Contributions to a New Mozart Documentary Biography

Author(s): Cliff Eisen

Source: Journal of the American Musicological Society , Autumn, 1986, Vol. 39, No. 3
(Autumn, 1986), pp. 615-632
Published by: University of California Press on behalf of the American Musicological
Society

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 - STUDIES AND REPORTS -
Contributions to a New Mozart Documentary Biogra
By CLIFF EISEN

OR MOST EIGHTEENTH-CENTURY COMPOSERS, contemporary

their lives and works are scarce. Mozart is an obvious except
his case, what survives in the way of contemporaneous d
complemented by a rich correspondence. As a result, we pro
more about him than we know about any earlier composer.
The Mozart letters also show, however, that important docu
been lost. Wolfgang, writing to his father from Munich in 1777,
encounter with Mysliwecek during which the Italian composer
letters, none of which survives, "in which I often read my
Leopold, writing to his wife from Rome, refers to an as-yet
newspaper article that described Mozart's writing down of Alle
re.2 Earlier he had written from Bologna, "I should make the
heavy and costly if I were to send along the newspaper notice
appeared about Wolfgang in Mantua and other places."3 Y
newspaper articles are known from this time, in the Innsbrucker
ordinari Zeitung (18 December 1769) and the Gazzetta di Mantova (
1770, a report from Verona dated 9 January); and they survive on
they had been sent to Salzburg by Leopold.4
Particularly striking is a passage from Leopold's letter of 19
1765 to his Salzburg landlord Lorenz Hagenauer:

1 Letter of [ii October i777], Wolfgang Amadeus Mozart, Briefe un

nungen: Gesamtausgabe, ed. Wilhelm A. Bauer, Otto Erich Deutsch
Heinz Eibl (Kassel, 1962-75), II, 45; Emily Anderson, trans. and ed., T
Mozart and His Family, 2nd ed. (London, 1966), I, 305. Some o
translations have been amended in light of the originals. Libraries are r
their RISM sigla.
2 Letter of 19 May 1770, Mozart, Briefe und Aufzeichnungen, I, 349; An
The Letters of Mozart, I, I36.
3 Letter of i i January 1770, Mozart, Briefe und Aufzeichnungen, I, 304
ed., The Letters of Mozart, I, io6: "Ich wiurde die Briefe zu sehr bes
Theuer machen, wenn ich die Zeitungsblatter, die von dem Wolfg: in
anderen Orten schreiben, einschicken wollte."
4 Wolfgang Amadeus Mozart, Neue Ausgabe samtlicher Werke (her
X/34, Mozart: Die Dokumente seines Lebens, ed. Otto Erich Deutsch (Ka
95-96; Otto Erich Deutsch, Mozart: A Documentary Biography, trans. Er
Branscombe, and Jeremy Noble, 2nd ed. (London, 1966), pp. 1

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616 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

The Dutch ambassador in London several times begged us to visit the Prince of
Orange at The Hague. But I let this go in one ear and out the other. We prepared
for our departure, and I thought so little of going to Holland that I sent all our furs
and other things in a trunk to Paris. But when on July 24 [1765] we had actually left
and had driven out of London, we spent a day in Canterbury and then stayed until
the end of the month at the country home of an English gentleman in order to see
the horse-racing. On the very day of our departure the Dutch ambassador drove to
our lodgings [in London] and was told that we had gone to Canterbury for the
horse races and would then leave England. Straightaway he came to us and
implored me at all costs to go to The Hague, as the Princess of Weilburg, sister of
the Prince of Orange, was extremely anxious to see this child, about whom she had
heard and read so much.5

Since only a handful of substantial articles about Mozart had been

published by the middle of I765,6 it is likely that at least some of what the
princess of Weilburg "heard and read" came from the Dutch ambassador in
London. It might be remembered, in this context, that after Wolfgang's
public concert of 5 June i764, Leopold wrote to Hagenauer that it was
attended by "all the leading people in London," including "all the ambassa-
dors."7

Innsbruck article was sent to Salzburg on 22 December 1769. See Mozart, Briefe und
Aufzeichnungen, I, 295; Anderson, ed., The Letters of Mozart, I, 102. The Verona
notice was enclosed in the letter of i i January. Another lost newspaper article is
referred to in a letter of 15 August 1766 from Johann Rudolf Forcart, a ribbon
manufacturer, to his brother-in-law in Basle: "There is here M. Mozart, maitre de
chapelle to the Prince of Salzburg, who is touring Europe with his son and his
daughter, who are prodigies on the harpsichord; you may perhaps remember having
read about it in the Basle Gazette some years ago, at the time he was in Paris .
Deutsch, ed., Dokumente, p. 56; Deutsch, Mozart, p. 58: "I1 y a icy Mr Mozart Maitre
de Chapelle du Prince de Salzburg qui court l'Europe avec son fils et sa fille qui sont
des prodiges pour le Clavecin, vous vous ressouviendrez peut etre d'en avoir lu dans la
Gazette de Basle il y a quel ques anndes dans le temps qu'il 6toit a Paris .
I Mozart, Briefe und Aufzeichnungen, I, 200-20oi; Anderson, ed., The Letters of
Mozart, p. 58.
6 See Deutsch, ed., Dokumente, pp. 22-23, 24-25, 27-28, 30-3I, 32, 37, 41-42,
46; Deutsch, Mozart, pp. 20-2I, 23, 26-27, 30, 31, 36, 41, 46-47. Other documents
from this time include concert announcements and excerpts from private diaries or
correspondence, few of which would have been known to the Dutch court. The
sonatas Opus 1-3 (Opus I and 2: Paris, 1764; Opus 3: London, 1765) were widely
publicized.
7 Mozart, Briefe und Aufzeichnungen, I, '53; Anderson, ed., The Letters of Mozart, I,
48. A similar story is reported by Leopold in a letter of 14 April 1770 from Rome:
"Wolfgang was standing between the chairs of two Cardinals, one of whom was
Cardinal Pallavicini. He made a sign to Wolfgang and said to him: 'Will/you be so good
as to tell me in confidence who you are?' Wolfgang told him everything. The Cardinal
answered him with the greatest astonishment and said: 'Ah, you are the famous boy,
about whom so much has been written to me.' " Mozart, Briefe und Aufzeichnungen, I, 334;
Anderson, ed., The Letters of Mozart, I, I26. Only a single letter about Mozart to
Cardinal Pallavicini from before this time is known, from his distant relation, Count
Gian Luca Pallavicini, 28 March 1770. Deutsch, ed., Dokumente, p. 103; Deutsch,
Mozart, pp. 1' 3-14.

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 STUDIES AND REPORTS 617
Given the evidence of the letters, it is ironic that
Mozart: Die Dokumente seines Lebens has been taken to r
Mozart documentary research. Deutsch, possibly the m
scholar of the mid-twentieth century, would have been
documentary biographies can only aspire to compr
without exception, however, reviews of Dokumente fai
the possibility that more material of significance rema
and Joseph Heinz Eibl's slight supplement to Doku
reinforce the impression that we now know as muc
contemporary documents as we are ever likely to kn
An unfortunate result of this misconception is
systematic research into new sources of informatio
over, it has inhibited the sensitive reinterpretation of
material in light of recent progress in Mozart research
want to suggest that significant Mozart documents rem
Perhaps the best way to do this is to present some new
to discuss its implications. The documents given he
span the period 1766 to 1791 and to illustrate importan
life and works: biography, authenticity and chronology
performance.

