The Works of W. A. Mozart for the Basset horn: An Annotated Bibliography Including a Catalogue Discussion and Review of Mozarts Works Utilizing Basset Horn and Basset Clarinet

Mozart could have possibly written it due to the influence of the great basset horn virtuosi David and Springer who were in Vienna at the time.  On the other hand stylistic evidence suggests that it may have been written for Anton Stadler.  Most likely the presence of four excellent clarinet and basset horn virtuosi must have inspired Mozart to write such a work.  Anton Stadler’s playing and Mozart’s compositions were admired greatly and described in Johann Friedrich Schink’s memoirs. Schink describes Stadler as a “braver Virtuoso” due to his soft vocal qualities in tone to which no one with a good “heart could withstand.”  If all four clarinetists were the inspiration, an interesting question arises in which who played what part.  If Stadler played first then, it is likely David and Springer would have had to borrow Stadler’s basset horn, for the key was different and the range was greater than the horn they had could accommodate. 

The work is full of rich sonorities that emote a feeling of breathlessness and intimacy in the concert hall.  It is fitting that it closes Mozart’s great period of wind writing.  The two basset horns play a pivotal role throughout the work and are often paired with the two clarinets, especially in the first trio of the first Menuetto (example 2).  Mozart likes not only in this work, but in others to pair the basset horn with the oboes.  Mozart’s use of thematic material that is dialogue in nature while contrasting between tutti and smaller groups, has allowed for a variety of instrumental combinations and is ultimately “kaleidoscopic writing… [which stands] without parallel in wind music” today.   

K. 384                                        Die Entfürung aus dem Serail

• AMA: V/No. 15 [R 13]
• NMA: II/5/12 [Pb 6] BA 4591 Vcs, HM        

Example 3: K. 384, No. 10, mm. 1-3

Die Entfürung aus dem Serail or The Abduction from the Seraglio, K. 384 is an opera singspiel in three acts.  It was begun in 1781 in Vienna and finished by late May 1782.  It calls for two soprano, two tenor, and a baritone soloist, along with a full SATB choir, a piccolo, two flutes, two oboes, two clarinets/basset horns, two bassoons, two horns, two trumpets, timpani, German drum, triangle, cymbal, Turkish drum, full orchestra strings including first and second violin, first and second viola, violoncello and basso continuo with either fortepiano or harpsichord.  The author of the text was Christoph Friedrich Bretzner, and arranged by Johann Gottlieb Stephanie the younger.  It was premièred in Vienna at the Burg Theater on July 16th, 1782. 

The basset horn only makes a short appearance in the opera and is included in most of the aria of No. 10, “Traurigkeit ward mir zum Loose”.  Here Mozart’s favorite instrument is used to portray longing with a charming melody to accompany the unhappy Constanze in her G-minor aria portraying “sadness”.  Often this aria is deleted from the opera possibly because of the required use of basset horns.  

K. 410 (440d, 484d)                                Adagio

• AMA: X, p. 79 [R 25]
• NMA: VIII/21, p. 120 [Pb 18]

Example 4: K. 410, mm. 1-4

        

The Kanoniches or Canonic Adagio, K. 410, K3 440d, K6 484d, is for two basset horns and bassoon.  It is in F-major and was written in Vienna around 1784 or 17855 or even around 1782 or 1783.  This “miniature gem” is of somewhat serious nature and is apart of Mozart’s Masonic “columns of harmony” where instruments are linked by their nature to breath and life.  This work is officially recognized as Masonic in nature including how one flat in the key signature reflects the first degree, Entered Apprentice, of freemasonry. 

        This and K. 411 are presumably to be written for the Stadler brothers, namely Anton, who was a virtuoso on the basset horn.  The brothers are probably the first performers of the work, although David and Springer might have been the catalyst for this work among other basset horn works.

The pleasant and secretive sound of the basset horns probably induced the Vienna Freemasons to make use of them during solemn occasions.  This seriousness and construction of harmony probably shows that they were probably written for a festive occasion.  The basset horns present a quietly flowing contrapuntal cannon over a freely moving bass. 

K. 411 (440a, 484a)                                Adagio

• AMA: X, p. 80 [R 25]
• NMA: VII/17/2, p. 223 [Pb 17]

Example 5: K. 411, mm. 1-8

        The Adagio in B-flat-major K. 411, or K3 440a, K6 484a is for two clarinets and three basset horns.  It was probably written around 1782 or 1783.  It is a splendid piece with interesting sonorities and a tonal gem that is of serious solemn Masonic nature.  Though believed to be composed in 1782 or 1783, Henry believes it would be a mistake to date them before December 1784.  It along with K. 410 are officially recognized as being Masonic.  Although labeled as “Adagio”, it is processional in nature that can accompany a ritual march in the Lodge such as bringing the sacred to the assembly. 

        This, along with K. 410, is fundamental to understand Mozart’s Masonic compositions.  Like K. 410, this was also written probably for a festive occasion, which is shown by the construction of the rich harmony and the serious nature of the work.  Unlike K. 410 it might have been intended to be a part of a much larger work.  Masonic thoughts and symbols are what Mozart used to inspire him to write this work, which allowed Mozart to perceive these beliefs as melodies and harmonies.

        Like K. 410, K. 411 was probably inspired by the Stadler brothers and/or David and Springer.  There are five parts, which could mean that all four virtuosi performed this work with perhaps the likes of Griesbacher or Lotz who were also fellow masons.  

