New Mozart Edition IV/12/6 Cassations, Serenades and Divertimentos

WOLFGANG AMADEUS MOZART

Series IV

ORCHESTRAL WORKS

WORK GROUP 12:

CASSATIONS, SERENADES AND
DIVERTIMENTOS FOR ORCHESTRA • VOLUME 6

PRESENTED BY KARL HEINZ FÜSSL

AND ERNST FRITZ SCHMID (†)

1964

International Mozart Foundation, Online Publications III

New Mozart Edition IV/12/6 Cassations, Serenades and Divertimentos

Neue Mozart-Ausgabe (New Mozart Edition)*

WOLFGANG AMADEUS MOZART

The Complete Works

BÄRENREITER KASSEL BASEL LONDON

En coopération avec le Conseil international de la Musique

Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm

Agents for
BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London
BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel
SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel

As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available

The editing of the NMA is supported by

City of Augsburg
City of Salzburg
Administration Land Salzburg
City of Vienna
Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland,
represented by
Akademie der Wissenschaften und der Literatur Mainz,
with funds from
Bundesministerium für Forschung und Technologie, Bonn and
Bayerisches Staatsministerium für Unterricht und Kultus
Ministerium für Kultur der Deutschen Demokratischen Republik
Bundesministerium für Unterricht und Kunst, Vienna

* Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA.

International Mozart Foundation, Online Publications IV

New Mozart Edition IV/12/6 Cassations, Serenades and Divertimentos

CONTENTS

Editorial Principles ………...……..…………………………………………………….. VI

Foreword………….……….…………….……………………………………………… VII

Facsimile: Leaf 1r from the autograph of KV 136 – 138 (125 a-c)……………….………. XIV
Facsimile: Leaf 4v from the autograph of KV 136 – 138 (125 a-c)……………….………. XV
Facsimile: Leaf 9r from the autograph of KV 136 – 138 (125 a-c)……………………….. XVI
Facsimile: Leaf 9v from the autograph of KV 136 – 138 (125a-c)……………….……….. XVII
Facsimile: Leaf 4v from the autograph of KV 525………………………………………. XVIII
Facsimile: Leaf 1r from the autograph of KV App. 223c…………………………........... XIX
Facsimile: Autograph KV App. 69 (525a) (complete)…………………………………… XIX

Three Quartet Divertimentos

Divertimento in D KV 136 (125a)…………………………………………………3
Divertimento in Bb KV 137 (125b)……………………………………………….. 19
Divertimento in F KV 138 (125c)………………………………………………… 30

Serenade in G KV 525, Eine kleine Nachtmusik, for two Violins, Viola,

Violoncello and Double Bass…………………………………………….………. 43

Appendix
I: Fragment of a divertimento movement (?) in D for two solo violins
and orchestra KV App. 223c……………………………………………………… 65
II: Fragmentary draft of a slow movement in C for strings KV App. 69 (525a)…………. 66