Mozart in Paris (1766)

In the spring of I766, after fifteen months in Londo

seven-month detour in the Netherlands, the Mozar
back to Salzburg with a return visit to Paris, where th
Little is known from this time. Mozart was at Versaille
June, and, according to Leopold, they were vis
Ferdinand, hereditary prince of Brunswick. The ear
visit derives from a letter of 9-13 June, one of only t
Mozart wrote from Paris: "Meanwhile we have had the
His Highness the hereditary prince of Brunswick, a
some and friendly gentleman. On his arrival he asked m
author of the book on the violin, and so on.""

8 The Musical Times, CII (1961), 632, and CVI (1965), 676
467; Oesterreichische Musikzeitschrift, XVI (1961), 603; Not
432-34, and XXIII (1966-67), 41-44; Fontes artis musicae,
Letters, XLIII (1962), 53-56, and XLVI (1965), 352-53; Die
(1963), 96-97; The Music Review, XXVI (1965), 354-56; thi
254-57; Studia musicologica, IX (1967), 230-32.
9 Wolfgang Amadeus Mozart, NMA, X/3 I/i, Mozart: Die D
Addenda und Corrigenda, ed. Joseph Heinz Eibl (Kassel, 19
10 A good example of such reinterpretation is Neal Zas
List of His Son's Works," Music in the Classic Period: Essays in
ed. Allan Atlas (New York, 1985), pp. 323-58.
11 Mozart, Briefe und Aufzeichnungen, I, 224; Anderson, ed.
66.

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618 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

Eibl dated the visit to the middle of June.12 As far as he knew, it was
documented only by Leopold's letter and a notice published by Friedrich
Melchior von Grimm in the Correspondance littiraire for 15 July: "What is most
baffling of all is the profound knowledge of harmony and its most recondite
progressions which he [Wolfgang] possesses to a supreme degree, and which
caused the hereditary prince of Brunswick, a very competent judge in this
matter, as in many others, to say that many Kapellmeisters who have reached
the summit of their art will die without ever knowing what this child of nine
knows."" In fact, the visit took place on 26 May:

Augspurgische Extra-Zeitung
io June 1766

Paris, 27 May. Because extraordinary talent is highly prized here, the arrival of the
Salzburg Kapellmeister Leopold Mozart with his remarkable children has aroused
all the more pleasure since the distressing news became known that both children
were dangerously ill in Holland; now, however, one has the pleasure of seeing
them restored to good health and to admire the remarkable development of their
very particular talent. Some weeks before their arrival [in Paris] the fourth opus of
keyboard sonatas appeared that this small but great composer wrote at The Hague
for the princess of Nassau-Weilburg. It has also been confirmed that he played on
the famous organ at Haarlem while he was there. Yesterday this gifted family was
favored by a visit from the hereditary prince of Brunswick, and we understand that
the reigning duke of Zweibriicken and other persons of rank will do him similar
honor. '4

The author of this article apparently knew the Mozarts well: he had heard
about the children's illnesses in Holland, the appearance of the sonatas
"Opus IV" (K. 26-3 i) in March, and Wolfgang's performance on the great

12 Joseph Heinz Eibl, Wolfgang Amadeus Mozart: Chronik eines Lebens (Kassel, 1977),
p. 28.
13 Deutsch, ed., Dokumente, p. 55; Deutsch, Mozart, p. 56.
14 "Paris, den 27. May. Da man hier heute von ausserordentlicher Geschicklich-
keit sehr hoch schitzet, als hat die Ankunft des Hochfuirstlichen Salzburgischen
Herrn Capellmeisters Leopold Mozart mit seinen Bewunderungswiirdigen Kindern
um so mehr ein grosses Vergniigen erwecket, als man die betruibte Nachricht hatte,
dass beyde in Holland sehr gefaihrlich Kranck darnieder lagen, und man sie nun in
gutem Wohlstande wieder zu sehen, und den grossen Anwachs ihres ganz besondern
Talents zu bewundern, die angenehme Gelegenheit hat. Es kam schon einige Wochen
vor ihrer Ankunft die vierte Ausgaabe der Clavier Sonaten hier zum Vorschein, die
dieser kleine und zugleich grosse Componiste im Haag fur die Prinzessin von Nassau-
Weilburg verfertiget hatte: Und man versicherte dass er auf der beriihmten Orgel in
Harlem bey seiner Durchreise gespielet habe. Gestern hatten diese Geschikte Familie
die Gnade von Seiner Durchl. dem Erbprinz von Braunschweig besucht zu werden,
und wir vernehmen, dass ihm der regierende Herzog von Zweybriicken, und andere
hohe Standes-Personen auch solche Ehre erweisen werden" (no page number, copy in
D:Mbs, 4. Eph. Pol. 53).

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 STUDIES AND REPORTS 619

organ at Haarlem at the beginning of April. Since not

been widely publicized, it may be that at least some of
obtained from Leopold Mozart directly.
Grimm--described by Leopold as "our sworn friend,
for us in Paris"15-is the most likely of Mozart's Frenc
so well informed. He had already written about Wo
visit to Paris,'6 and Leopold, in the interim, had w
London; a letter of 13 December 1764 from Grimm to
Gotha included not only news of the Mozarts' cur
information concerning their future plans."7 And the
Zeitung notice is strikingly similar to the Correspondan
July. Possibly Grimm was the author of both.'"
As for the publication of the article in distant A
native of the city, would have had little difficulty arr
there. Indeed, he may well have had a hand in writing
keen on the publicity, especially when it would m
Salzburg. Some years later (and under different cir
had just left the archbishop's service) Leopold wrote to
"I must point out something which you can make u
permit. If you find that you are warmly applauded and
should like a special article praising your gifts to appear in
you have left, which my brother or Herr Glatz cou
and Herr Stein could arrange [to have published]. Yo
really gall someone here."20

'5 Mozart, Briefe und Aufzeichnungen, I, 15 1; Anderson, ed.

46.
16 Correspondance litteraire, I December 1763; Deutsch, ed., Dokumente, pp. 27-28;
Deutsch, Mozart, pp. 26-27. Grimm may also have been the author of a notice
published in the Avant-coureur, 5 March 1764, Deutsch, ed., Dokumente, pp. 30-3 1;
Deutsch, Mozart, p. 30.
'7 Deutsch, ed., Dokumente, p. 38; Deutsch, Mozart, pp. 37-38.
is Letters from Gabriel Cramer to Grimm, [June-July 1766], and from Grimm to
Caroline of Hessen-Darmstadt, [8 December 1766], both concerning Mozart, are
published in Voltaire's Correspondence, ed. Theodore Besterman, LXI (Geneva, 196 ),
175; and Correspondance inidite de Fridjric Melchior Grimm, ed. Jochen Schlobach
(Munich, 1972), p. 67. Another letter from Grimm to Caroline of Hessen-Darmstadt,
[ 1 December 1769], mentions Bastien et Bastienne, although the reference is probably
not to Mozart's setting of 1768; Grimm, Correspondance inWdite, pp. 102-103. None of
these letters appears in Deutsch, ed., Dokumente, or in Eibl's supplement. I am
indebted to Neal Zaslaw for bringing them to my attention.
19 See Alec Hyatt King, "The Mozarts at the British Museum," Festschrift Albi
Rosenthal, ed. Rudolf Elvers (Tutzing, 1984), pp. 167-68, concerning Leopold's
possible collaboration on an article published in the Europaeische Zeitung, 6 August
1765 (Deutsch, ed., Dokumente, p. 47; Deutsch, Mozart, p. 48).
20 Letter of 15 October I777, Mozart, Briefe und Aufzeichnungen, II, 56-57;
Anderson, ed., The Letters of Mozart, I, 318.