K. 346 (439a), K. 436, K. 437, K. 438, K. 439, K.  549

Vocal Notturni and Canzonetta

During the years 1787 to 1788, Mozart wrote a series of vocal chamber works, including five Notturni and a Canzonetta with similar characteristics.  They were all written for two soprano and one baritone soloists with wind instrument accompaniment.  The accompaniment included three basset horns, or two soprano clarinets and one basset horn.  They were most likely written in Vienna, in 1787 and not 1783 as previously thought.  The author of all the texts is or is thought to be Pietro Mestastasio, an important 18th century librettist.  These works are short and simple songs where the text and music evoke feelings of love and happiness.

These works are likely inspired by Mozart’s friendship with the family Jacquin, whose son Gottfried and daughter Franziska were also very musical.  Franziska was one of Mozart’s best piano students and likely influenced by her to compose the clarinet or “Kegelstatt” Trio, K. 498.  Mozart was also very fond of Gottfried and most likely influenced by him to compose the five Notturni and Canzonetta.  Mozart’s widow Constanze supposed that Gottfried and Mozart collaborated on these works, although Mozart is widely accepted as the composer.  The date 1783 is most likely inaccurate because Mozart’s friend and inspiration, Gottfried, would have only been sixteen, was not a prodigy, and the friendship is only documented after 1785.

It is somewhat unusual for basset horns to be used as accompaniment considering they were only used in Mozart’s music several times before.  Anton and Johann Stadler must have made a profound impact on Mozart and must have inspired Mozart to experiment with the instrument. These ensembles of light music are tender and intimate, contain flowing melodies, reverberations, reminiscences, and anticipations of things that would come later.  These evenings of bringing three wind player friends to perform at the Jacquins were probably the happiest evenings Mozart experienced and not only enriched just Mozart but future generations as well. 

The basset horns are used as accompaniment throughout the works and provide depth and character to the soundscape.   They play mostly the same notes and rhythms as each of their corresponding vocal part with basset horn 1 being linked to soprano 1, basset horn 2 linked to soprano 2, and basset horn 3 linked to the baritone.  Mostly the variation in notes and rhythms only occur at the ends of phrases and where the rhythm is stagnate.  Like most of the Notturni an extended range basset horn must have been used for there are many extended notes present throughout.  

K. 346 (439a)                                Nocturne "Luci care, luci belle"

• NMA: III/9, p. 42 [Pb 10] BA 5326

Example 6: K. 346, mm. 1-3

The Nocturne, "Luci care, luci belle", K. 346 is one of several vocal chamber music works including three basset horns.  Different from the other Notturni is the Köchel number that has been readjusted in the later catalog listing to be grouped with the others.  Also different is that the author of the text is unknown and the text might have been possibly and probably partly written by Gottfried von Jacquin, though Mestastasio is likely to be the author.   

        Here the basset horns are mere accompaniment and the third basset horn contains numerous low basset note C’s.  

K. 436                                        Nocturne “Ecco quel fiero istante”

• AMA: VI/2/No. 30, p. 65 [R 19]
• NMA: III/9, p. 31 [Pb 10] BA 5326 S

Example 7: K. 436, mm. 1-2

        

The Nocturne “Ecco quell fiero istante”, K. 436 is one of several vocal chamber music works including three basset horns.  The text is from Mestastasio’s Canozonetta “La partenz”.  Here the basset horn role is merely accompaniment with an endearing melody and contains obbligati parts.  The early performers must have had a low C-sharp and a low C available for they are needed several times in this work.  The basset horns parts contain more variations in notes and rhythms than their vocal counterparts but still remain only as accompaniment.  

K. 437                                        Nocturne "Mi lagnerò tacendo"

• AMA: VI/2/No. 31, p. 67 [R 19]
• NMA: III/9, p. 35 [Pb 10] BA 5326

Example 8: K. 437, mm. 1-3

The Nocturne “Mi lagnerò tacendo”, K. 437 is one of several vocal chamber music works including two A clarinets and one G basset horn. The text is from Mestastasio’s Sirve II, 1.

This work approaches that of an operatic terzetto and is scored unusually for clarinets in A and basset horns in G, an instrumentation that only occurs in this nocturne.  This work contains more adventurous parts with sequential runs and leaps for both the clarinets and basset horns.  The parts also include a wide compass with many of the extended lower notes being required in the basset horn part on several occasions.  The reasoning for clarinets in A and a basset horn in G, could be because the key made the piece easier with the lower pitched instruments, or maybe even it was written with David or Springer in mind considering they performed on basset horns in G.

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K. 438                                        Nocturne “Se lotan, ben mio tu sei”

• AMA: XXIV/8/No. 46, p. 67 [R 40]
• NMA: III/9, p. 29 [Pb 10] BA 5326 S

Example 9: K. 438, mm. 1-2

The Nocturne “Se lotan, ben mio tu sei”, K. 438 is one of several vocal chamber music works including two B-flat clarinets and one basset horn. The text is from Mestastasio’s Strofe per musica.  This work is significantly slower than the others vocal works and contains frequent leanings towards the minor reflecting the text.  The clarinet and basset horn parts stick with their counterparts except most noticeably where the basset horn is an octave lower at measure 6-7 and contains the only instance of any extended lower notes.  Also musically effective are the clarinets entering one octave above the sopranos at the end to help with the fading and dying away effect.