International Mozart Foundation, Online Publications V

New Mozart Edition
EDITORIAL PRINCIPLES
The New Mozart Edition (NMA) provides for research
purposes a music text based on impeccable scholarship
applied to all available sources – principally Mozart’s
autographs – while at the same time serving the needs
of practising musicians. The NMA appears in 10 Series
subdivided into 35 Work Groups:
I: Sacred Vocal Works (1–4)
II: Theatrical Works (5–7)
III: Songs, Part-Songs, Canons (8–10)
IV: Orchestral Works (11–13)
V: Concertos (14–15)
VI: Church Sonatas (16)
VII: Large Solo Instrument Ensembles (17–18)
VIII: Chamber Music (19–23)
IX: Keyboard Music (24–27)
X: Supplement (28–35)
For every volume of music a Critical
Commentary (Kritischer Bericht) in German is
available, in which the source situation, variant
readings or Mozart’s corrections are presented and all
other special problems discussed.
Within the volumes and Work Groups the
completed works appear in their order of composition.
Sketches, draughts and fragments are placed in an
Appendix at the end of the relevant volume. Sketches
etc. which cannot be assigned to a particular work, but
only to a genre or group of works, generally appear in
chronological order at the end of the final volume of
the relevant Work Group. Where an identification
regarding genre is not possible, the sketches etc. are
published in Series X, Supplement (Work Group 30:
Studies, Sketches, Draughts, Fragments, Various). Lost
compositions are mentioned in the relevant Critical
Commentary in German. Works of doubtful
authenticity appear in Series X (Work Group 29).
Works which are almost certainly spurious have not
been included.
Of the various versions of a work or part of
a work, that version has generally been chosen as the
basis for editing which is regarded as final and
definitive. Previous or alternative forms are reproduced
in the Appendix.
The NMA uses the numbering of the
Köchel Catalogue (KV); those numberings which differ
in the third and expanded edition (KV3 or KV3a) are
given in brackets; occasional differing numberings in
the sixth edition (KV6) are indicated.
With the exception of work titles, entries in
the score margin, dates of composition and the
International Mozart Foundation, Online Publications
IV/12/6 Cassations, Serenades and Divertimentos
footnotes, all additions and completions in the music
volumes are indicated, for which the following scheme
applies: letters (words, dynamic markings, tr signs and
numbers in italics; principal notes, accidentals before
principal notes, dashes, dots, fermatas, ornaments and
smaller rests (half notes, quarters, etc.) in small print;
slurs and crescendo marks in broken lines; grace and
ornamental notes in square brackets. An exception to
the rule for numbers is the case of those grouping
triplets, sextuplets, etc. together, which are always in
italics, those added editorially in smaller print. Whole
measure rests missing in the source have been
completed tacitly.
The title of each work as well as the
specification in italics of the instruments and voices at
the beginning of each piece have been normalised, the
disposition of the score follows today’s practice. The
wording of the original titles and score disposition are
provided in the Critical Commentary in German. The
original notation for transposing instruments has been
retained. C-clefs used in the sources have been replaced
by modern clefs. Mozart always notated singly
occurring sixteenth, thirty-second notes etc. crossed-
through, (i.e. instead of ); the notation
therefore does not distinguish between long or short
realisations. The NMA generally renders these in the
modern notation etc.; if a grace note of this
kind should be interpreted as ″short″ an additional
indication ″ ″ is given over the relevant grace note.
Missing slurs at grace notes or grace note groups as
well as articulation signs on ornamental notes have
generally been added without comment. Dynamic
markings are rendered in the modern form, e.g. f and p
instead of for: and pia:
The texts of vocal works have been
adjusted following modern orthography. The realisation
of the bass continuo, in small print, is as a rule only
provided for secco recitatives. For any editorial
departures from these guidelines refer to the relevant
Foreword and to the Critical Commentary in German.
A comprehensive representation of the
editorial guidelines for the NMA (3rd version, 1962)
has been published in Editionsrichtlinien musikalischer
Denkmäler und Gesamtausgaben [Editorial Guidelines
for Musical Heritage and Complete Editions].
Commissioned by the Gesellschaft für Forschung and
edited by Georg von Dadelsen, Kassel etc., 1963, pp.
99-129. Offprints of this as well as the Bericht über die
Mitarbeitertagung und Kassel, 29. – 30. 1981,
published privately in 1984, can be obtained from the
Editorial Board of the NMA. The Editorial Board
VI
New Mozart Edition IV/12/6
FOREWORD
Preliminary Remarks by the Editorial Board
The existence of this sixth volume of Work Group
12 with its particular combination of works – the
three Quartet Divertimentos KV 136 to 138 (125a–
c
), the Serenade in G KV 525, Eine kleine
Nachtmusik and also two fragments (KV
Appendix 223c and KV Appendix 69/525a) – for
which no common chronological factors exist,
requires some justifying explanation. There was
no provision for this sixth volume in the original
scheme of the New Mozart Edition (NMA); rather,
KV 136–138 (125a–c) and KV 525 with KV
Appendix 69 (525a), with the addition of the
Prelude and Fugue in C minor KV 546 along with
all the unidentifiable or unplaceable sketches for
string quartet were to be grouped together in a
final volume of Work Group 20, Section 1 (String
Quartets). As an advance publication from this