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620 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

The Symphony K. 7 (Anh. C I1.o02)

The Symphony K. 17 (Anh. C 11.02) has had a controversial history. In

1799 Andre purchased a score of the work from Mozart's widow, and on the
basis of the handwriting he assigned it to the decade of the i76os.2' K6chel,
who examined Andre's score, believed the symphony to have been composed
in London in 1764-65 (as did Jahn), but he expressed reservations about the
authenticity of the source.22 Abert, however, thought it may have been
written in Vienna in 1767-68,23 although he did not question the genuine-
ness of the composition. Serious doubts about the work were first expressed
by Saint-Foix,24 and taken over in K3, where it was removed from the main
chronology and placed among the questionable symphonies as Anh. 22 3a. In
K6, it was given the number Anh. C I1.02.25 The only known contemporary
copy of the work, Andre's score, has been missing since 1932.26

2' The symphony is listed as number 44 in the first draft catalog of Mozart
manuscripts purchased by Andre, the so-called Gleissner catalog. See the facsimile
published in Gherardo Cassaglio, Il catalogo delle opere di Wolfgang Amadeus Mozart
(Bologna, 1976). That Andre's copy of K. 17 came from Mozart's estate is no
guarantee of its authenticity. In the foreword to his 1833 catalog (GB:Lbm, Add. Ms.
32412), Andre wrote: "When [the manuscripts from Mozart's estate] arrived here at
Offenbach, F. Gleissner, who held the position of proof-reader in my establishment
and had become acquainted with Mozart, presumably when the latter was in Munich,
asked to be allowed to go through the manuscripts once again and to arrange them in a
fresh order. It was he who is responsible for the figures in red ink which are to be
found on them. By these he arranged the manuscripts, not in chronological order, but
according to their character, and mixed copies with originals indiscriminately." C. B.
Oldman, "J. A. Andre on Mozart's Manuscripts," Music & Letters, V (1924), 175.
Almost certainly, Mozart's library in Vienna included works by his father. See, for
example, the autograph of Leopold's aria "Du wahrer Mensch und Gott" (Ddr:B,
Mus. ms. autogr. L. Mozart 2) and the note on fol. i: "Du wahrer Mensch und Gott,
nie werden Tod und Leiden. Aria in Musik gesetzt von Leopold Mozart in Salzburg.
Partitur. (Leopold Mozart's eigenhandig geschriebene Partitur.) Erhalten von W. A.
Mozart's Wittwe, spitere Nissen." Concerning the possibility that some of Leopold's
church music, in particular the Litany Seiffert deest, might have made its way to
Vienna, see Walter Senn, "Das wiederaufgefundene Autograph der Sakramentsli-
tanei in D von Leopold Mozart," Mozart-Jahrbuch 1971/72 (Salzburg, 1973), pp. 197-
216.

22 Ludwig von K6chel, Chronologisch-thematisches Verzeichnis sdmtlicher Tonwerke

Wolfgang Amadc Mozarts [hereafter KI] (Leipzig, 1862), pp. 37-38; Otto Jahn, W. A.
Mozart, 3rd ed., I (Leipzig, 1889), 43.
23 Hermann Abert, W. A. Mozart, I (Leipzig, 1923), 96. Einstein misconstrued
this remark to mean Mozart's later Vienna period. See Ludwig von K6chel,
Chronologisch-thematisches Verzeichnis sdmtlicher Tonwerke Wolfgang Amadj Mozarts, 3rd
ed., ed. Alfred Einstein [hereafter K3] (Leipzig, 1937), p. 869.
24 Georges de Saint-Foix, The Symphonies of Mozart, trans. Leslie Orrey (London,
1947; repr. New York, 1968), pp. 5-7.
25 Ludwig von K6chel, Chronologisch-thematisches Verzeichnis samtlicher Tonwerke
Wolfgang Amadc Mozarts, 6th ed., ed. Franz Giegling, Alexander Weinmann, and
Gerd Sievers [hereafter K6] (Wiesbaden, 1964), p. 859.
26 See Leo Liepmannssohn, Versteigerung 62. Musikmanuskripte Wolfgang Amadeus
Mozarts aus dem Besitz von Andrc Erben: Zweiter und letzter Teil (Berlin, I932), lot I.

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 STUDIES AND REPORTS 621

Example i
A:LA, o. S., "Catalogus musicalium et instrumentorum ad chorum Lambacensem per-
tinentium. Consciptg. MDCCLXIIX 1768," p. 292, K. 17 (Anh. C 11.02)

Sinfonia in B.
a 2 Violin.
Allabr. Viola. e Mozart.

, 0"Basso.

The prevailing opinion is that K. 17 is not by Wolfg

possibility that it may be a work by Leopold Mozart h
rejected.28 Its appearance in the Lambach catalog of 17
"Mozart," is, therefore, of some interest (Ex. I).29
Although the main body of the Lambach catalog attribut
"Mozart" or "Mozarth," there can be little doubt that this r
In every case where Lambach copies survive, the first n
"Leopoldo" appears on the wrappers. Where Lambach cop
there is sometimes a second copy that makes the attributio
Moreover, many of the symphonies can be shown to ha
before 1762, in which cases an attribution to Wolfg
question.31 The earliest of Wolfgang's compositions to a
bach catalog is the so-called "Old Lambach" Symphony, K. 4

27 In addition to the items cited above, also see Jan LaRue, "
tion by Activity Analysis: A Progress Report," Mozart-Jahrbuch
1979), pp. 209-14-
28 K3, p. 869. Also see Robert Dearling, The Music of Wolfgan
The Symphonies (London, 1982), p. 60o: "There is no evidence
Leopold's .
29 As far as I know, the only mention of the Lambach catalog in connectio
K. 17 (Anh. C I1.02) is Neal Zaslaw, Mozart's Symphonies, in preparation.
30 At one time, the abbey held the largest known collection of Leopold Mo
works, including twenty-six symphonies, four divertimentos, four partit
Offertories, a Mass, a Litany, and a Dixit Dominus and Magnificat. Lambach
of two more symphonies (D:Asa, MG II 48 and 50) and the aria "Helle Son
duistren Stern" (D:Asa, MG II 22) do not appear in the catalog and may hav
acquired by the monastery after 1768.
31 For details, see my "The Symphonies of Leopold Mozart and Their Rel
ship to the Early Symphonies of Wolfgang Amadeus Mozart: A Bibliographi
Stylistic Study" (Ph.D. diss., Cornell Univ., 1986).
32 Concerning the "Old Lambach" Symphony, see Anna Amalie Abert, "
tischer Befund und Quellenlage zu Mozarts Lambacher Sinfonie KV
221 =45a," Festschrift Hans Engel zum siebzigsten Geburtstag, ed. Horst He
(Kassel, 1964), pp. 43-46; idem, "Methoden der Mozartforschung," Mozart-Ja
1964 (Salzburg, 1965), pp. 22-27; Wolfgang Plath, "Zur Echtheitsfrage bei M
Mozart-Jahrbuch 1971/72, pp. 23-24; Gerhard Allroggen, "Mozarts Lambacher
nie," Festschrift Georg Dadelsen zum 60o. Geburtstag, ed. Thomas Kohlhase and
Scherliess (Neuhausen-Stuttgart, 1978), pp. 7-19; Robert Munster, "Neue F