K. 439                                        Nocturne "Due pupille amabili"

• NMA: III/9, p. 26 [Pb 10] BA 5326 S

Example 10: K. 439, mm. 1-2

Example 11: K. 439, 3rd BH, mm. 14-19

The Nocturne “Due pupille amabili”, K. 439 is one of several vocal chamber music works including three basset horns.  The author of the text is unknown but is most likely Mestastasio, who was the same librettist for the other Nocturnes.

        Again the basset horns are used as accompaniment and vary slightly in notes and rhythms from their vocal counterparts.  The noticeable difference is that this work contains a substantial and nice obligatti 3rd basset horn line, measure 14-19 (example 11), which shows off one’s technical facility in the lower register including the frequently used extended low notes.  

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K.  549                                        Canzonetta "Più non si trovano"

• AMA: VI/2/No. 41, p. 185 [R 19]
• NMA: III/9, p. 44 [Pb 10] BA 5326 S

Example 12: K. 549, mm. 1-2

The Canzonetta "Più non si trovano", K. 549 is one of several vocal chamber music works including three basset horns. Unlike the other Notturni it was most likely written in Vienna, in July of 1788.  The text is from Mestastasio’s opera L’Olimpiade I, 7. The accompaniment music is questionable and might not have been composed by Mozart. The basset horns are used as accompaniment throughout, however, they do contain some fine obbligati parts, especially in the 3rd basset horn part.  The third basset horn also contains several low extended D’s and C’s.

K. 477 (479a)                                "Maurerische Trauermusik"

• AMA: X/No. 12, p. 53 [R 25]
• NMA: IV/11/10, p. 11 [Pb 12] BA 4709 S, PM; TP 18

Example 13: K. 477, mm. 1-8

        

The Maurerische Trauermusik or Masonic Funeral Music, K. 477 or K3 479a was composed on November 17th, 1785 in Vienna.  It is in C-minor and calls for two oboes, a clarinet, three basset horns, a contrabassoon, two horns, and full orchestral strings including first and second violin, first and second viola, violoncello and bass.  This one movement work is thought to be composed for the Masonic commemoration of the death of fellow masons, Georg August Duke of Mecklenburg-Strelitz and Franz Count Esterházy of Galántha.  Mozart had already arranged some funeral music months before from the Meistermusik but in this work Mozart removed the voices for the cantus firmus.  At the second performance of the funeral music, on December 9th, Mozart added a contrabassoon and two more basset horn parts, most likely for Lotz and the Stadler brothers who were also fellow masons.  Mozart probably added the additional two basset horn parts to preserve the balance between the three (a Masonic ideal) wind groups of which have three instruments each; two oboes and clarinet, three basset horns, two horns and contrabassoon.  The basset horns play the cantus firmus as a solid flow of sound that contrasts the undulating strings beneath.  Though the first two have sustaining chords, the third basset horn moves in harmonizing eighth notes, and all three switch to dotted rhythms symbolizing a Masonic ideal. 

K. deest Meistermusik, “replevit me amaritudinibus”

        This is most likely the original form of the Masonic Funeral Music, K. 477 (479a) that has been restored.  Composed in Vienna in July 1785 and in it’s original form it called for unison men’s voices, two oboes, a clarinet, a basset horn, two horns and strings.  Most likely it was composed for a ceremony at the True Concord Lodge, on August 12 1785 for the elevation of a visiting brother, Carl von König, to the rank of master.  The cantus firmus is based on the psalm tone for singing of the Miserere and Lamentations of Jeremiah during Holy Week.  Mozart used the verses “he filled me with bitter herbs and made me drunk with wormwood. Waters flooded over my head; I said I am lost”.  The first verse alludes to the Masonic trials by earth and the second by water.  The music is somber with its low orchestra timbres, dramatic dynamic changes and a sweeping violin descant above the chanting voices below.

K. 484e                                Allegro

        Fr. 178X/B

• NMA: X/30/4, p. 213

Example 14:  K. 484e, mm. 1-4

        K6 484e or Fr. 178X/B is a fragmentary work marked allegro for two or more basset horns in F-major.  It was probably composed in Vienna during the 1780’s.  Only thirty-two measures remain on the first basset horn part.  It is uncertain whether it belonged to a finished but otherwise lost composition. Is of note that the manuscript is among other basset horn fragments located in the Salzburg.

K. 487, (496a)                                Zwölf Duos

• AMA: Nos. 1, 3, 6: XV, p. 19 (2vn)
• NMA: VIII/21, p. 49 (12 Duos) [PB 18]

Example 15: K. 487, Movement 1, mm. 1-6

1. Allegro

2. Menuetto; Allegretto

3. Andante

4. Polonaise

5. Larghetto

6. Menuetto

7. Adagio

8. Allegro

9. Menuetto

10. Andante

11. Menuetto

12. Allegro

        K. 487 or K3 496a is an interesting and enchanting composition containing twelve duos in Eb for two horns.  It was composed on July 27th, 1786 in Vienna.  Only duos No. 1, 3, and 6 have corresponding manuscripts in Mozart’s own hand. 

        This work has had a controversial past.  First is the notion of “utern kegelscheibe” which appears on the manuscript and means “while laying skittles”.  Because the “Kegelstatt” trio or skittle alley trio was written a week or so later, the duos were probably forgotten and not performed.  In the last century this work was originally believed to be for two basset horns because of the heavy demands on the first player which has a compass of three octaves and a fifth with high G’’’ appearing several times.  Because of these factors, editors have published them for basset horns and some researchers have even identified them as the lost Anh. 11 or K. 41b, which has continued to foster the controversy.  It has even been published that they might have been written for the Stadler brothers.  The duos would have been possible to have been performed on natural horns but would have required a horn virtuoso similarly to Joseph Leutgeb. Mozart wrote most of his concerti and quite possibly the duos for Leutgeb because they require incredible demands on the player to perform in the upper registers.  Due to this and an examination of Mozart’s writing for two or three basset horns, no one could possibly accept that these duets were intended for basset horns.