projected volume, the edition of KV 525 prepared
by Ernst Fritz Schmid, the all too prematurely
deceased Chief Editor of the NMA, appeared in
1955.1
Later considerations, however, led to changes in
the original scheme: 1. Both KV 525 and KV 546
call for, as has been shown beyond doubt, not only
a violoncello but also a supporting double-bass as
foundational instruments; for this reason alone, it
is hardly possible to include these works with the
String Quartets. 2. Similar reservations arose
regarding the size of the ensembles involved: it
was not possible to decide definitively whether the
works in question, or indeed even the Quartet
Divertimentos KV 136–138 (125a–c), should be
performed as chamber music with single
instruments per part or in orchestral strength – an
uncertainty which excludes them from the
category of “genuine” string quartets
(disregarding the special case of the early Quartet-
Symphony, which does not play any role in
Mozart’s work). The same uncertainty also
prohibits the inclusion of even KV 525, KV
Appendix 69 (525a) or KV 546 in the Work Group
String Quintets (19, Section 1). The easiest
solution for difficulties of this kind would
certainly have been to create a new Work Group
or even a Series catering for these particular
1 3
Bärenreiter-Ausgabe 4701; also published in 1956 as
Bärenreiter Pocket Score 19. Regarding this edition cf.
also below, pp. XIf.
International Mozart Edition, Online Publications
Cassations, Serenades and Divertimentos
characteristics, but a change of this magnitude in
the editorial plans, already published in the even
the very first Subscription Prospectus of the
NMA, seemed the least advisable course. The
Editorial Board therefore decided, after
consultation with the relevant bodies, to place the
works involved where they fitted best – if not
necessarily in terms of instrumentation – in terms
of style and genre: in the final volume (6) of
Series IV, Work Group 12, Cassations, Serenades
and Divertimentos for Orchestra.2 It is therefore
not surprising that this solution is not ideal,
representing to a certain extent a compromise
resulting from the developments described above.
The user, particularly the performing musician,
should note that the works published in the
present volume are in no way defined a priori as
works for orchestra or for multiple instruments per
part: a chamber orchestra employing modest
forces could be the right solution; even
performances by soloists à 4 or à 5 could come
close to Mozart’s intention. Karl Heinz Füssl, the
editor of the three Quartet Divertimentos KV
136–138 (125a–c), has some particular comments
to make on this subject in the following
discussion.
The Quartet Divertimentos KV 136–138 (125a–c)
The three Quartett-Divertimentos KV 136–138
(125a–c) – according to the autograph intended for
Violini, Viole, Basso – were written in Salzburg in
1772. Hermann Abert’s conjecture that the dating
was secure only for the first of the three3 (the
work catalogues mention only the first of these
works, which were however notated continuously
in Mozart’s hand) has been conclusively
disproved by the autograph,4 now in private
2
KV 546 will be published, along with the Masonic
Funeral Music KV 477 (479a), the authentic concert
versions of some opera overtures and also (possibly)
recently identified authentic symphony versions of
serenades, in Symphonies • Volume 10, the final
volume of Work Group 11 (Symphonies). – All
unidentifiable or unassignable string quartet sketches
or fragments have already been published in the
Appendix of the final volume of (3) of Work Group
20, Section 1 (String Quartets), presented by Ludwig
Finscher.
Cf. Köchel-Einstein, Leipzig, 1937 (= KV3), p. 180.
4
Cf. the Kritischer Bericht [Critical Report, available
in German only].
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New Mozart Edition IV/12/6
ownership in southern Germany after re-appearing
in 1905. Einstein’s doubts regarding the autograph
designation Divertimento have likewise been
invalidated. Entries in a foreign hand (with the
exception of the usual catalogue markings) are
visible at only two places in the autograph: both
entries, the tempo indication for the first
movement of KV 136 (125a) as well as a
correction in the 3rd movement (measures 63–
67)5 of the same work, are in the hand of Leopold
Mozart (cf. Facsimiles, pp. XIV and XV).
The autograph title Divertimento and also the
instrumental specifications in Mozart’s hand for
the present three works throw up some
fundamental problems. If one chooses to view the
genre “Divertimento” as the starting point for the
string quartet (in the same way, particularly in the
case of Joseph Haydn, as it represents a starting
point for the development of the piano sonata),
one could conclude in this context, with some
degree of certainty, that Mozart’s use of this title
simply followed the example set by Joseph6 and
Michael Haydn. In this approach, our
instrumentation problem would be disposed of,
especially as the title Divertimento, as opposed for
example to the Serenade, does not necessarily and
unambiguously point to the use of multiple
instruments per part. At the same time, an
unsolved question would remain: with what right
(assuming that the authenticity of the title were
not guaranteed!) can one consider these three
works as belonging to the genre “Divertimento”,
as, in contrast to Mozart’s Divertimentos before
this date, they consist strictly of three movements
only and contain no Menuett. It is no less puzzling
in this context that Mozart had already named his
first attempt in this genre, KV 80 (73f), composed
in Lodi at 7 o’clock in the evening on 15 March
1770 (a fact that Mozart still retained in his
