Quel caro
dotted main note, was amenable to numerous amabil volto by J. Chr. Bach. J.A. Hiller took up the
modifications. One case is selected here to represent question of the cadence in arias in the Anweisung
many others. Usually, the grace-note, if it stands already mentioned on several occasions. He concludes
before a note followed by a rest, takes on the value of the following basic rules:80 1) The cadenzas must not
occur too frequently, and also not be too long. Strictly,
no breath should be taken in the course of a cadenza;
aria that Mozart also set (see NMA II/7/2), Mozarts own
ornamented version of this aria (forthcoming printing in
properly, therefore, it is not permissible for one to last
Vol. 2 of Work Group 7) and, not least, Mozarts longer than the singer has breath. However, this law
ornamented version of the vocal part of J.C. Bachs aria is not to be taken as unbreakable; only, the breath
Cara, la dolce fiamma (KV 293e). must taken with such speed, and happen at such notes,
75
See Tosi/Agricola, pp. 150 ff. and J.A. Hiller, Anweisung,
1780, pp. 99 ff.
76 77
The notation used today for the short grace-note, Cf. L. Mozart, Versuch, p. 157.
78
#(IMAGE), apparently emerged around 1800 (2nd edition of Regarding various possible realisations of the same long
D.G. Trks Klavierschule, 1802) and seems to be linked to grace-note, see J.A. Hiller, Exempelbuch, pp. 2224.
79
the printing technique by which the written form of the Tosi/Agricola, Anleitung, p. 73.
80
sixteenth-note, #(IMAGE), is retained in the grace-notes. Anweisung, Leipzig, 1780, pp. 111f.

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that the context is not torn apart. The cadenzas must *

2) at all times respect the character and principal
affect with which the aria is invested. A cadenza Finally, thanks are due to all those who have
consisting only of drawn-out notes would be as out of contributed to the publication of this volume with
place in a fiery aria as one consisting of wild runs in a information and other helpful work: in first place to
slow aria. To adapt the cadenza correctly to the aria, the Chief Editor of the NMA, Dr. Wolfgang Plath
one may well make use of individual beautiful (Augsburg), who also had a major share in working
passages from the aria itself, which one attempts to out a new chronological order for a number of the
weave skillfully into the same. 3) Figures of the same pieces in this volume and also contributed the edition
kind must not recur too often; rather, one must seek to of No. 7; thanks go also to Dr. Wolfgang Rehm
connect different figures which alternate with each (Kassel) for is untiring energetic work and for help in
other, so that it looks more like an adept fitting so many matters. The gratitude of the NMA and the
together of single, broken-off passages than a formal volume editor is owed not only to the archives and
arioso melody. For this reason, one should not be libraries named in the Kritischer Bericht, but also to
bound by the time signature, although one takes the Dr. Walther Drr (Tbingen), who generously
ductus of the aria to a certain extent as the guideline, undertook the proofreading of the Italian texts. I wish
not singing an Allegro as a cadenza in an Adagio or, to express special thanks not least to Professor
conversely, an Adagio as a cadenza in an Allegro. 4) Annelies Kupper (Munich) for many valuable
The more unexpected material appears in a cadenza, suggestions in working out the cadenzas and in other
the more beautiful it is. Now Hiller goes on to show questions of interpretation.
the harmonic possibilities of the cadenza (ibid., p.
112). One kind is the cadenza in the main key, a Stefan Kunze Munich, April, 1967
second is the cadenza in the dominant, in which the
tonic is only touched in passing. The third turns to Translation: William Buchanan
the help of short phrases and digressions in remote
keys. Yet, one should remain cautious regarding
unduly foreign notes and always take care that, as
dissonances against the bass, they receive a correct
resolution. Hiller then goes on (ibid., pp. 113f.) to
explain in detail how the cadenzas should be
conceived, and gives examples of this. Here we read
the important remark that, in cadential insertions
during the course of the aria, the singer usually
performs the cadential measures without reducing the
tempo. The pre-condition for this is that enough time
is available, i.e. that the cadential measures consist of
long notes. In an Adagio it is possible to undertake
something even if only a quarter-note is available for
this; half a measure is of course better. In an Allegro,
at least half a mesure is necessary; a whole measure is
better.81 He then gives the following examples, which
are however transferable to other cases and tempos:

