Mozart: 1770, facts and fictions

[lellyvigni]

Hi Robert :)

I have read the remarkable article on PDF from Luca Bianchini reference Mozart's music exam in Bolgogna 1770. I have read a number of other posts from yourself and Bianchini over the years. I'd like to discuss the scale of the Mozart myth here on this thread, or do you prefer that we share views on Mozart's individual pieces?

[Musicology]

Thank you Lellyvigni,

Yes, the article is being posted on the Italian website of Italian Opera. org also and I understand that it has already been read by many thousands of people worldwide.

Frankly, it does not seem to matter which period of Mozart's life or career we are discussing. The same sorts of problem can be seen. Biographical and musical. The choice of 1770 was made because it provides lots of clear documentary evidence of what happened. Evidence hardly reported in books and journals. It shows how fiction and popular myth have always been part of the Mozart fairy story. What musicologists think about this 200 year old marriage of popular culture and the Mozart industry remains behind closed doors, it seems.

It may be best if we can perhaps focus our discussion here on specific, individual problems in Mozart's official life and career because there are a series of articles starting to appear in Italy every few weeks on particular Mozart subjects. The 'experts' read them but are silent. This too is normal.

Very best wishes

Robert



Hi Robert :)

I have read the remarkable article on PDF from Luca Bianchini reference Mozart's music exam in Bolgogna 1770. I have read a number of other posts from yourself and Bianchini over the years. I'd like to discuss the scale of the Mozart myth here on this thread, or do you prefer that we share views on Mozart's individual pieces?

[lellyvigni]

Thank you Lellyvigni,

Yes, the article is being posted on the Italian website of Italian Opera. org also and I understand that it has already been read by many thousands of people worldwide.

Robert

Hi Robert

I think this is a very important text written by Corrado Ricci which Bianchini has cited in his paper.
There is stated that Mozart'votes were not unanimous.
I was always told that Mozart had passed his examination with all white balls. However, we see, even the records of the examination that Luca Bianchini has attached, confirm the vote in the box were both black and white balls. What do you think? What the hell have scholars been teaching around the world in the light of these facts ? :)


"Moreover, the judges of the Academy did not give them a great deal of insight. In their report of that day they stated that one Francesco Piantanada was admitted with all white votes (and also his relative Giovanni Piantanida) while, concerning Mozart, they make only a reserved and cold statement which, when allowing for the circumstances, his exam result was considered sufficient – ‘As the votes in his case were concerned it is certain they were not all white: but in any case the jury found in his favour’"
(Corrado Ricci)

[Musicology]

Hi Lellyvigni,

Thanks for this.

That is completely correct. The facts as provided in Bianchini's paper are exactly as he says. The lies, distortions and half truths of Mozart's musical exam of 1770 are obvious, indisputable and more plain today than they have ever been.

You ask what 'scholars' have been teaching and writing on this subject for over 200 years. A good question. The facts (documentary and others) are now so obvious, so irrefutably correct that these 'scholars' are nowhere to be seen. And this one case (the exam in Bologna) is one of literally hundreds, even thousands of examples in the career of the 'genius' W.A. Mozart. I know for a fact that many teachers and students want to see the actual evidence and are no longer happy that fictions are taught as fact. A whole series of other articles are about to be published on Mozart's early and later career of the same kind.

Regards





Hi Robert

I think this is a very important text written by Corrado Ricci which Bianchini has cited in his paper.
There is stated that Mozart'votes were not unanimous.
I was always told that Mozart had passed his examination with all white balls. However, we see, even the records of the examination that Luca Bianchini has attached, confirm the vote in the box were both black and white balls. What do you think? What the hell have scholars been teaching around the world in the light of these facts ? :)


"Moreover, the judges of the Academy did not give them a great deal of insight. In their report of that day they stated that one Francesco Piantanada was admitted with all white votes (and also his relative Giovanni Piantanida) while, concerning Mozart, they make only a reserved and cold statement which, when allowing for the circumstances, his exam result was considered sufficient – ‘As the votes in his case were concerned it is certain they were not all white: but in any case the jury found in his favour’"
(Corrado Ricci)

[Mutatis-Mutandis]

Oh goody! A 'Hate Mozart' circle-jerk. What fun!

[Musicology]

Please tell us which Mozart are you refering to ? The one of popular fiction or the one of reality ?

And why do people love folklore and fictions so much when the real person never seems to get a fair hearing ? Shall we call it 'The marriage of folklore and the music industry' ? ''200 years of blowing bubbles in the name of music history, culture and education', or a few years of hard facts ? I love Mozart. The real one. The one who was - an actor. I do not love science fiction being taught as fact. It is not very respectful of music study or of history, you may agree. Nor of students. I think it is called academic research. Which, believe it or not includes criticism of patina surrounding 200 year old fables and fictions. But always remember that 'genius' credit card and the slogan that -

'Everything you've heard is true'

('Amadeus' Trailer)

Don't forget to read the PDF, will you ?

http://www.mediafire.com/?y6x6caeo2a84yfj


Thank You


Oh goody! A 'Hate Mozart' circle-jerk. What fun!

[lellyvigni]

Oh goody! A 'Hate Mozart' circle-jerk. What fun!

Hi Mutatis-Mutandis

I am not 'against Mozart'.
I am just interested in 1770.

