INTRODUCTION

In the summer of 1824 the fifteen-year-old Mendelssohn spent a holiday with his father in the fashionable spatown of Bad Doberan, on the Baltic coast near Rostock. Writing home to his family in Berlin he confessed that, although they were "comfortably lodged, and with friendly people, have a decent piano, pretty view, ... so far I have not written a note" (July 3). Instead, he bathed in the sea for the first time, translated Latin odes, read Cicero and Homer, and played the piano at the residence of the Grand Duke Friedrich Franz I of Mecklenburg-Schwerin, under whose patronage the spa (and sea bathing) had grown popular; Field Marshal Blucher, Wilhelm van Humboldt, Marcel Proust, Rainer Maria Rilke, Queen Luise of Russia and Tsar Nicholas I all spent their summer holidays there.

It was probably at the residence that Mendelssohn met the members of the court ensemble, a wind-band (Harmonie) for which he wrote the present Nocturno, scored for the classical octet of double winds, plus a flute, trumpet and "Como Inglese di Basso".' This last instrument was a conical bore, upright relative of the serpent, with a cup mouthpiece and both open and keyed holes, rather in the shape of a bassoon, which Mendelssohn described to his sisters as "a large brass instrument with a fine, deep tone, and looks like a watering can or a stirrup pump" (Letter, 21 July 1824; NYPL). He illustrated it in a post-script to his letter three days later (Letter, 24 July 1824, NYPL; see facsimile, p. X). The instrument was designed in England by a French refugee from the Revolution, Alexandre Frichat, and built in London by John Astor; like the serpent, the Russian bassoon and the later ophicleide, it was used mainly to reinforce the bass line (Beethoven's military marches have a part for "Contra Fagotto e Bashorni"). Mendelssohn employed it again in his music for A Midsummer Night's Dream (although the published score replaced it with 'Ophicleide'), in the unpublishedmarches written for the Dusseldorf town band (1833-4)and in the Trauer-Marscn Op. 103 (1836).

For the Nocturno he appears to have regarded it as optional,since he refers to the piece as being "fur 10 Blaseinstrumente". Although its part is often taken by a bass tuba today, Mendelssohn appears to have preferred the ophicleide as a substitute, and on occasion his friend Sir George Smart transferred such music to an extra bassoon (see his performance notes in the MS score of A Midsummer Night's Dream in the Royal Academy of Music, London). To give it to a contra-bassoon adds gravitas, but also an octave dislocation which the composer did not intend.

No material from this first version of the Nocturno appears to have survived. According to letters of 1838-9, Mendelssohn gave away (or lost) his score to someone in Mecklenburg.' In 1826 he "recopied" the piece (we are not told from what), and this is the manuscript that now survives in the Berlin Staatsbibliothek, dated 27 June 1826 (N Mus.ms. 96). However, the many small "composing" alterations in this source indicate that it was certainly a revision rather than a fair copy. Thereafter nothing is said about the piece until 1838, when Mendelssohn decided to enlarge the scoring to a full military ensemble of twenty-three players plus "Janissarymusic" and offer it to the publishers Simrock, together with a reduction for piano duet, as Ouvertiire for Harmoniemusik Op. 24 (see BA 9055). At the same time he wrote asking them to publish the Nocturno version which he describes as an "Ouverture fur 10 Blaseinstrumente" (letter to Simrock, 16 December 1838) and mentions an unknown arrangement for strings which should be published later - "das Arrangement fur Saiteninstrumente mochte ich Sie aber bitten (wie Sie auch selbst sagen) sparer erscheinen zu lassen" - but neither of these smaller versions seems to have been accepted, and the "recopied" 1826 manuscript is the prime source for the present edition.

It is possible that when he wrote the piece, Mendelssohn was aware of Louis Spohr's Notturno in C for wind instruments and "Turkish music" Op. 34, written in 1815. More probably, however, he was following the familiar tradition of wind Nachtmusik from the 18th century (Mozart referred to his. wind serenades K. 375 and K. 388 as "Nacht Musick" or "Nacht Musique") where the only nocturnal connection was that they were played at evening entertainments. The work also reveals an admiration of Carl Maria von Weber's wind-band scoring, particularly the incidental music to Preciosa (performed in Berlin in 1821) together with an open compliment to his Zigeuner-Marsch of Act I.

Mendelssohn's score gives two parts on one stave for oboes, clarinets, bassoons and horns; phrasing and dynamics are assumed to apply to both parts, but when the parts diverge and the slurring is sometimes uncertain, it has been suggested editorially here with dotted slurs. There are also many repeated dynamics which have been preserved here - they may indicate the over-zealousness of a youthful composer or, more probably, the need for frequent reminders to the local wind-players. The diamond shaped crescendo/diminuendo marks, <:::::::::=-, a symbol typical not only of Mendelssohn's notation but that of many of his contemporaries, are preserved in this edition (see facsimile, page VIII, and bars 46 and 67). Editorial markings and additions are shown by dotted slurs and ties, accidentals and staccato dots in square brackets, and dynamics in italic type.