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K. 577                                        Soprano Aria; "Al desio di chi t'adora"

• AMA: V/No. 17, p. 411 [R 14]
• NMA: II/5/16, p. 602 [Pb 7]

Example 16: K. 577, mm. 1-3

        K. 577, "Al desio di chi t'adora" or “to the desire of the one who adores you” is a soprano aria Mozart composed for the revival of Le Nozze di Figaro or The Marriage of Figaro, K. 492. This aria is in rondo form and was composed in July 1789.    The Marriage of Figaro was revived in Vienna at the Burg Theater in August 1789.  It calls for soprano soloist, with two basset horns, two bassoons, two horns, and full string orchestra with first and second violin, viola, violoncello and bass for accompaniment.  It is possible that Lorenzo da Ponte wrote the text, but this is questionable.  The original Susanna, English soprano Ann Selina (Nancy) Storace, had been replaced by Francesca Adriana Gabrielli also known as “Il Ferrarese”, had a great range and brilliance.  This was the first of two replacement arias and was intended to replace the 4th act aria, “Deh vieni, non tardar” where Susanna is teasing Figaro, by knowing he is eavesdropping just to make him jealous.

        This aria lies neglected today, except for the rare concert aria performances, partly because of its unusual scoring which includes two basset horns.   The reasons why Mozart added the basset horn still remain unknown.  The two basset horns, two bassoons, and two horns act as a concertante group providing only accompaniment for a greater part of the aria.  The aria is in two parts with a slow introduction followed by an allegro section.  The basset horn solo in this aria was probably written for Anton Stadler.  There are places where the second basset horn line is more important the first important basset horn line, which suggests that Stadler performed second due to his fixation of the chalumeau register.  Brahms after hearing this aria performed is thought to have commented about the basset horn that “no instrument adopts itself so closely to the human voice, [where] the tone is midway between cello (bassoon) and clarinet”.  It is a shame and one cannot help regret that this great aria is not performed more today.

K. 581                                        Quintet for Clarinet and String Quartet

• AMA: XIII/No. 6, p. 112 [R. 28]
• NMA: VIII/19/Sec. 2, p. 15 [Pb 17] BA 4776

Example 17: K. 581, Movement 1, mm. 1-9

Movement 1: Allegro

Movement 2: Larghetto

Movement 3: Menuetto

Movement 4: Allegretto con Variazioni

        The clarinet Quintet, K. 581 is one of the true masterpieces that Mozart composed for Anton Stadler.  The Quintet is in A-major and calls for clarinet in A, first and second violin, viola, and violoncello.  It was composed in Vienna on September 29, 1789 and was presumably for Stadler’s new basset clarinet, though the original manuscript has been lost. 

        The Quintet evokes the same feeling and mood that are displayed in additional late Mozart works, including the Concerto for Clarinet, K 622.  Mozart differed from the normal configuration of a quintet and added a minuet and trio movement with a rare two trios, thus making the work four movements long. The characteristics and melodic development of the whole work demonstrates Mozart’s extreme genius.

        Because of the time period of the composition it is believed that Mozart might have written this work with Masonic intentions and beliefs although it is not officially recognized.  The three sharps in A-major along with Stadler as the performer shows that it could be influenced by Masonic ideals.  In addition to being for Stadler, research and analysis of the strange shapes of phrases and melodic intention show that the work was originally composed to a lesser extent for Stadler’s new basset clarinet. An example of this is at the beginning of measure 9 (example 16), where the melodic phrasing would suggest that the C be performed an octave lower, which would have been available on the basset clarinet, but has since been adjusted for the normal compass of the soprano clarinet.

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K. 584b, 621b                                Concerto Movement

        Fr. 1787v

• Konzertsatz für Bassethorn und Orchester KV 584b (KV6 621b) Faksimile-Wiedergabe des autographen Entwurfs

Example 18: K. 584b, mm. 1-4

        K3 584b, or K6 621b, Fr. 1787v has genuinely allowed researchers and clarinetists to finally accept that the famous Mozart Concerto for Clarinet, K. 622 was written for basset clarinet.  K. 584b is the long lost sketch for a basset horn concerto in G.  This autographic sketch located in the Rychenberg Stiftung at Winterthur, Switzerland, consists of 199 bars of an allegro movement in G for a basset horn in G.  The opening measures in the sketch are just about identical to the same opening measures of the Clarinet for Concerto, K. 622.  Because of the absence of an original clarinet concerto manuscript, scholars have debated for more than a century on the origins and instrumentation of the concerto.  The unusual configuration of the solo clarinet part and askew melodic shaping and phrasing, scholars believed the clarinet concerto to be for basset clarinet in A.  This sketch just about proves this belief while also insisting that the concerto as we have it today is really an arrangement of another work. 