At the following places in our arias, such elaborations

of cadential measures are conceivable: KV 21 (19c) =
No. 1, m. 103, KV 70 (61c) = No. 6, mm. 59/60, KV
77 (73e) = No. 9, m. 32, KV 82 (73) = No. 10, mm.
51/52, mm. 96/97, mm. 160/161, KV 74b = No. 12,
mm. 69/70. To what extent such additions are suitable
will be largely dependent on the character of the voice.
In KV 82 (73) mm. 160/161, for example, a playful
coloratura would be in order if the voice has
difficulties in maintaining a tension in the c' for its
whole duration. Whatever the case, however, the
characteristic leap of a tenth should be preserved.

81
Hiller, Anweisung, 1780, p. 116.

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Facs. 1:Va, dal furor portata KV 21 (19c) = No. 1: leaf 4v of Leopold Mozarts copy in the keeping of the
Bibliothque Nationale Paris, Dpartement de la Musique, signature: Rs.Vma.ms. 499. Cf. page 8, measures
6269, especially the measures 6869, which diverge from No. 1a. (on this cf. the facsimile below).

Facs. 2:Va, dal furor portata KV 21 (19c), revised version by Leopold Mozart = No. 1a. (Appendix I): leaf
4v of Leopold Mozarts copy in the keeping of the Bavarian State Library, Munich, signature: Mus.ms. 1278.
Cf. pages 168169, measures 6875, especially the measures 6869, which diverge from No. 1 (on this cf.
the facsimile above).

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Facs. 3: Conservati fedele KV 23 = No. 2: leaf 1r of the autograph in the keeping of the Bibliothque
nationale Paris, Dpartement de la Musique, signature: Rs.Vma.ms. 498. Cf. page 13, measures 116.

Facs. 4: Conservati fedele KV 23 = No. 2: leaf 1r of Leopold Mozarts copy in the keeping of the Bavarian
State Library, Munich, signature: Mus.ms. 1277. Cf. page 13, measure 17.

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Facs. 5: Conservati fedele KV 23, probably a later revised version = No. 2a. (Appendix I): first page of the
lost autograph after the facsimile reproduction in the Catalogue Henrici XIII. Cf. page 173, measures 113.

Facs. 6: Per piet, bell'idol mio KV 78 (73b) = No. 3: leaf 4r of the autograph from items belonging to the
former Prussian State Library in Berlin, now in the State Library Berlin Prussian Cultural Heritage (Music
Department). Cf. page 20, measures 4146: Orchestra (with exception of the bass) sketched by Wolfgang in
pencil and overwritten partly by Leopold in ink (Violino I, II measures 4145, Oboe I measures 4146,
Oboe II measures 4143 and measure 45, 2nd quarter-note until measure 46, Corno I, II measures 4143,
Viola measures 4146), partly by Wolfgang (Violino I, II measure 46, Oboe II measures 4445, 1st quarter-
note).

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Facs. 7: Oh, temerario Arbace! Per quel paterno amplesso KV 79 (73d) = No. 4: leaves 7r and 7v of
the autograph from items belonging to the former Prussian State Library in Berlin, now in the State Library
Berlin Prussian Cultural Heritage (Music Department). Cf. pages 2930, measures 93103 (above), and
page 30, measures 104118 (below).

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Facs. 8: First page of the partial autograph in the keeping of the Bibliothque nationale Paris, Dpartement
de la Musique, formerly Bibliothque du Conservatoire de Musique (Malherbe Collection), Galimathias
musicum KV 32 with the fragment Per quel paterno amplesso KV6: 73 D, an earlier version of KV 79
(73d) = No. 4 (cf. Foreword, p. XI and orchestra).

Facs. 9: A Berenice Sol nascente KV 70 (61c) = No. 6: leaf 12r of the autograph from items belonging
to the former Prussian State Library in Berlin, now in the State Library Berlin Prussian Cultural Heritage
(Music Department). Cf. page 54, measure 70 (on the four crossed-out measures cf. the Kritischer Bericht).

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Facs. 10: Voi avete un cor fedele KV 217 = No. 15: leaf 1r of the autograph from items belonging to the
former Prussian State Library in Berlin, now in the State Library Berlin Prussian Cultural Heritage (Music
Department). Cf. pages 147148, measures 19.

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