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622 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

distinguish it from Leopold's "New Lambach" Symphony, it was listed there

as being by "Mozard junior.""33
Given the general reliability of the Lambach catalog (especially insofar as
regional composers are concerned), the significant number of authenti
copies of works by Salzburg composers still extant in the collection, 34 and the
demonstrably close relations not only between Salzburg and Lambach35 bu
also between Leopold Mozart and Abbot Amandus Schickmayr,36 there is
little reason to suppose that any of the works credited to either Leopold o
Wolfgang in the catalog is misattributed and good reason to suppose that the
symphonies attributed to Leopold at Lambach are genuine works. O
documentary grounds, K. 17 (Anh. C 11.02) is probably by Leopol
Mozart. 37
Another bit of striking, if not necessarily conclusive, documentary
evidence may be added to this discussion. Because K. 17 (Anh. C 11.02)

Mozarts symphonischem Jugendwerk," Mitteilungen der Internationalen Stiftung Mo-

zarteum, XXX (1980), 2-I I; Gerhard Allroggen, "Mozarts erste Sinfonien," Fest-
schrift Heinz Becker zum 60o. Geburtstag am 26. Juni 1982, ed. Jurgen Schlider and
Reinhold Quandt (Laaber, 1982), pp. 392-404; idem, Foreword to NMA, IV/I i/i,
Sinfonien (Kassel, 1984), xi-xii; Neal Zaslaw, "The 'Lambach' Symphonies of
Wolfgang and Leopold Mozart," Music and Civilization: Essays in Honor of Paul Henry
Lang, ed. Edmond Strainchamps, Maria Rika Maniates, and Christopher Hatch
(New York, 1984), pp. 15-28.
K3 K. i67 is similarly listed in the Lambach catalog as by "Mozard junior."
34 See, in general, Gerda Lang, "Zur Geschichte und Pflege der Musik in der
Benediktiner-Abtei zu Lambach mit einem Katalog zu den Bestanden des Musikar-
chivs" (Ph.D. diss., Univ. of Salzburg, 1972).
35 See, for example, Arno Eilenstein, "Die Beziehungen des Stiftes Lambach zu
Salzburg," Studien und Mitteilungen zur Geschichte des Benediktinerordens, XLII (1923-
24), I96-2 32; extracts from the diary of Beda Hiibner published by Herbert Klein as
"Nachrichten zum Musikleben Salzburgs in den Jahren 1764-1766," Festschrift Alfred
Orel zum 70. Geburtstag, ed. Hellmut Federhofer (Vienna, i96o), pp. 93-101o,
especially the entries for 23 January 1765 and 4 April 1766; Walter Luger, "Beitrage
zur Musikgeschichte des Stiftes Lambach," Oberosterreichische Heimatbliitter, XV
(196i), 102-24.
36 On 31 October 1783 Mozart wrote to his father from Linz: "We arrived here
safely yesterday morning at nine o'clock. We spent the first night in V6gelbruck [recte:
Vicklabruck] and reached Lambach the next morning, where I arrived just in time to
accompany the Agnus Dei on the organ. The abbot was absolutely delighted to see
me again and told me the stories about you and him in Salzburg." Mozart, Briefe und
Aufzeicbnungen, III, 291; Anderson, ed., The Letters of Mozart, II, 859. It is widely
reported, but not the case, that Leopold and Schickmayr were university classmates
in Salzburg. See Lang, "Lambach," pp. 36-37. Nor is there documentary evidence to
support the claim, first made by Cornelius Preiss, Mozart in Oberosterreich (Linz,
1931), p. 62, that Schickmayr at one time asked Leopold to present Lambach with
fifteen of his symphonies.
37 The list of Leopold Mozart's instrumental works published in The New Grove
Dictionary supersedes those in Denkmailer der Tonkunst in Bayern, IX/2, Ausgewihlte
Werke von Leopold Mozart, ed. Max Seiffert (Leipzig, 90o8); and Ernst Ludwig Theiss,

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 STUDIES AND REPORTS 623

Example 2

(a) Leopold Mozart, Versuch einergriindlichen Violinschule (Augsburg, 1756), p. 139, Ex.
16.

(b) Ludwig Ritter von K6chel, Chronologisch-thematisches Verzeichnis sdmtlicher Tonwerke

Wolfgang Amad6 Mozarts, 6th ed., ed. Franz Giegling, Alexander Weinmann, and
Gerd Sievers (Weisbaden, 1964), p. 858

a jI

[alternative slurring]

[Andante]

sempre p

appears in the Lambach catalog, it must date from not later than i768; most
scholars, laboring under the impression that it could be by Wolfgang, have
proposed 1764-65 as the time of its composition. But what if the symphony
were earlier? This "archaic" (as Saint-Foix described it) work of the i760s
may be a more progressive symphony of the 1750os-and, if Leopold Mozart
is its composer, then we may want to reconsider our rather dim assessment of
his compositional abilities and style and, hence, the possibility that he may
be the composer of some of the symphonies attributed to Wolfgang for which
no satisfactory evidence of their authenticity survives. It seems to have gone
unremarked that the theme of the slow movement of K. 17 (Anh. C 11.02),
transposed from E-flat major to F major, appears as one of the examples in
Leopold Mozart's Versuch einer griindlichen Violinschule of 1756 (Ex. 2).

"Die Instrumentalwerke Leopold Mozarts nebst einer Biographie" (Ph.D. diss.,

Univ. of Giessen, 1942), extracts published as "Die Instrumentalwerke Johann Georg
Leopold Mozarts," Zeitschrift des historischen Vereins fir Schwaben, LXII/LXIII, Neues
Augsburger Mozartbuch (1962), 397-468. The following additions and corrections to
The New Grove Dictionary should be noted: the symphony F.4 (= Seiffert lost work 5) is
extant in D:RH (now Universititsbibliothek, Munster), Sign. Ms. 515, not D:HR;
copies of the symphony D. 12 (= Seiffert 3/14) are extant in D:Rtt, Sign. L. Mozart i,
and CH:Zz, Sign. AMG XIII 700oo; a probably genuine symphony survives in D:Rtt,
Sign. L. Mozart 2; for an incipit of this work, see Gertraut Haberkamp, Die
Musikhandschriften der Fiirst Thurn und Taxis Hofbibliothek, Regensburg, Kataloge Bayer-
isches Musiksammlungen, 6 (Munich, 1981), p. i59; a now-lost symphony attributed
to "Singore [!] Mozartt [!]" is listed in the Karlsruhe thematic catalogs, D:KA,
without shelf mark; the so-called Frosch partita is not lost but extant in A:LA, Sign.
4'; a divertimento for flute, violin, and basso is extant in A:SCH (published
Winterthur, Amadeus Verlag, 1976, ed. Alexander Weinmann); according to H. C.
Robbins Landon, Haydn: Chronicle and Works, I, Haydn: The Early Years, 1732-1765