        The debate was started in 1936 led by Alfred Einstein ascribing K. 584b with a date of late 1789 and then expressing the view that Mozart later revised his sketch for the clarinet concerto.  George Dazeley discussed in the Music Review of 1948 that the original concerto was a long lost version for clarinet in A with an extension to low C.  Kroll also concluded that the original was for a clarinet extended to low C, and this opinion was expressed due to numerous passages with peculiar shaping that would have been logical to extend to low D and C.  Also this idea is supported because Mozart wrote for Stadler’s basset clarinet in other works including Cosí Fan Tutte, La Clemenza di Tito, and the quintet including the quintet fragments.  Dr. Josef Saam in Das Bassethorn disagrees with the notion that even a basset clarinet existed and agrees that the concerto was intended for basset horn despite being completely unaware of the numerous works for basset clarinet by Mozart and other composers.  Another point that shows that the concerto was not intended for basset horn is the key change to A by Mozart, signifying that Mozart changed his mind before the end of the sketch.  This implies that the sketch was written before the concerto, which thus created a number change to 621b in the Köchel catalogue.  When researching about this sketch and the concerto, Newhill poses two questions, including why did Mozart write for the basset horn in G, and why did he suddenly change from that instrument to A.  Pamela Weston suggested that all the G basset horns parts were most likely written for Springer and not Stadler who performed on a G basset horn.  Whatever Mozart’s reasoning’s for change have since allowed the clarinetist to gain and ensures that a superb work will never go without performed. 

K. 588                                Cosi fan tutte ossia La scuola degli amanti

• AMA: V/No. 19 [R 16]
• NMA: II/5/18 (2 sub volumes) [PB 8] BA 4606 VcS, HM; TP 314

Example 19: K. 588, No.  24, mm. 1-5

 

        Cosi fan tutte ossia, La scuola degli amanti or Thus do they all, The school for lovers, K. 588 is a two act drama giocoso and opera buffa.  It calls for three soprano, one tenor, and two baritone soloists, with full SATB choir, two flutes, two oboes, two clarinets with one basset clarinet, two bassoons, two horns, two trumpets, timpani, and full string orchestra with first and second violin, viola, violoncello, and bass.  It was begun in the autumn of 1789 in Vienna and completed in January of 1790.  Its author was Lorenzo da Ponte and was premièred in Vienna at the Burg Theater on January 26, 1790. 

        The Lotz basset clarinet used by Anton Stadler has to be associated with this work especially in No. 24, Ferrando’s aria “Ah lo veggio”.  The 2nd basset clarinet in B-flat contains numerous low D’s, which were not available on the normal B-flat soprano clarinet.

K. 620                                        Die Zauberflöte

• AMA: V/No. 20 [R 17]
• NMA: II/5/19 [Pb 9] Ba 4553 VcS, HM; TP 155

Example 20: K. 620, No. 8, mm. 1-2, No. 9, mm. 1-8, No. 10, mm. 1-7 

        Die Zauberflöte or The Magic Flute, K. 620 is a German singspiel in two acts.  It calls for nine soprano, four tenor, and five baritone soloists, with full SATB choir, two flutes with piccolo, two oboes, two clarinets plus two basset horns, two bassoons, two horns, two trumpets, timpani, three trombones, glockenspiel, and full string orchestra with first and second violin, first and second viola, violoncello and bass.  It was most likely begun in the spring of 1791, dated Vienna, July 1791, and finished in September.  The author was Emanuel Schikaneder and was premièred in Vienna at the Theater auf der Wieden. 

        This Masonic opera uses basset horns in No. 8, the finale to Act 1, No. 9, March of the Priests, and No. 10, the aria “O Isis und Osiris”.  The basset horn portrays the solemn gravity of Sarastro and in the music for the High Priests it “is perfect vehicle for dignified and perfect utterance”. 

        The basset horns make their colorfully rich statements in the finale of Act 1, paired with the oboes and switch to clarinet shortly before No. 9, which saves the surprise of their magnificent entry in the second act.  In No. 9a, they play with the flutes where the andante pace allows for the reedy timbre to be heard throughout the hall and eventually the mystical feeling of the awe inspiring march belongs to quiet but resonant and reedy basset horns.  In No. 10, the basset horns are able to express the nobility and serenity of Sarastro by allying them with the trombones with Sarastro’s low vocal tone and timbre. It might be possible to say that because in the Magic Flute, Mozart was defending Masonic initiation and Masonic beliefs and is probably the reason why he included the Masonic instruments of basset horns.

K. 621                                        La Clemenza di Tito

• AMA: V/No. 21 [R 17]
• NMA: II/5/20 [Pb 9] BA 4554 VcS, HM; BA 4554b

Example 21: K. 621, No. 9, mm. 1-8, No. 23, mm. 1-10

La Clemenza di Tito or The Clemency of Titus, K. 621 is an opera seria in two acts.  It calls for four soprano, one tenor, and one baritone soloists, with full SATB choir, two flutes, two clarinets with solos for basset clarinet and basset horn, two bassoons, two horns, two trumpets, timpani, and full string orchestra including first and second violin, first and second viola, violoncello, and bass.  It was begun in Vienna, probably in middle of July 1791 and completed in Prague on September 5, 1791.  The original author was most likely Pietro Mestastasio and was finished by Caterino Mazzoà.  The première took place at the National Theater in Prague on September 6, 1791 and was composed for the coronation of Leopold II as King of Bohemia in Prague. 