A number of the composer's alterations are mentioned in the Critical Commentary both for their musical interest and to support the argument that, despite Mendelssohn'sclaims, this MS cannot be taken as an exact copy of the missing original. The flute passage between bars 126-9 is also included, although it was later cancelled in the MS, since it presumably represents the 1824version. For the 1838 revision, Mendelssohn altered the tempo markings and added metronome indications (also repeated in his piano duet version); thus the opening  Andante became Andante con moto J = 66 and the Allegro vivace was marked J = 152.

Christopher Hogwood

Cambridge and Campagnatico

May 2005

Mozart's Six Notturni, the Jacquin Family and Stadler (random thoughts and citations)

Mozart wrote these "utterly charming" pieces for three voices and three basset horns/clarinets as a result of his relationship to the Jacquin family of Vienna. Since they were meant for informal, social, and apparently very friendly occasions (ie: not for commercial publication), their sources and publication history are obscure. The atmosphere of happy, loving companionship that imbues these pieces is illustrated perhaps by this passage from Holmes' biography (The Life of Mozart, 1845), which illustrates Mozart's prefered writing environment: "In September 1787, we find him in the country, composing serenades and sonatas for piaono and violin. The summer-house in a garden continued to be his favourite resort for composition. He dates various pieces from the country-house of his friend, M. Gottfried von Jacquin..."

The dating is uncertain and it has even been suggested that Herr Jacquin wrote the voice parts for some, while Mozart supplied the basset horn accompaniments. Until recently, the only sources for the Notturni were: a facsimile autograph of K. 437 (the original was lost); sketches for K. 436 and K. 438; Mozart's entry in his work catalog of the opening bars of K. 549 (voice parts only - no basset horns!); and copies of the score printed after Mozart's death. As Dennis Pajot notes below, Mozart's manuscript of four Notturni surfaced in 1989.

In his forward to the Neue Mozart Ausgabe (NMA), Moerner writes: "Although these compositions are a matter of so-called 'occasional works,' they never the less reflect Mozart's struggle with the problems of three part vocal arrangement. It is no accident that the five three part Wind Divertimenti KV 439b (created likewise probably in 1783) demonstrate stylistic similarities with the Six Notturni, particularly tangible in the slow movements of the Wind Divertimenti, as is shown in a comparison between the Larghetto of Divertimento No. 2 with the trio "Ecco quel fiero istante" (KV 436). There are further stylistic relationships to the Piano/wind Quintet KV 452 (1784) and to the Wind Serenades KV. 375 and KV. 388 from 1781/82. Finally, we note the striking internal and external connections between the two Notturni KV. 437, 438 and the little Garden Serenade, "Secondate, aurete amiche" from Cosi fan tutte (Act II, Nr. 21). " Again, back to Jacquin's Garden of Eden!

About that Jacquin Family: Caroline Pichler, who knew the family well, recalled lovingly in 1844: "It was the family of the famous Freiherr von Jacquin that was already then 60-70 years ago a bright light for the intellectual world within and beyond Vienna, and which was also much sought after for its pleasant society." Pichler wrote that the young son, Gottfried, was an excellent musician and singer; his sister, Franziska, was an excellent pianist and one of Mozart's best students. Mozart wrote his trio for piano, clarinet and viola (KV. 498) for Franziska. She also sang "very prettily." Did Mozart write the Notturni for the young Jacquins? Probably.

And what about the basset horn parts? Moerner speculates that basset horn/clarinet parts were likely played by the brothers Johann and Anton Stadler, who were also members of the Mozart-Jacquin circle of friends. We know that Mozart wrote his great clarinet concerto and quintet for Anton Stadler. Constanza Mozart wrote that Stadler had in his posession copies of these as well as the five basset horn divertimenti, all of which seem to have been lost. Stadler claims they were stolen. Holmes painted an ugly portrait of the man Stadler: "This man [Stadler] was the familiar acquaintance of the composer [Mozart] - his inmate [?] at all times, fed at his table, employed by him in business, and enabled to turn the knowledge thus gained to his own advantage. His unprincipaled character, and the incredible forbearance of Mozart, will appear from another anecdote. He was constantly lurking about, on the watch to discover the best opportunity of borrowing money. The emperor, on a certain occasion, sent Mozart fifty ducats, which as soon as Stadler knew, he came to the composer, representing that he should be utterly ruined if he could not borrow that sum. Mozart wanted the money himself - but, never proof against a tale of distress, he gave him two valuable watches (repeaters) to raise money upon, with the words: 'there - go and bring me the [pawn] ticket, and take care to have them out at the right time.' Stadler neglecting to do this, Mozart, in order to save his watches, was obliged to advance him the fifty ducats with interest - which the fellow actually kept! Mozart gave him a severe reprimand for his base and dishonest conduct - but continued, as usual, to receive him at his table and to be his benefactor... One of the last acts of his life was for the benefit of this very Stadler, who wished to try his fortune at Prague. Towards this expedition, he furnished him with a new concerto for the clarionet [K622] - money for his travelling expenses, and a letter that procured him an engagement on his arrival." (Holmes, pp. 277-278)

Here's an excellent essay about Mozart's Basset Horn Divertimenti, K439b, by Dennis Pajot, a senior member of the Mozart Forum (www.mozartforum.com)

The first we know of the Divertimenti K439b is from Constanze Mozart's letter of J.A. André of May 31, 1800, in which she wrote "For information about this kind you should apply to the elder Stadler, the clarinetist, who used to possess the original, and has copies of some still unknown trios for Bassetthorns. He declares that while he was in Germany his portmanteau, with these pieces in it, was stolen". As Constanze wrote of copies, the autographs were apparently lost even then.