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624 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

Mozart's Venice Concert ( 77 )

On 5 March 1771 Mozart gave a public concert in Venice that is known

only from a brief mention in Leopold's letter of 6 March: "Yesterday [we
gave] a fine concert."38 Details of the program do not survive, and apparently
no notice of the concert was given in the Venetian press. A few weeks later,
however, the following review appeared in Hamburg:

Staats- und gelehrte Zeitung des hamburgischen unpartheyischen Correspondenten

27 March 1771

From Italy, 7 March. Young Mozart, a famous keyboard player, fifteen years old,
excited the attention and admiration of all music lovers when he gave a public
performance in Venice recently. An experienced musician gave him a fugue theme,
which he worked out for more than an hour with such science, dexterity, and
harmony, properly and with attention to rhythm, that even the greatest connois-
seurs were astounded. He composed an entire opera for Milan, which was given at
the last Carnival. His modesty, which enhances still more his precocious knowl-
edge, wins him the greatest praise, and this must give his worthy father, who is
traveling with him, extraordinary pleasure."

Almost certainly, the Venice concert shared features in common with

those given in Mantua on 16 January 1770 and Milan on 23 February 1770.
The program for the Mantua concert included, in addition to a symphony,
several arias, concertos, and works performed by Mozart a prima vista, a
"Musical Fugue, composed and performed by Sig. Amadeo on the Harpsi-
chord and led to a proper conclusion according to the laws of counterpoint,
on a simple theme for the same submitted to him extempore."40 A review of
the concert in the Gazzetta di Mantova, 19 January I77o, noted that "what is

(Bloomington, i98o), 243, n. 2, a divertimento for two violins and basso "Del Sigre
Mozarth" is extant in H:KE. This last was recorded by Vilmos Tatrai and the
Hungarian Chamber Orchestra (Hungaraton SLPX 11656) together with another
divertimento attributed to "Mozarth," also in H:KE.
38 Mozart, Briefe und Aufzeichnungen, I, 422; Anderson, ed., The Letters of Mozart, I,
184.
39 "Aus Italien, vom 7 Mirz. Zu Venedig hat sich zu kurzem der junge Mozart,
ein bekannter Clavierspieler von 15 Jahren, 6ffentlich h6ren lassen, und die Aufmerk-
samkeit und Bewunderung aller Musik-Kenner rege gemacht. Ein gefibter Musicus
gab ihm ein Fugenthema auf, welches er sofort iiber eine Stunde lange, mit so vieler
Wissenschaft, Fertigkeit und Harmonie so richtig und Tacktvest ausarbeitete, dass
auch die gr6ssten Kenner in Erstaunen gesetzt wurden. Er hat ffir das Maylindische
Theater eine ganze Oper componiret, die man daselbst im vergangenen Carneval
aufgefuihret hat. Seine leutselige Bescheidenheit, die seine fruihe Wissenschaft noch
mehr erhebt, erwirbt ihm durch gehends das gr6sste Lob, das seinem mit ihm
herumreisenden wuirdigen Vater zum ausnehmenden Vergnuigen gereichen muss"
(no page number; microfiche ed. Hildesheim, 197-).
40 Deutsch, ed., Dokumente, p. 96; Deutsch, Mozart, p. io6.

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 STUDIES AND REPORTS 625

most to be esteemed, he composed and at the same t

performed a fugue on a simple theme given him, whic
masterly harmonic interweaving of all the parts and so
leave the hearers astounded. "41 One is reminded h
Leopold's letter of 3 April i770 from Florence: "M
who is the finest expert in counterpoint in the whole of
difficult fugues before Wolfgang and gave him the
which he played off and worked out as easily as one ea

Toricella and the Quartets, K. 168-73 (ca. 1775-85)

On io September 1785, only a week before Artari

six quartets dedicated to Haydn, the Viennese m
Toricella advertised "Six Quartets for 2 violins, viol
"Mozard."43 Artaria, who advertised the "Haydn" quart
on 17 September, was moved to remark, "As the art
also announced 6 Quartets by Mozart at a low price
pers, without saying whether they were in manuscr
new, Herr Mozart regards it as his duty to inform the
the said 6 Quartets are by no means new, but an old w
long as 15 years ago, so that amateurs who had been ex
should not be wrongly served."44 What grounds are th
quartets to be K. I68-73,4s and not some of K.
composed, like K. 168-73, in 1772-73 (that is, about fift
quartets dedicated to Haydn)?

41 Deutsch, ed., Dokumente, p. 97; Deutsch, Mozart, p.

42 Mozart, Briefe und Aufzeichnungen, I, 33 1; Anderson, ed.
125-
43 Deutsch, ed., Dokumente, p. 220; Deutsch, Mozart, p. 251-
44 Deutsch, ed., Dokumente, p. 222; Deutsch, Mozart, p. 252. Passing off older
works as new by Viennese music dealers was not uncommon. See, for example, Das
Wienerbldttchen, I April 1785, p. 263: "6 new duets by Pleyel have been announced
in the Wienerbldttchen of 30 March-Pleyel is at present in Naples-his friends here,
therefore, feel obliged to clarify in Pleyel's name that these duets are not new but
were already composed io years ago in Esterhaza, while he was still studying with his
great master [Haydn]. One should take the fruits of his youth for what they are: by
comparison with his later works, even moderately accomplished connoisseurs will
recognize in them not only the stamp of the present master but also that of the former
student" ("Im Wienerblattchen vom 3oten Marz sind 6 neue Duetten von Pleyel
angekundiget-Pleyel ist jetzt in Neapel-seine hiesigen Freunde finden es also
nothwendig, in Pleyels Namen zu erklaren, dass diese Duetten nicht neu, sondern
bereits vor io Jahren in Esterhass komponirt wurden, als Pleyel sich noch in der
Schule seines grossen Meisters befand-Mann bittet, die Friruchte seiner Jugend fur
das zu nehmen, was sie sind: bey angestelltem Vergleiche mit seinen spiteren Werken
werden auch mittelmassige Kenner das Geprage des Talents, des jetzigen Meisters,
aber auch des damalige Schuilers daran erkennen").
"4 Deutsch, ed., Dokumente, p. 220; Deutsch, Mozart, p. 251.

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626 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

According to the Neue Mozart-Ausgabe, there is no mention of K. 168-73

in either the Mozart letters or contemporaneous documents.46 Almost
certainly, however, they are among the works referred to by Leopold in his
letter to Breitkopf [of 6 October 1775]: "As I decided some time ago to have
some of my son's compositions printed, I should like you to let me know as
soon as possible whether you would like to publish some of them, that is to
say, symphonies, quartets, trios, sonatas for violin and violoncello, even solo
sonatas for violin or clavier sonatas. "47 And all six quartets are listed in the "2
verschiedene thematischer Katalog," the so-called Quartbuch, of ca. 1775.48
Independently of the Mozarts, then, K. 168-73 circulated in Vienna at the
end of the 1770s. And this makes it plausible that the quartets offered by
Toricella were, in fact, the very same works. Toricella's source for them was
probably not Mozart (who otherwise would not have protested so vigorously)
but the independent transmission documented in the Quartbuch.