memory at a later date, as Hermann Abert points
out), quite “correctly”, so to speak, Quartetto.
Perhaps he chose such a pronounced title because
5 9
Cf. the Kritischer Bericht.
6
The title Divertimento was retained by Haydn in his
string quartets until in the middle of the 1780s; it is
interesting to note in this context that he changed the
names of the earliest works of this genre (around 1757)
from the original title Cassatio to Divertimento in his
1765 project catalogue. Furthermore, the lowest part
was always called Basso until around 1768 (see
below). It is also significant that a great variety of
Joseph Haydn’s works carry the title Divertimento,
with one exception: the symphony.
International Mozart Edition, Online Publications
Cassations, Serenades and Divertimentos
it was – more or less consciously – a first attempt,
whereas the group of three Quartet Divertimentos
was perhaps “only” an occasional composition
and therefore represented with its three constituent
Divertimentos a departure from the usual rule that
a group should consist of six of these? It should be
mentioned at this point that the group of Quartet
Divertimentos is complete, that the third and at the
same time last of the group is followed by no
other.7 In other words: KV Appendix 211–2138
can hardly be combined with KV 136-138 (125a–c)
to make up the complete half-dozen, as Th. de
Wyzewa and G. de Saint-Foix proposed;9 their
authenticity has not even been proved, quite apart
from the fact that one would then have to include
KV Appendix 210.
The proposition that the present Quartet
Divertimentos might perhaps demand multiple
instruments per part is most readily supported,
apart from by the facts already mentioned, by their
far lighter style in comparison with the six
Quartets KV 155 (134a), KV 156 (134b), KV 157–
159 and KV 160 (159a), composed only a little
later. This was also the view adopted by Einstein
when he stated that “one would wish to designate
at least KV 125a (136) and 125c (138) rather as
Italian Overtures without wind instruments”.10 It
would however only be right to point out in
advance that the less subtle construction, which
appears to speak against a performance by solo
instruments, is also characteristic of the early
works in general; it is at the same time true to say
that frequent efforts on Mozart’s part are visible
here, using imitative passages, to reduce the
dominant role of Violin I in favor of an equal
participation of all four parts, a development
which can be seen as more typical of an ensemble
of solo instruments. Furthermore, there are also a
number of special features in the articulation
techniques called for (see KV 136, 1st movement,
7
Cf. the Kritischer Bericht.
8
Cf. KV3, pp. 865ff.
Cf. also Otto Jahn – Hermann Abert, W. A. Mozart,
Vol. I, Leipzig 7/1955, p. 289, footnote 3.
10
Adolf Hoffmann, who edited the present Quartet-
Divertimentos in 1952 for Möseler, Wolfenbüttel, as
Drei Salzburger Sinfonien ohne Bläser [Three
Salzburg Symphonies without Wind Instruments] states
that Mozart had performed, with a Milanese orchestra,
these “symphonic works KV 136–138, which he had
probably written specially for this orchestra”. The
present editor, however, has not been able to find any
evidence confirming this.
VIII
New Mozart Edition
measures 27–30 and 93–96) which likewise make
the use of multiple instruments per part seem
questionable.
Now to Mozart’s instrumental specifications:
Mozart’s quartet manuscripts often display the
designation Basso, but also Bassi (e.g. in KV
158);11 in KV 155 however, the first work in the
group mentioned above and which was composed
only a little later, the designation Violoncello was
added by Mozart above the word Basso, possibly
in order to rule out misunderstandings (?), while
KV 156 and 160 were correctly marked from the
beginning, i.e. reflecting the instrumentation of a
string quartet. It is unlikely that one of these
works, which demonstrably originated as a group,
should, according to the autograph directions, be
performed with multiple instruments per part,
while the other works in the same group should
have solo instrumentation; one would therefore
have good reason for thinking that such
divergences in the instrumentation were simply
carelessness on Mozart’s part, unless one were so
bold as to assume that the term Basso referred at
that time to all and sundry instruments – ad
libitum, so to speak – which were capable of
providing the “Fondamento”. But, unless the
designations are not simply a mechanical writing
habit on Mozart’s part, the present editor may
appeal for support to an article by Heinz-
Wolfgang Hamann,12 who has looked into the ad
libitum instrumentation in the orchestra for some
of Mozart’s piano concertos, above all with
reference to a passage which he quotes from an
advertisement in the Wiener Diarium [Vienna
Daily] of 15 January 1783, in which the three
piano concertos KV 413 (387a), KV 414 (386a)
and KV 415 (387b) were announced as follows:
“These 3 Concertos, which one can perform
equally with a large orchestra with wind
instruments or as a quattro, namely with 2 violins,
1 viola and violoncello […]”; finally, support
comes also from the following remark by
Hamann: “Even if this evidence of possible ad
libitum performance may be partially explicable
as a reflection of commercial interests, it
nevertheless presupposes the consent of the
composer”. In this light, it is then conceivable that
Mozart may have had an option of multiple or
11
Cf. the Kritischer Bericht on NMA VIII/20, Section
1 / String Quartets • Volume 1.
12
Um die ad lib.-Praxis. Zum Instrumentarium des
Krönungskonzerts KV 537, in: Acta Mozartiana, Year
1958, Issue 2, pp. 27ff.
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IV/12/6 Cassations, Serenades and Divertimentos