        The basset horn and basset clarinet play important roles in this opera.  The opera contains a fine virtuosic basset clarinet obbligato in Sextus’ aria No. 9, “Parto! Ma tu ben mio”.  The basset horn performs another extended obbligato part in Vietellia’s aria in No. 23 “Non più di fiori”.  Here flute, two oboes, two bassoons, two horns, and strings accompany the soloist and basset horn.  The aria is in two parts, Larghetto and Allegro, with the Larghetto theme returning in the allegro section.  Mozart truly understood the basset horn and its capabilities by writing for it as a melodic instrument, bass instrument, with difficult passages to be tongued, and difficult arpeggiated runs that run up and down the full compass of the instrument.  It is a shame that such a superb aria is heard so rarely today. 

        Like most of the other works including basset horn and basset clarinet, it is believed that these two arias were written for Anton Stadler.  Stadler journeyed to Prague to perform in the opera because Mozart could not trust any other clarinetist to execute the solos so perfectly. 

K. 622                                        Concerto for Clarinet 

• AMA:XII/Sec. 2/No. 20, p. 207 [R 27]
• NMA: V/14/4, p. 83, [Pb 14]; reconstructed version for 'basset cl': V/14/4, p. 3 [Pb 14] BA 4773 S, PR (cl in A), PR (basset cl), PM; TP 254

Example 22: K. 622, mm. 1-4

        The Mozart Concerto for Clarinet, K. 622 is probably the most substantial and influential work ever composed for the clarinet.  Not only does it display ones musicianship and virtuosity, it is also shrouded in mystery as it does not have a clear history.  The Concerto is for solo clarinet in A or basset clarinet in A, and calls for two flutes, two bassoons, two horns, and full string orchestra including first and second violin, first and second viola, violoncello and bass.  It is in A-major and was composed in Vienna, probably during 1791.  It was finished on November 15th, 1791 a month or so before Mozart’s death.  Most dubiously, the concerto was written for Anton Stadler and his newly designed basset clarinet, although no surviving manuscript exists though a nearly identical sketch for basset horn in G exists. 

        Numerous scholars and performers have researched the history and origin of the concerto although no one has since found the original manuscript.   The only surviving edition is the original published version by André (from 1801) that was published after Mozart’s death and is used as the basis to explain and understand the work.  These early-published versions were severely adapted to fit the normal compass of a clarinet in A, instead of the basset clarinet.  Analyses of the melodic shapes and phrases have determined that the range of notes was extended down a major third to low C ,,.  The instrumentation of the accompaniment lacks oboes and instead uses the gentle toned flutes, bassoons, and horns for tone colors that offset the clarinet sound. 

        It is believed that Mozart may have composed the concerto, like numerous other works in his later composition years, with Masonic intentions.  Stadler, a fellow mason, influenced Mozart greatly with his virtuosity on the clarinet, basset clarinet, and basset horn. Stadler also highly admired Mozart’s writing and said to himself “I have to get something good out of this Mozart before he’s finished; let him sing one more time, even if it should be his swan song”.  The specific reason for the concerto is to be unknown.  Mozart had many other works to finish during this time, especially the works he was getting paid for such as the Requiem, K. 626.  Mozart instead spent time on a composition that was not urgent, to someone who owed him money, and to satisfy his friend and musical talent.  The concerto does express and openly glorifies the convictions of the Masonic ideals though discreetly.  For example, the key of A-major signifies the ideal of three with three sharps in the key.  The musical character and expressions of intensity, calmness, and warmth are ideas that arise from the Masonic vision of harmony and beliefs joining together to create a perfectly inspired and constructed work. With its unbroken intervals, intervals becoming more and more heavy, increasingly momentous and transparent events, cantabile lines, minor virtuoso decorations, dense but not thick harmonies, the concerto shows a complete Mozartean statement that demonstrates what a wind concerto should portray and tell symbolically and musically. 

Although it is one of Mozart’s last completed and best works, it is ultimately his greatest concerto for a wind instrument and will continue to be studied and performed for years to come.

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K. 626                                        Requiem

Fr. 1791h

• NMA: I/1/Sec. 2, Subvolume 1 [See also X/30/4, CR, p. 275 BA 4538]

Example 23: K. 626, Requiem Movement, mm. 1-7

        Mozart’s famous Requiem, K. 626, Fr. 1791h, is probably one of his most important compositions involving basset horn.  It is in D-minor and calls for soprano, mezzo, tenor and baritone soloists, with full SATB choir, two basset horns, two bassoons, two trumpets, timpani, three trombones, and full string orchestra including first and second violin, viola, and bass strings with organ.  It was started in Vienna, in the autumn of 1791 and was commissioned for Franz Count Walsegg.  Mozart died completing this work, however his students and contemporaries Joesph Eybler and Franz Xaver Süßmayr finished it in 1792.  Mozart only finished the Requiem movements, the Kyrie and Sequence were in draft score, and only eight measures of the Lacrymosa.   The Sanctus, Benedictus, and Agnus Dei were not even started. 

Because this work is so powerful and fulfilling, modern scholars do not like the idiosyncrasies of Süßmayr, so many scholars have attempted to complete the Requiem in their own way and sound more Mozartean.  Most significant is probably the addition of an Amen fugue in the Lacrymosa, which is believed to be how Mozart wanted to finish the movement. 