A Viennese Performance of Die Entfuihrung aus dem Serail (1784)

Early performances of Mozart's first and most important Viennese

success,49 Die Entfiihrung aus dem Serail, are apparently well documented: a
substantial review of the work was published in Johann Friedrich Schink's
Dramaturgische Fragmente (Graz, 1782); shorter notices appeared in the Berlin
Litteratur- und Theater-Zeitung (5 October 1782) and Carl Friedrich Cramer's
Magazin der Musik (27 March 1783).50 Mozart himself described the second

46 NMA, VIII/2o/I/I, Streichquartette, ed. Karl Heinz Fiissl, Wolfgang Plath, and
Wolfgang Rehm (Kassel, 1966), xii. Also see p. xi, where it is suggested that Mozart's
concentrated work on quartets at this time may be explained by his intention to have
them published, perhaps by Artaria. In 1773, however, there was no regular music
printing in Vienna; moreover, Artaria did not begin publishing until 1778-
47 Mozart, Briefe und Aufzeichnungen, I, 527; Anderson, ed., The Letters of Mozart, I,
265.
48 Original destroyed; modern copy in A:Wn, S.m. 9040. See Book I, 4/52 (K.
169), 8/41 (K. 172), 14/50 (K. 170), 18/46 (K. '73), 23/52 (K. 171), and 28/38 (K. 168).
For the Quartbuch, see Jens Peter Larsen, "Haydn und das 'kleine Quartbuch,' " Acta
musicologica, VII (1935), 111-23; and the subsequent exchange with Adolph
Sandberger, Acta musicologica, VIII (1936), 18-29, 139-54, and IX (1937), 31-41;
idem, "Evidence or Guesswork: The 'Quartbuch' Revisited," Acta musicologica, XLIX

(1977), 86--o2.
40 The importance for Mozart of Die Entfiihrung was recognized early on. See, for
instance, the obituary published in the Musikalische Korrespondenz der teutschen Filhar-
monischen Gesellschaft, 4 January i792, col. 3: "Seine erste Oper, die er in Wien
komponirte war Belmond und Konstanze; oder, die Entfiihrung aus dem Serail, die 1785 zu
Mainz im Klavierauszug erschien. Diese Oper kann man eigentlich als das Piedestal
betrachten, auf welches Mozart seinen Ruhm unerschiitterlich griindete." This article
was not only the most substantial obituary of Mozart to appear immediately after his
death on 5 December 1791 but also one of the longest biographical notices of him to
appear up to this time.
50 Deutsch, ed., Dokumente, pp. 183, 185-87, 189; Deutsch, Mozart, pp. 206-207,
209-11, 214. Deutsch, ed., Dokumente, includes numerous announcements and

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 STUDIES AND REPORTS 627

performance in a letter to Leopold of 20 July

he described the first performance, is lost)."'
Yet, although Die Entfiihrung was given in V
Mozart's lifetime, with the exception of a n
appearance at the Kirntnertor Theater on
note concerning a production by Schikaned
mente is virtually silent about later Viennes
The Schikaneder production, however, was
appeared in the Wiener Kronik:

Wiener Kronik
[November 1784]

On the 5th of this month at the Karntnertor

Kumpf surprised lovers of German operetta in a
aus dem Serail. ... Herr Mozart, who composed t
the second act for Konstanze, to let the virtuosi
Theater show off; however, because these artis
Pressburg, Herr Franz Tauber composed anoth
although it does not display the mastery of our M
thy.. .. 53

The singers at this performance included a "Mademoiselle Kaiser,"

described by Gerber as "a singer in the German theater [who] was at Munich
in 1783 and went, in the following year, from there to Pressburg. She was

reviews of non-Viennese performances of Die Entfiihrung from 1783-90. To these

should be added: Realzeitung (Erlangen), i2, 22, and 26 July and i6 and 19 August
1785, PP. 452, 476, 484, 532, and 540; Tagebuch der Mannheimer Schaubiihne (Mann-
heim, 1786-87), pp. 6, 56-57, and 189; Journal aller journale (Hamburg, June 1787),
pp. 172-73; Magazin der Sichsischen Geschichte (Dresden, May 1788), p. 3 17; Annalen des
Theaters (Berlin, 1788), II, 45; Theater-Zeitungfiir Deutschland (Berlin, 18 April 1789),
pp. 121-22. The 1789 Berlin notice is of some interest since Mozart attended this
production on 19 May.
5 Mozart, Briefe und Aufzeichnungen, III, 212; Anderson, ed., The Letters of Mozart,
II, 807-808.
52 Deutsch, ed., Dokumente, pp. 203, 225; Deutsch, Mozart, pp. 229, 256. For the
1785 performance, also see Wiener Theaterkalender aufdasJahr 1787 (Vienna, [ 1786]), p.
159.

53 "Herr Schikaneder und Kumpf habe mit der Opera: Die Entfiihrung aus dem
Serail am 5ten dieses Monats im Karnthner Thor-Theater die Liebhaber der
deutschen Operetten auf ein angenehme Art gleichsam uberrascht. ... Herr Mozart,
der die musik dazu komponirte, hat im 2ten Akt eine Konzertarie fur die Konstanza
gemacht, damit sich die Virtuosen im Orchester des NazionalTheaters produziren
k6nnen; weil aber dem Presburger Orchester diese Kunstler abgegangen sind, hat
Herr Franz Tauber, eine andere Arie statt jener komponirt, die, hat sie auch den
Meisterstempel unsers Mozarts nicht, immer noch den Beifall verdient ..." (pp.
188-89; copy in A:StBW, A I io66).

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628 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

highly thought of,""54 and a "Herr Gatti," about whom nothing is known.
Konstanze's aria, of course, was "Martern aller Arten"; the composer of the
unidentified substitute aria, "Franz Tdiuber," was almost certainly Franz
Teyber (i758-I8Io), about whom Leopold wrote to Nannerl Mozart:
"Schikaneder, who is on his way to Augsburg, has been here since Sunday.
. . . His composer is Herr Deiber, brother of the famous singer . .. whom I
knew well in Vienna; [he is] a solid, first-rate musician, [a] good composer,
organist, and violoncellist."55 Teyber's association with Schikaneder was
previously thought to date only from 1785-86.