The oldest source for any of these pieces is an 1803 printing by Breitkopf & Härtel with the title "Little pieces for 2 Bassetthorns and Bassoon by W.A. Mozart". These consisted of what we know today as movements 2,3,4 of Divertimento II, and the alternative ending to this Divertimento. A compete edition in 2 sets of "3 Serenades for 2 Clarinets and Bassoon composed by W.A. Mozart" appeared by Simrock in Bonn containing 25 of the pieces (excluding the alternative ending from the B & H edition). The exact dating of this Simrock printing is unknown, but it is no earlier than 1806 and K6's 1813 is taken for the latest date. Besides the 25 pieces divided into 5 Serenades, Simrock's edition contained a sixth Serenade consisting of transcriptions of Arias from Nozze di Figaro and Don Giovanni, but is considered a spurious arrangement. [Interestingly one of the selections is the later composed Aria for Susanna "Al desio di chi" K577, that in its original form contained 2 Bassetthorn parts. The other Arias used are "Voi che sapete" and "Non piu andrai" from Figaro and "La ci carem la Mano" and "Vedrai carino" from Don Giovanni.]

Another source for these Divertimenti is the old Breitkopf & Härtel manuscript catalogue which listed "XXV pieces for 3 Bassetthorns or 2 Clarinets, Bassoon and Cello". An 1804 supplement to Traeg's main catalogue mentions "W.A. Mozart, small pieces for 2 Bassetthorns and Bass". The difference in instrumentation above could be because the earliest publishers of these pieces worked from a source that contained no instrumental designation. It appears likely the original setting was for 3 Bassetthorns, and the instrumentation was printed for more accessible settings: after all the chances of getting 3 Bassetthorn players together was just as unlikely to happen around 1800 as it would be today. This was shown even more clearly by an 1804 appearing Artaria arrangement of 11 of these pieces for "2 Violins and Cello or Flute, Violin and Cello". In a full score found in Dresden 2 Horns are added to the Simrock edition's 2 Clarinets and Bassoon. Other arrangements have been made for Violin, Viola and Cello; 2 Violins and Cello; 2 Flutes and Cello; 2-pianos; 3 Flutes; etc.

Simrock arranged the 25 pieces into 5 Serenades of 5 movements, and it works well except for Serenade V, which has a sequence of Adagio-Menuetto-Adagio-Romance (these 4 in Bb)-Polonaise (in Eb). It is thought by most scholars the 25 pieces were not thought of by Mozart as 5 Serenades but a series of small pieces, or possibly Mozart was planning a group of 6 Serenades and only finished 4 and had 5 individual pieces ready for the 2 unfinished Serenades. Marius Flothuis points to the shortness of the opening Allegro of Divertimento II as further proof that we are dealing with 25 independent pieces.

As can be seen above these 25 pieces were called by various titles by different publishers: "Divertimenti", "Serenades", or just plain "Pieces". The designations were apparently up to the publishers, as there was no original title to fall back on.

Are these pieces really by Mozart? We have no autograph, but only Constanze's statement in the May 31, 1800, letter and the early issues assigning the pieces to Mozart. Flothuis claims as to Mozart's authorship "no doubts can be offered", because of the pieces quality and especially the stylistic relationship with the Notturni for 3 voices and 3 Bassetthorns (K436-439 etc.). The only other composer who could be considered Flothuis believed was Anton Stadler, and his pieces are "miles removed from the mastery that speak from the Mozart attributed pieces". According to Flothuis "if we can not prove that Mozart is the author of the under discussion pieces, so can we at least establish that both the musical content as well as the technical finishing excludes a composer of the second rank".

As to dating, Ernst Lewicki in AMA thought the pieces were intended for use in the Jacquin circle and placed them in the time period 1783-85, connecting them with the Canzonettes K436-439 and K549. Because they were not listed in Mozart's work catalogue Alfred Einstein in K3 placed them in 1783. (In K1 and K2 the pieces were simply listed in the Anhang section as Anh 229, with no date reference). We of course know now that Mozart wrote many pieces after the beginning of his work catalogue he did not enter into it. And if these pieces were only intended as 25 "occasional" pieces, perhaps he would not enter them. Flothuis hints the 25 pieces should be dated later. The only dated Canzonetta K549 is July 16, 1788. He compares the Adagio of Divertimento IV/4 with the Priest's March from Zauberflöte and the beginning of the development of III/1 to the String Quartet fragment K.Anh 74/587a--probably from the end of 1789. When in 1989 the autographs of the Notturni K436-439a surfaced, Tyson's paper studies suggested they were to be dated no earlier than 1787, and as late as 1790. If our Divertimenti have any connection with these Notturni, it is possible they were written later than originally thought.