        The movie Amadeus, albeit historically incorrect, promotes the belief that Mozart did not have time to finish the requiem and was fearful of death.  It is believed by Henry, that Mozart had ample of time to finish the Requiem and simply decided not to and instead work on more satisfying works.  The last official work entered into Mozart’s catalogue is the Masonic Cantata, K. 623 which has just about the same music the Requiem and was commissioned at the same time, five months before his death.  More time was spent on the Cantata probably because Mozart was more conscious of the universal and eternal meaning of the Masonic ideals and universal beliefs in which he leads “man in harmony beyond simple earthly existence”.  Mozart was not focused on death or things associated rather he was in a state of inspiration that reflected on positive visions of the blessed state beyond death.  It is very interesting to note that during his last moments, Mozart seemed to be displaying strength, courage, and complete serenity by humming at the same time the Lacrymosa and the Papageno theme from the Magic Flute.

        Because of his use of the basset horn, it is believed that Mozart used his “favorite instrument” to begin his greatest work with the subject announced by the second basset horn.  The basset horn replaced the clarinets and horns from the orchestra most likely for its ability to portray solemn and longing melodic lines with its very distinctive tone and timbre portraying sadness, softness, shyness and intimacy unlike the other instruments in the orchestra.  The basset horns appear in all twelve numbers and have some of the most exquisite and sublime music of the Requiem despite leaving the work unfinished. 

Anh. 11 (K.3 41b)                        Pieces or Processions

        Viele Stücke für zwei Corni di Bassetto or Many Pieces or Processions, Anhang 11 or K3. 41b for basset horn, trumpet, or clarinet have long been lost.  These pieces are composed sometime before the end of 1768.  Leopold Mozart list these in his catalogue of his son’s works as being composed in 1767.  No such pieces are known and musicologists believe that if they did exist that they were probably youthful duets with no true instrumentation. 

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Anh. 54 (452a)                                Slow Introduction to a Quintet Movement

• NMA: X/30/3, Skb 57 and X/30/4, p. 104

 Example 24: Ahh. 54, mm. 1-8

        

Anhang 54 or K3 452a, Fr. 1783g is a fragmentary work containing the slow introduction to a piano quintet.  This thirty-five-measure work is in B-flat-major and calls for pianoforte, oboe, clarinet, basset horn, and bassoon.  It was probably started in 1783 in Vienna, however it was never completed.  It is of a light character and the basset horn seems to be paired with the bassoon throughout.  An interesting question is provoked in measure 29 for there seems to be an added second basset horn part.  Perhaps Mozart intended to add another basset horn part, but like several other fragments, no definitive evidence or music has been left to evaluate any of Mozart’s intentions.  

Anh. 61 (537b)                                Concerto Movement

        Fr. 1786k

• NMA: V/15/8, p. 198 [Pb16] and X/30/4, p. 147

Example 25: Anh. 61, mm.  1-6

        Anhang 61, or K3 537b, Fr. 1786k is another fragmentary work containing the opening measures to a piano concerto.  This six-measure work is in D-minor and calls for pianoforte and orchestra including basset horn.  It was probably started in late 1786 in Vienna, however it was never completed and there are no notes written for basset horn at all.  It would have been very interesting to hear how Mozart would have used the basset horns in a pianoforte concerto setting.

Anh. 88 (581a)                                Rondo for a Quintet

        Fr. 1790g

• NMA: VIII/19/Sec. 2, p. XVIII (fol. 2r), 50 [Pb 17] ;; X/30/4, p. 199

Example 26: Anh. 88, mm. 1-5

        

Anhang 88, or K3 581a, Fr. 1790g is another fragmentary work containing the opening measures for a clarinet quintet.  This eighty-nine-measure work is in A-major and calls for clarinet, first and second violin, viola, and violoncello.  It was written in Vienna sometime between 1790-1791.  It most dubiously calls for basset clarinet because of the low E-flat basset notes that were not available on the normal compass of B-flat soprano clarinet. Also intriguing is that Mozart used the bass clef to notate normal low notes.  This suggests that Mozart quite possibly would have, if he had finished the work, added more extended basset notes..  

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Anh. 90 (580b)                                         Allegro for a Quintet

        Fr. 1787q

• NMA: VIII/19/Sec. 2, p. XVII (fol. 1r), 45 [Pb 17] and x/30/4, p. 164

Example 27: Anh. 90, mm. 1-15

Anhang 90, or K3 580b, Fr. 1787q is another fragmentary work containing the opening measures for a clarinet quintet.  This one-hundred-two-measure work is in F-major and calls for clarinet in C, basset horn, violin, viola, and violoncello.  It was probably written in Vienna in 1787 around the same time as the Stadler Quintet and Quintet fragment and may share some Masonic connections.  It is interesting that Mozart uses both the clarinet and basset horn in this quintet and, although unfinished, might be a very nice performance work. Mozart completed the melody without accompaniment until near the end of the exposition.  Several scholars have completed the work and Franze Beyer’s edition seems more Mozartean. 

Anh. 91 (516c)                                Allegro for a Quintet

        Fr. 1789d

• AMA: XXIV/5/No. 22a, p. 41 [R 39]
• NMA: VIII/19/Sec. 2, pp. XV (fol. 1r), 41 [Pb 17] and X/30/4, p. 174

Example 28: Anh 91, mm. 1-11

Example 29: Anh 91, mm. 54-57

        Anhang 91 or K3 516c, Fr. 1789d is another fragmentary work containing the opening measures for the allegro movement of a clarinet quintet.  This ninety-three-measure work is in B-flat-major and calls for clarinet, first and second violin, viola, and violoncello.  It was composed in Vienna between late 1789 and 1791.  Most likely this work calls for basset clarinet because of the low D’s that occur several times after measure 55 (example 29) and are not in the normal compass of the B-flat soprano clarinet.  