Mozart, Westphal, and Rellstab

The nonthematic stock catalogs of the Hamburg music dealer Johann

Christoph Westphal have already proven to be of value in evaluating
questions of authenticity, chronology, and dissemination in Mozart.56 Else-
where, Neal Zaslaw and I argued, in part based on the Westphal catalogs,
that the symphonies K. I6a and Anh. C ii.0o8 may be spurious, or at least
that the copies offered by Westphal-the original sources of information
about the works-were probably not authentic.57 As a corollary to this, we
also showed that the three Mozart symphonies offered by Traeg in Vienna in
February 1785 were not K. 319, 338, and 385, as Deutsch suggested,58 but
three D-major symphonies, including K. 203 (I89b) and 320.
A second group of entries in the catalogs shows that in 1790 Westphal
offered for sale an unprecedentedly large number of Mozart symphonies:

Neue eingekommene Musikalien, bey J. C. Westphal & Comp. in Hamburg. 1790. April

Mozart, I [Sinfonie] a 8. A dur 5= 8

, I [Sinfonie] a 9. B dur 4=8
, I Sinfonie a 14. C dur, No. 2. mit
, I [Sinfonie] a 12. C dur, No. 3. desgl. 6=
, I [Sinfonie] a 16. Es dur, desgl. io=
, I [Sinfonie] a ii. D dur, No. 6. 6=
, I [Sinfonie] a 18. D dur, No. 7. desgl. Io=
, I [Sinfonie] a 19. G dur, desgl. 5 4

5"Sangerin des deutschen Theaters, stand 1783 zu Mii

folgenden Jahre von da nach Pressburg. Man riihmte sie seh
Historisch-biographisches Lexikon der Tonkiinstler, I [Leipzig,
55 Letter of 5 May 1786: "Schickaneder ist hier seit dem Son
nach Augspurg. . . . Sein Compositeur ist H: Deiber, der
Sangerin . . . mein sehr guter bekannter aus Wienn; ein
Tonkiinstler, guter Componist, Organist, und Violoncellist"
zeichnungen, III, 538; not in Anderson, ed., The Letters of M
56 Copies of Westphal's catalogs are extant in B:Br, F
A:Wgm, 205/3 and 559/8. Both runs are incomplete.
57 Neal Zaslaw and Cliff Eisen, "Signor Mozart's Symp
Anhang 220 = I6a," TheJournal of Musicology, IV (1985-8
58 Deutsch, ed., Dokumente, p. 210o; Deutsch, Mozart, p.

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 STUDIES AND REPORTS 629

Not many of the works can be identified with certa

A-major is possibly K. 201 or K. 134; and the th
symphonies are probably K. 425 or 55I ("a 14. C dur
dur"), and 504 ("a i8. D dur").
But it is not the exact identification of the works tha
is the surprising fact that as early as the spring o
Hamburg offered for sale symphonies by Mozart that,
never been offered for sale before, even in Vienna.
have gotten these symphonies?
In 1789 Mozart undertook a short, two-month co
Dresden from I2 to 18 April; Leipzig from 20 to 2
outside Berlin, from 25(?) April to 6(?) May; Leipzig
May; and Berlin from 19 tO 28 May, arriving back i
was usual on such tours, he took with him several wor
performed at public and private concerts, and all of w
prepared to sell. Seen in this light, an apparently in
from between the Potsdam visit and Mozart's retu
document to originate from Berlin about the time of M
more interesting than might at first appear:

Berlinische Nachrichten von Staats- und gelehrte Sach

9 May 1789

Available from Rellstab's music establishment ... arranged for keyboard, the
ballet from the opera Medea by Naumann, in which the Sibyls permit Medea to
see her fate. Also the complete works of Mozart.59

Unlike his visits to Leipzig and Dresden, Mozart's activities in Potsdam

and Berlin are not well documented. Some of the letters that he wrote to
Constanze from there are lost, and the only performance that we know of is
his appearance at court on 26 May. Although there is no evidence that
Mozart met Rellstab, it would be surprising if he did not. Rellstab was
Berlin's leading music publisher and one of the city's most important
impresarios. 60

59 "In der Rellstabschen Musikhandlung ... ffirs Klavier eingerichtet ... Ballet
aus der Oper Medea von Naumann, worin die Sybille der Medea ihr kiinftige
Schicksal sehen lisst. Auch sammtliche Kompositionen von Mozart" (p. 418; copy in
D:Ansbach, Schlossbibliothek, If 26).
60 See the anonymous Bemerkungen eines Reisenden iiber die zu Berlin vom September
1787 bis Ende 1788 gegebene iofentliche Musiken, Kirchenmusik, Oper, Concerte und
Kilnigliche Kammermusic betreffend (Halle, 1788); and Johann Carl Friedrich Rellstab,
Ueber die Bemerkungen eines Reisenden, die berlinischen Kirchenmusiken, Concerte, Oper und
konigliche Kammermusic betreffend (Berlin, [1788?]). From 1788, when Mozart's operas
began to be performed in Berlin, Rellstab published most of the arias in various
collections or as individual prints. See Rudolf Elvers, "Die bei J. F. K. Rellstab in
Berlin bis I8oo erschienenen Mozart-Drucke," Mozart-Jahrbuch 1957 (Salzburg,
1958), pp. 152-67.

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630 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

It does not seem farfetched to suggest that Rellstab's advertisement for

"the complete works of Mozart" in May 1789 was the result of a business deal
made by the two men at Potsdam in April. If this is so, we might speculate
further that the works included symphonies that then circulated in northern
Germany, appearing about a year later in Westphal's stock catalog.

An Authentic Keyboard Arrangement of the Overture to Die Entfuihrung aus

dem Serail?

Among the unresolved questions of authenticity in Mozart is that of

arrangements he may have made of his operas, in particular, Die Entfiihrung
aus dem Serail. On 20 July 1782, for instance, he wrote to his father, "By
Sunday week I must arrange my opera for wind instruments--otherwise
someone will beat me to it-and secure the profits instead of me," and on 28
December, "At present I am also finishing the keyboard arrangement of my
opera, which will be engraved.'"61 Little survives in the way of contemporary
arrangements of Die Entfiihrung.62 A Harmonie version in the Schwarzenberg
archives at Ceskr Krumlov is probably by Johann Went from 1782; another
arrangement, in the Florence Conservatory, may be identical with that sold
by Lausch in 1784.63 A keyboard version of the duet "Vivat Bacchus" was
published in the Wiener Musik- und Theater-Almanach for 1786, and surviving
fragmentary autograph keyboard scores of "Martern aller Arten" and
"Welche Wonne, welche Lust" may have some relation to the lost keyboard
arrangement of Act I published by Artaria in December 1785,64 an arrange-
ment that presumably was based on a version Toricella had attempted to
publish by subscription in November 1784.65
In a startling article published some years ago, Ernst Laaff gave an
account of documents concerning a court case in which Leopold sued Schott
in Mainz and G6tz in Mannheim for publishing without Mozart's permission

61 Mozart, Briefe und Aufzeichnungen, III, 213, 246; Anderson, ed., The Letters of
Mozart, II, 808, 833.
62 See, in general, Gerhard Croll's foreword to NMA, II/5/12, Die Entfiihrung aus
dem Serail (Kassel, 1982), XXii-XXiii.
63 See Deutsch, ed., Dokumente, p. 2o1; Deutsch, Mozart, p. 226; Roger Hellyer,
"The Transcriptions for Harmonie of Die Entfiihrung aus dem Serail," Proceedings of the
Royal Musical Association, CII (1975-76), 53-66; David Whitwell, "The Incredible
Vienna Octet School-Part II: A Case for the Authenticity of Mozart's Arrangement
of 'Die Entffihrung aus dem Serail' for Wind Instruments," The Instrumentalist,
XXIV/4 (1969), 40-43; idem, Wind Band and Wind Ensemble Literature of the Classic
Period, The History and Literature of the Wind Band and Wind Ensemble, 8
(Northridge, Calif., 1983), p. 73.
64 Deutsch, ed., Dokumente, p. 225; Deutsch, Mozart, p. 256.
6i Deutsch, ed., Dokumente, pp. 203-204; Deutsch, Mozart, pp. 229-30. Letters
from Leopold to his daughter, Nannerl, suggest that the Toricella arrangement-if in
fact it was completed and engraved-may have been authentic. On i2 March 1785,
for instance, Leopold wrote, "As for the keyboard arrangement of Entfiihrung aus dem
Serail, all I can tell you is that a certain Toricella is engraving it. This [arrangement] of
Toricella's is by your brother: but it is still not quite finished-perhaps only the first