single instruments per part in mind, or even a
quintet realisation (with solo double-bass),13 an
arrangement which the present editor also
considers possible for KV 525, Eine kleine
Nachtmusik. – A further examination is also
appropriate regarding the interpretation of the
direction Viole frequently used by Mozart instead
of Viola (e.g. in KV 136[–138] / 125a[–c], KV 158
and also originally in KV 155 / 134a);14 this
represents a peculiarity also found in countless
other Mozart manuscripts. It could sometimes
indicate “divisi” performance of otherwise
impossible or difficult double-stops;15 in our case,
however, this is not applicable. The plural form
Viole could perhaps instead be understood as an
association with the plural form Violini, which of
course, even in the case of solo instrumentation,
always applies to the first two staves, intended for
Violins I and II, especially as the the plural form
Viole [?] even occurs in the late Quartet KV 590
(whereas the singular form Violoncello is used).
Finally, in KV 57516 the designations
2/Violini/1/Viole/ […] demonstrate the use of the
plural form where it clearly has the meaning of the
singular form.17 Here it is once again not
unreasonable to conclude that Mozart’s spelling
not only of German words, but also of Italian
words which had become part of the German
language, was thoroughly variable.
In this question of solo or multiple
instrumentation, a further valuable comparison is
that between the handling of the bass-lines of the
Quartet Divertimentos and, also in this volume,
the Serenade in G KV 525, Eine kleine
Nachtmusik with particular regard for the range,
i.e. how low they lie and which octave registers
13
I.e. with the so-called “Quartbaß” [“Bass at the
fourth”] (whose tuning was possibly variable), which
may well have been identical with the “Bassetl”
mentioned frequently in Haydn’s correspondence in
the 1760s.
14
Cf. the Kritischer Bericht to NMA VIII/20, Section
1 / String Quartets • Volume 1.
15
Heinz Wolfgang Hamann, op. cit.: “In this context, it
is relevant to point out the instruction '2 Viole', which
has so far gone without comment […] All concertos
with obbligato wind parts […] can be observed to use
the direction '2 Viole'. I.e. the parts are either hard to
play or contain double-stops below the G string […]”
16
Cf. NMA VIII/20, Section 1 / String Quartets •
Volume 3, facsimile p. XVI.
17
In the same way, Schubert also uses the divergent
plural form Oboe instead of Oboi as well as the
corresponding singular form Oboa.
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New Mozart Edition IV/12/6
are chosen. Even at first glance, it is noticeable
that the bass-line in KV 525 lies predominantly
within the octave below middle C [c’] with the
lowest note G occurring in the 1st movement (C is
reached only once, in the 2nd movement). In KV
136–138 (125a–c), on the other hand, the range G-
B is used much more frequently, i.e. an octave in
which a doubling an octave lower is unnecessary,
as is especially striking in the 1st movement von
KV 137 (125b), where the bass sometimes
“explores”, so to speak, an extremely low register
in prolonged and exposed passages (cf. measures
27ff. etc.); the range is extended down to C, which
occurs not less than six times in this movement
alone (with C# nine times). In these examples, of
course, the extreme opposite poles have been
illustrated; it is nevertheless significant that in five
of the total of nine movements (three per work)
the lowest note is C, in three further movements D
and only once F (KV 138 / 125c, 1st movement).
This fact alone, however, cannot be seen as
conclusive evidence either for or against the use
of single or multiple instruments.
Finally, let us quote a letter from Leopold Mozart
to J. G. I. Breitkopf in Leipzig, dated 7 February
1772.18 This is of interest regarding the problem
of instrumentation inasmuch as Leopold offers for
publication, besides other works by Wolfgang,
also quartets: “If you wished to take anything by
my son to the final goal of publication, it would be
best before this date:19 you need only say what
would be most serviceable to you. Be it piano
pieces, or Trio with 2 Violins and a Violoncello,
or quartets, that is, with 2 Violins, a Viola and
Violoncello; or Symphonies with 2 Violinen,
Viola, 2 Corni [horns], 2 Houtbois [oboes] or
Zwerchflauten [“dwarf flutes”, piccolo flutes?
flageolets?] and Basso. In short, whatever genre
of composition may seem advantageous to you, he
will write it for you if you will only inform us
soon.” At this stage – the letter dates from the year
in which the present Quartet Divertimentos were
written – Wolfgang had already made essays in
each “genre of composition” mentioned by
Leopold; it is quite conceivable that Leopold was
thinking at the time less of works to be “written”
18
Mozart. Briefe und Aufzeichnungen.
Gesamtausgabe, published by the International Mozart
Foundation, Salzburg, collected and elucidated by
Wilhelm A. Bauer and Otto Erich Deutsch, 4 Vols.,
Kassel etc., 1962–1963; Vol. I, No. 263, lines 23–29.
19
I.e. “[…] until the end of the coming September
[…]”
International Mozart Edition, Online Publications
Cassations, Serenades and Divertimentos
than on those already finished20 or at least in
progress. If we assume this, Leopold can hardly
mean with “quartets” the only one, composed in
Lodi in 1770, which was definitely termed
Quartet at that point.
Summing up, it can be stated that facts of fairly
equal weight speak for both single and multiple
instrumentation. We will therefore have to be
content with the conclusion that, at least as far as
KV 136–138 (125a–c) are concerned, a clear
distinction between the older term “Divertimento”