Anh. 93 (440c, 484c)                        Adagio

        Fr. 1787g

• NMA: VII/17/2, p. 237 [Pb 17] and X/30/4, p. 155

Example 30: Anh. 93, mm. 1-6

        Anhang 93, or K3 440c, K6 484c, Fr. 1787g is another fragmentary work containing the opening measures of a clarinet quartet adagio.  This six-measure work is in F-major calls for C clarinet and three basset horns.  It was probably composed between 1787 and 1789. 

Anh. 94 (580a)                                Adagio

        Fr. 1788a

• NMA: VII/17/2, p. 238 [Pb 17] and X/30/4, p. 171

Example 31: Anh. 94, mm.  1-12

        Anhang 94, or K3 580a is another fragmentary work contain the opening measures of a clarinet quartet adagio.  This seventy-three-measure work in F-major, calls for clarinet and three basset horns.  It was probably composed in Vienna sometime in 1788.  Although Mozart did not complete this work (with only the melody existing in the second half), several editors have completed the work with varying success. With Mozart leaving the instrumentation blank and an outside hand labeling cor anglais on the manuscript have fostered a controversy in determining the correct instrumentation of this work. 

        This adagio is of Masonic character and is from the same period as the other Masonic influenced works using clarinet and basset horns.  The characteristically processional rhythm and a theme of great beauty make this song both Masonic and religious.

Anh. 95 (440b, 484b)                        Allegro assai        

        Fr. 1786f

• NMA: VII/17/2, p. 236 [Pb 17] and X/30/4, p. 144

Example 32: Anh. 95, mm. 1-7

Anhang 95, or K3 440b, K6 484b, Fr. 1786f is another fragmentary work containing the opening measures of a potentially clarinet quintet allegro assai.  This twenty-two-measure work in B-flat, calls for maybe two clarinets and three basset horns.  This work appears on the autograph of clarinet 1 of, K. 411. Is of note that the manuscript is among other basset horn fragments located in the Salzburg Mozarteum.

Anh. 229 (K.2 Anh. 229a, K.6 439b)                fünfundzwanzig Stücke (fünf divertimenti)

• AMA: XXIV/11/No. 62, pp. 1, 8, 15, 25, 31, (2cl; bn) [R 40]
• NMA: VIII/21, p. 67, p. 78, p. 89, p. 105, p. 114 (also p. 167) [Pb 18]

Example 33: Anh. 229, No. 1, Movement 1, mm. 1-3

No. 1: Allegro, Menuetto: Allegretto, Adagio, Rondo; Allegro

No. 2: Allegro. Menuetto, Larghetto. Menuetto. Rondo; Allegro

No. 3: Allegro, Menuetto, Adagio, Menuetto, Rondo

No. 4: Allegro, Larghetto, Menuetto, Adagio, Allegro; Rondo

No. 5: Adagio, Menuetto, Adagio, Andante; Romance, Polonaise

        Anhang 229, or K2 Anhang 229a, K6 439b also is an interesting work that has a controversial past.  It is a collection of twenty-five pieces, in B-flat-major, that have been separated into five divertimenti for three basset horns.  They have several different Köchel listings and names including K1 listing only Divertimento II, K2 listing as Anhang 229a, 3 Terzetti facili, and then finally K6 as 439b, 5 Divertimenti. They were allegedly composed between 1783 and 1788.  These divertimenti have long been lost in their original form.  Even in Mozart’s time it is believed that Constanze’s letter to the publisher André in May of 1800 claims that Stadler had in his suitcase some unknown trios for basset horns that were stolen or more acceptably believed, pawned among instruments and the manuscripts of other works possibly including the clarinet Concerto and Quintet for 73 ducats.  A controversy arises because there are no original manuscripts, however, this collection of divertimenti were published in 1803 by Breitkopf and Härtel under Mozart’s name for two basset horns and bassoon, and later by Simrock for two clarinets and bassoon.  It is widely believed that these divertimenti are the works in question that were lost by Stadler and have been generally accepted as composed for three basset horns and not with bassoon.  The three basset horn approach makes more sense due to the fact that the upper clarinet parts and bassoon lower parts is too far apart and creates havoc in the harmonic structure.  Mozart was also a fan of homogeneous instrumentation, which allows the pieces to sound better and coherent in timbre and sound with three basset horns.  

It is unknown whether the divertimenti are supposed to be grouped the way they are published, since the first edition by Breitkopf and Härtel grouped them as five sets of divertimenti.  It is also possible they could have been twenty-five pieces to be performed randomly.  It is also unknown whether there is supposed to be a sixth set of five arrangements from Mozart’s operas that were also a part of the first published edition.  Another controversy involves a dating error where the original Köchel catalogue included them at the end of the Notturni, K. 436-439, which are from 1783.  Wyzema and Saint-Foix would then date these for 1786.

A further controversy involves whether these divertimenti are of Masonic influence.  In the flowing lines of the multiple slow movements, a Masonic character is certainly applied and is comparable to the Adagio, K. 411.  The slow second melodic line supports the march of the brothers, as they would proceed during an opening or closing of a Lodge.  Melody interruptions by silences correspond precisely to the interruptions in the procession.  Most likely these pieces were not intended to be performed for larger audiences but rather were probably intended as gifts to remain among friends and masonry brothers.  Mozart probably would be delighted to know that these divertimenti are sometimes unearthed and performed in Lodges, as Mozart probably intended.  

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---. Konzertsatz für Bassethorn und Orchester KV 584b (KV6 621b)

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