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 STUDIES AND REPORTS 631

or knowledge authentic keyboard arrangements of D

disappearance of these documents during the war and t
after they had been discovered is suspicious. Nevert
document survives that suggests G6tz's keyboard arr
ture may have been by Mozart:67

Oberdeutsche allgemeine Litteraturzeitung

2 November 1791

Die Liebe im Narrenhause. A comic opera in two acts. Compos

Dittersdorf; arranged for keyboard by Ignaz Walter. M
not close without giving Herr Ignaz Walter his due. H
conscientious man can manage. Making keyboard arrang
one. One can have much musical knowledge without me
How many operas have not already been ruined because of
masterpiece, Die Entfiihrung aus dem Serail, and compa
arrangement, also published by Schott, made by Abbe' Sta
Mozart in it? How dissimilar the overture seems when
arrangement with that published by G6tz in Mannhei
supposed to have gotten from Mozart himself. .. .68

The editor of the Oberdeutsche allgemeine Litteraturze

was well known to the Mozarts. In I786 Leopold Mo
with a copy of the Bruchstiicken aus Zoroasters Fragmente

act: I shall ask about it," but on 16 December: "What

happened. A keyboard arrangement of the 'Entfuhrung' h
by the Augsburg bookseller Stage for seven florins and [I]-f
Canon Stark arranged it for keyboard-and [it was] e
trumpeted forth in the Augsburg papers with many laud
famous Herr von Mozart. If Toricella has already engraved a
will lose considerably-and your brother will have wasted hi
" (Mozart, Briefe und Aufzeichnungen, III, 379, 47'; Ande
Mozart, II, 888, 895).
66 Ernst Laaff, "Prozess um Mozarts 'Entffihrung,' " Sym
Hellmut Federhofer zum 6o. Geburtstag, ed. Friedrich W
Unverricht (Mainz, 197 ), PP. 190-93.
67 RISM A/I/6, M 4272, records only a keyboard arran
published by G6tz, as plate number 128. K6, p. 41 I, recor
overture in parts, 1785 or 1786, also as plate number 128.
68 "Die Liebe im Narrenhause. Ein komische Oper in zwe
Ditters, Edlen von Dittersdorf (in Musik gesetzt); ffir das Cl
Ignaz Walter. Mainz, bey Schott. .... Wir diirfen nicht sch
Walter verdiente Gerechtigkeit widerfahren zu lassen.
gewissenhafter Mann leisten kann. Clavieraussziige mach
Sache. Man kann viele musikalische Kenntnisse besitzen, ohn
sen zu seyn. Wie viele Opern sind nicht schon dadurch verh
Mozarts Meisterstiick: Die Entfiihrung aus dem Serail, vor sich
auch bey Schott erschienenen Clavierauszug, welchen Hr. Abb
wird Mozart in demselben erkennen! Wie unahnlich sieht
man den Starkischen Auszug davon und jenen, der bey G6tz
ist, und Mozart selbst zum Verfasser haben soll, gegen ein
30; copy in D:Mbs, Eph. Lit. 27a).

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632 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

for distribution at a masked ball in Vienna.69 Since the G6tz edition may
have appeared as early as 1785, it is conceivable that Hiibner's information
about it came directly from Leopold.
On the other hand, the document is rather late, 1791, and by the time it
appeared there was no longer a reliable source in Salzburg from whom
Hiibner could have gotten his information: Leopold had died some years
earlier, in May I787, and Nannerl Mozart, who was living in St. Gilgen, had
been out of touch with her brother at least since February 1788. The
document itself, then, is hardly conclusive, but it can hardly be ignored.
Two other aspects of the documents described here might be mentioned
briefly. One is that, with the exception of the Lambach catalog listing of K.
17 (Anh. C 11.02), none of them derives from manuscript sources-from the
records of courts, monasteries, or other institutions, personal correspon-
dences, diaries, and the like. Almost certainly, however, manuscript material
remains a great, untapped source of significant Mozart documents. Several
recent publications have brought just this kind of material to light.70
The other is not so immediately apparent: it is that some documents,
especially those that derive from printed sources, appear in rather unexpect-
ed places. Details of Mozart's public concert in Venice, it will be remem-
bered, are known only from a Hamburg newspaper. Perhaps the reason why
this is so is obvious: Mozart was a phenomenon of unprecedented interest.
To be sure, the eighteenth century did not lack for child prodigies: one
need only think of Crotch and Bridgetower in London, D'Arcis in Paris,
Mozart's pupil Hummel, or Mozart's sister, Nannerl. Indeed, the compari-
son with Nannerl, whose talent was far from inconsequential, is instructive:
Mozart, with his innate musical genius, was easily the more impressive. Such
genius could hardly go unremarked. For this reason alone, the prospects for
substantial documentary finds are good.

Cornell University

69 Letter of 23 March 1786, Mozart, Briefe und Aufzeichnungen, III, 52 1; not in

Anderson, ed., The Letters of Mozart; Deutsch, ed., Dokumente, pp. 234-35; Deutsch,
Mozart, p. 268. According to Leopold's letter, in the fourteenth fragment ("Bist du ein
armer Dummkopf-so werde K--r"), "K--r" was a euphemism at Salzburg for
consumption. Deutsch notes that according to Nissen, the word should read
"Kleriker." Another alternative might be: "Bist du ein armer Dummkopf-so werde
Kapellmeister."
70 See, for instance, King, "The Mozarts at the British Museum," p. 158; Philippe
A. Autexier, Mozart & Liszt sub Rosa (Poitiers, 1984); H. C. Robbins Landon, Mozart
and the Masons: New Light on the Lodge "Crowned Hope" (New York, 1983); Kerry S.
Grant, Dr. Burney as Critic and Historian of Music (Ann Arbor, 1983), p. 202; Irmgard
Leux-Henschen, Joseph Martin Kraus in seinen Briefen (Stockholm, 1978), p. 310o;
Robert Muinster, "Mozarts Kirchenmusik in Munchen im 18. und beginnenden 19.
Jahrhundert: Stiftskirche zu Unserer Lieben Frau-Augustinerkloster-Kurfiirst-
liche und Konigliche Hofkapelle," Festschrift Erich Valentin zum 70. Geburtstag, ed.
Guinther Weiss (Regensburg, 1976), p. 148; Ernst Hintermaier, "Die Familie Mozart
und Maria Plain," Oesterreichische Musikzeitschrift, XXIX (1974), 354-

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