and the new term “String Quartet” which
developed from it is hardly possible and was
probably not even intended by Mozart. The
present editor has therefore changed, or rendered
more precisely, the original instrumental
designation Basso to [Violoncello e] Basso and
has agreed to the placing of KV 136–138 (125a–c)
in Work Group 12 of the NMA, Cassations,
Serenades and Divertimentos for Orchestra (cf.
the Preliminary Remarks by the Editorial Board
above). In connection with this decision, one faces
the question of whether the double-bass now
included in the score should double the
violoncello part throughout, or, in keeping with
the orchestral practice of the day, leave here and
there the role of orchestral bass to the violoncello
for the sake of greater variety of texture. There are
suitable places for this, such as for example in KV
136 (125a), 1st movement, measures 52–64, 3rd
movement, measures 25–34 and 111–120; in KV
137 (125b), 1st movement, measures 27–28 and
66–67, 3rd movement, possibly measures 53–64;
in KV 138 (125c), 3rd movement, possibly
measures 34–49 and 86–89. A decision of this
kind can best be entrusted to the discretion of the
leader of the orchestra, however, for which reason
no recommendations in this regard, beyond those
indicated above, will be given here.
A problem of a completely different kind is posed
in the Quartet Divertimentos by the repeat signs.
The fact that in all movements, without exception,
both sections are to be repeated – and this on the
20
It could therefore be that the trios mentioned by
Leopold are the 6 Trio à 2 Violini e Violoncello, listed
in Leopold’s Verzeichniß alles desjenigen, was dieser
12jährige Knab seit seinem 7ten Jahre componiert,
und in originali kann aufgezeiget werden [Catalogue
of everything that this 12-year-old boy has composed
since his seventh year, and can be shown in original]
under 1767 (KV 67–69 / 41h–k?). Cf. however also
KV3, p. 67: KV 41g.
X
New Mozart Edition
basis of sign set by Mozart only once in each
movement – gives rise to suspicions that this may
have been a purely mechanical writing habit, even
if there is no obvious reason to question the
general use of repeat signs, so typical of the early
works in particular. It is simply for the sake of
completeness that we mention here Mozart’s
practice of notating the repeat sign only in the
middle of a movement (i.e. at the end of the first
or the beginnning of the second section), using a
single sign facing in both directions , even
when it occurs at the end of a line or page (cf. the
Kritischer Bericht [Critical Report, available in
German only]). At the end of the movement, the
repeat is missing even in cases – for example in
KV 138 (125c), 2nd movement – where a
distinction is made between Primo and Secondo
measures. There is also need for clarification in a
special question relating to the 3rd movement of
KV 138 (125c): the Rondo theme is notated by
Mozart at its first occurrence (measures 1–8) with
repeat signs; Mozart does not write subsequent
appearances of the theme out, but uses always the
direction Da capo. The question is then whether
this Da capo also implies observing the repeat
signs for measures 1–8. An indication senza
repliche, which Mozart later used in similar cases,
is absent. An additional point in favour of
repeating the eight-measure Rondo theme is that
this is demanded by the need for symmetry (as
soon as the theme is set amongst eight-measure
sections which are repeated), all the more so when
the eight-measures or, more precisely, sixteen-
measures before the return of the theme avoid the
main key (as e.g. in the measures 34–41 and 42–
49, where twice in succession eight, or sixteen,
measures in D minor would be counterbalanced
by only eight measures in F major). The present
editor therefore recommends repeating the
measures 50–57, 74–81 and – for the sake of
rounding off the form – making a reprise of the
final measures 90–97. Whether the measures 26–
33 should be treated in the same way must be left
to the taste and discretion of the performer. The
only factors speaking against this proposed
repetition are, firstly, the structure of the theme
itself, whose second half begins with a repeat of
the first21 and, secondly, the established practice
21
But even this is not an sufficiently convincing
argument; the Rondo theme in KV 521 (Sonata in C
for Piano and four hands), for example, has a similar
structure and is nevertheless, according to Mozart’s
instructions, to be repeated at every re-appearance.
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of always performing “Da capo” (as for example
in the Menuett) “senza repliche”. – The
difficulties referred to here are reflected in the
musical text by small repeat signs above the staff,
which can be treated ad libitum.
The manuscript of the 2nd and 3rd movements of
KV 138 (125c) contains no indications of
dynamics. There have not yet been any studies as
to the conclusions we should draw from sporadic
absences, as here, of dynamic marks of any kind
in works by a master whose notation was usually
so precise. It is equally difficult to imagine that
movements without dynamic marks are to be
performed without any dynamic contrasts or that
the placing of dynamics marks was left to a later
stage in the work, which must them have been
neglected on a number of occasions.22 It is
probable that Mozart preferred to set only those
dynamic marks which were not self-evident (in
this sense, a forte is to be understood generally at
the beginning of movements, an indication
missing so often in Mozart’s and also in Haydn’s
manuscripts); as more dynamic differentiation
became necessary in the later works, the number
of marks increased. The dynamic marks set in
italics in the two movements of KV 138 (125c)
mentioned above are intended only as suggestions
by the editor and should not restrict the
application of a possibly more convincing solution
conceived by the performer.
Serenade in G KV 525
Ernst Fritz Schmid, who supervised the advance
publication of Eine Kleine Nachtmusik in 1955
(cf. p. VII above), did not live to see the present
edition. In grateful recollection of his invaluable
work for the NMA, we publish here the essential
part of his Foreword, written at Christmas 1954,
to this advance publication:
“Mozart’s Eine Kleine Nachtmusik, today without
doubt the best loved and closest to popular taste of
all his instrumental works, is published here for
the first time on the basis of the rediscovered
score written in the master’s own hand. The
manuscript had been lost since 1860 and was not
available for either the complete edition published
by Breitkopf & Härtel (1883) or any other editions
22
It can often be observed, however, precisely in the
early Mozart autographs, that tempo indications and
dynamic marks were added subsequently in Leopold
Mozart’s hand.
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since that date (this applies also, contrary to the
claims on the publisher’s title page, to the score
Edition Eulenburg No. 218). The first edition of
this work, by the publisher J. André in Offenbach,
described the work as a Serenade; Mozart’s
autograph score is untitled, while the same work is
entered in the work catalogue in his own hand as
'A little Night Music, consisting of an Allegro,
Menuett and Trio. – Romance. Menuett and Trio,
and Finale. – 2 Violini, Viola e Bassi.'. The 1st
Menuett and Trio of the work is lost; the relevant
leaf in Mozart’s score was removed forcibly a
long time ago and has not re-appeared. Alfred
Einstein suspects a transposed piano reduction of
the lost piece in Mozart’s Piano Menuett in Bb,
KV Appendix 136 (498a) No. 3.
The occasion for which the work was written in
the summer of 1787, during Mozart’s work on Act
II of Don Giovanni, is still unknown. Mozart
conceived the work for performance by a chamber
orchestra, perhaps of one desk each of first and
second violins and violas, and one instrument
each of cello and double-bass. Yet the work can
by all means also be performed at home as a string
quartet, with or without the addition of a double-
bass.
The present Urtext edition has been made possible
by Manfred Gorke’s rediscovery of the lost
manuscript. An epilogue to the facsimile edition
currently being prepared by Bärenreiter, Kassel
recounts the history of the original.”
Even today, nothing substantial can be added to
these remarks. The autograph of Eine Kleine
Nachtmusik has been kept for some years in the
Dr. Wilhelm Collection; the facsimile edition
supervised and elucidated by Manfred Gorke
appeared shortly after the advance publication.23
For reasons of editorial technique and typography
– editorial technique has changed since 1955; the
type-setting material used by the NMA after the
advance publication differs from that used then –
KV 525 had to be completely re-set for the present
edition; in the process, some printing errors were
eradicated and, furthermore, various small
changes made in the music text in keeping with
the current editorial guidelines of the NMA. More
details are given in the Kritischer Bericht.
23
Wolfgang Amadeus Mozart, Eine kleine Nachtmusik
1787, Faksimile der Original-Handschrift
herausgegeben von Manfred Gorke, Kassel und Basel
1955.
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Cassations, Serenades and Divertimentos
The only question of performance practice that
might be posed by Eine Kleine Nachtmusik KV
525 concerns the realisation of the turns ( ) in
the Romance and Rondo. The dominant figure
in the minor-coloured Romance is often
performed as (m. 38) or
similar; if this had been Mozart’s intention, he
would not have notated but : he
always paid the greatest attention to such
differences. Mozart’s notation must in any case be
understood as a turn beginning with the upper
auxiliary note: thus in the Romance
(as interpreted by E. F.
Schmid in the Foreword to the advance
publication quoted above; a yet better rendition
would be ), and in the Rondo-Finale
(or preferably: ).
The Appendix
In Appendix I is printed the only unassignable
Divertimento fragment with more opulent
instrumentation known to date: KV Appendix
223c. The autograph,24 written in pencil and in the
possession of the Gesellschaft der Musikfreunde,
Vienna, is rendered here in its entirety for the first
time.25 In the process, Einstein’s designation of
the work as “Divertimento” – and likewise his
probably accurate dating (ca. 1773) – have been
adopted in the absence of any better hypothesis. It
must be said, however, that the fragment does not
permit a secure assignation to any genre: at least,
it could just as well be the beginning of a Sinfonia
concertante.
Not less hypothetical, but perhaps more likely, is
Einstein’s assignation of the fragment KV
Appendix 69 (525a) (autograph kept in the
International Mozart Foundation, Salzburg),
printed here as Appendix II, to Eine Kleine
Nachtmusik KV 525. The same instrument
specifications at the head of the score do in fact
suggest that it could be a first draft of the slow
24
Alfred Einstein (KV3, p. 870, “Footnote”) was
wrong in his doubts in his doubts regarding its
autograph character: the authenticity of the manuscript
has been securely established.
25
Cf. also the facsimile, p. XIX
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movement in this work.26 The resulting dating distinguishing between carelessness and intended
would be Vienna, c. August 1787, which is not variants.
contradicted by any conclusions of the diplomatic
analysis. *

* Finally, the editor wishes to thank here all persons

and institutions who have provided valuable help
Additions and corrections made to the music text, in determining the musical text of the present
wherever they have not already been indicated volume, whether with information, advice or
typographically, are detailed in the Kritischer collaboration or in reading the proofs: the
Bericht (cf. Preliminary Remarks by the Editorial International Mozart Foundation, Salzburg; the
Board, p. VI). Staccato marks, which, roughly Gesellschaft der Musikfreunde, Vienna (Dr.
speaking, exist in two forms in Mozart’s Hedwig Mitringer); Frau von Ostermann, Salach,
manuscripts, as dash and dot, have likewise been Württemberg; Dr. Werner Bittinger, Kassel; Mr.
reproduced with the maximum possible fidelity to H. C. Robbins Landon, Buggiano.
the manuscript. Not always, and not in all cases,
could a clear distinction be drawn between the Karl Heinz Füssl The Editorial Board
two forms. It thus occasionally happens that signs Augsburg and Vienna, March, 1964
clearly identifiable as dashes become very dot-like
where they occur in succession (mostly hurriedly
written) – but in the same way, as a result of the Translation: William Buchanan
momentum of the writing hand, dots sometimes
become more or less long dashes; differing angles
of application of the pen can lead to dots being
drawn out either vertically or horizontally.27
Double stems for double-stops or in polyphonic
voice-leading of short duration have been
replaced, without exception, by the single stems
customary today. The prolonging of a note beyond
a bar-line by setting a dot in the following
measure is today no longer in use and has been
replaced by the standard modern notation; the
same applies to the abbreviations, which are to be
understood simply as convenient notational
shorthand. Since Mozart (as opposed to Haydn,
for example) was thoroughly precise in his setting
of articulation marks, making up in this area was,
relatively speaking, seldom necessary.
Occasionally, when articulation remains constant
(often only suggested in Mozart’s notation), use
has been made of the direction “simile”. In cases
of divergent readings where parallel passages are
concerned, assimilation has been carried out only
when a writing error on Mozart’s part can be
assumed. Mozart – as did Haydn28 – tended to
write the reprises out from memory, which
naturally complicates considerably the process of

26
Cf. KV3, p. 666, “Footnote”.
27
Cf. Die Bedeutung der Zeichen Keil, Strich und
Punkt bei Mozart. Fünf Lösungen einer Preisfrage, ed.
on behalf of the Gesellschaft für Musikforschung by
Hans Albrecht, Kassel etc., 1957.
28
H. C. Robbins Landon, The Symphonies of Joseph
Haydn, London 1955, pp. 87ff.
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Facs. 1: Three Quartet Divertimentos KV 136–138 (125a–c): leaf 1r of the autograph, in private ownership in southern Germany = beginning of Divertimento
I KV 136 (125a); cf. pages 3–4, measures 1–26.

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Facs. 2: Three Quartet Divertimentos KV 136–138 (125a–c): leaf 4v of the autograph, in private ownership in southern Germany = from the 3rd movement of
Divertimento I KV 136 (125a); cf. pages 15–16, measures 39–84.

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Facs. 3: Three Quartet Divertimentos KV 136–138 (125a–c): leaf 9r of the autograph, in private ownership in southern Germany = conclusion of
Divertimento II KV 137 (125b) and beginning of Divertimento III KV 138 (125c); cf. page 29, measures 79–110, and page 30, measures 1–10.

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Facs. 4: Three Quartet Divertimentos KV 136–138 (125a–c): leaf 9v of the autograph, in private ownership in southern Germany = from the first movement
of Divertimento III KV 138 (125c); cf. pages 30–32, measures 11–38.

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Facs. 5: Serenade in G KV 525, Eine kleine Nachtmusik: leaf 4v of the autograph in the Dr. Wilhelm Collection; cf. page 51, measures 24–30, and pages 52–
53, measures 38b–50.

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Facs. 6:Fragment of a movement from a Divertimento (?) in D KV Appendix 223c: leaf 1r of the autograph, in the possession of the Gesellschaft der
Musikfreunde, Vienna;; cf. page 65, measures 1–5.

Facs. 7:Fragmentary draft of a slow movement in C for Strings KV Appendix 69 (525a): autograph in the possession of the International Mozart Foundation,
Salzburg; cf. page 66.

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