This article provides documentary evidence I am interested in. Aren't you interested in documentary evidence ?

“In folios 2 and 3 of the manuscripts of the Philharmonic there is the autograph Antiphon composed by young Mozart already being described as a Knight by the Academics OF the Philharmonic. Yet there is also a certificate relating to this case which shows P. Martini issued it only on the 12th October 1770. Since the Antiphon in 4 parts clearly did not conform to the rule of cosiffatto style. It was Padre Martini who provided the solution in providing Mozart a version which he (Mozart) copies. So that it appeared to come from the pen of Mozart and might not fail under the scrutiny of the ‘hard’ academics. Nor would Mozart suffer the consequences. Thus, Mozart made it and it was passed off as a work made by himself. So, without difficulty, Mozart was awarded the Diploma of a Master Composer and member of the Filarm. Academy though he had also not reached the required age according to its own statutes." (Gaetano Gaspari)

I have opened this thread to discuss that year. If you have some news to discuss about this year and especially about the exam taken by Mozart (the real one) please post it here for our education and information.

Thanks :)

[Emil Miller]

I await Mutatis Mutandi's reply with interest.

[Mutatis-Mutandis]

You sound reasonable, lellyvigni, and yes, it is interesting, but from my encounters with Musicology in the past, he is just a conspiracy theorist who will shortly resort to nothing more than petty, pejorative attacks. You'll see.

[Musicology]

Mutatis-Mutandi,

You also sound reasonable. So reasonable that if we continue we may have a long conversation without me knowing if you have actually read the article itself. Do please tell me in your reply. Does this sound like a reasonable question for you to answer ? I may ask too much, of course !

As for ''conspiracy theories'' we may dispose of them easily when, as here, we have such a large body of documentary and other facts. But if you cannot resist appealing to them or find them a factor here please say so. And I will ask you only one question in return - whether they are a small, medium or large part of human history as we know it ? Such things deserve another thread, you may agree (?).

There are those who will be flattered to believe Music history has been exempt from lies, distortions and institutionalised fables of the kind we all see in warfare, politics, banking and commerce, the mass media, textbooks, corporate patronage and elsewhere. But we must be gentle with those who subscribe to such a rosy picture of Music and must use our energy to appeal to them to read for themselves from more than one side (even to read the works of non-conformists and critics) - so that education, culture and history (the last of these never being popular in some dogmatic forms of education as you seem to know) can be allowed to breathe and produce oxygen for us to breathe also. Which is surely a hard thing and even a thankless thing in our age though it may be, God-knows, as inevitable and as natural as the growing of a small flower amongst the concrete blocks of our modern world. Or, as a wise man wrote - 'See thou hurt not the oil and the wine' etc. Or 'Despise it not' etc.

Sir, thank you and goodwill.



You sound reasonable, lellyvigni, and yes, it is interesting, but from my encounters with Musicology in the past, he is just a conspiracy theorist who will shortly resort to nothing more than petty, pejorative attacks. You'll see.

[lellyvigni]

You sound reasonable, lellyvigni, and yes, it is interesting, but from my encounters with Musicology in the past, he is just a conspiracy theorist who will shortly resort to nothing more than petty, pejorative attacks. You'll see.

Hi Mutatis Mutandis

Thank you for your kind message. Yes, it's better not to talk about Mozart in general.
I opened this thread about 1770 in particular, just because I suspect there are lots of things in that year regarding Mozart, that eventually became myths.

If you and Robert would like to talk more in general I suggest he open also another thread.

I agree with Robert. Try to read the document it is very interesting. So we could share our ideas


I like especially the Jupiter Symphony. It was composed by a great artist. But I suspect that father Leopold, tried to overestimate his son in his childhood.

In 1770 he wrote:

"Once he had completed it the paper was examined by the Censores and all chapel masters and composers, and a vote was taken which was done by means of black and white balls. As all balls were white he was called in and everyone applauded his entry and congratulated him. After which the Princeps Accademiae told him in the name of the Society that he had been accepted as a member. He thanked them, and with that it was all over. H. Prinsechi and I were meanwhile locked in the Academy library on the other side of the hall. Everyone was amazed he completed the exam so quickly as many people had spent 3 hours on a 3-line Antiphon.

but in the published account there it is written:

"First of all, memorials were read and presented by Francesco Piantanida, Professor of the Violoncello, who petitioned for admission to the Academy in the capacity of Player : and after a secret ballot it was revealed he had been favourably received with all white votes, and was admitted : Afterwards was read another memorial presented on behalf of Sig. Wolfgang Amadeo Mozart of Salzburg, aged fourteen years, who petitioned for admission to the Academy in the capacity of composer, submitting himself to every trial according to the Statutory form ; the Antiphonary being then opened by the President, where was found the Antiphon in the first mode, Quaerite primum Regnum Dei etc., which was given him to make his trial upon ; whereupon he, retiring alone to the customary room, set himself to the task.
At the end of less than an hour, the said Sig. Mozart had completed his trial, which, considering the circumstances, was judged to be sufficient, whereupon it was put to the vote whether he should be enrolled in the Academy in the capacity of Master, which, when counted was found to be in his favour ; the Assembly resolving that the usual Patent should be sent to him”.

So I think there are contradictions, arent' there?

Very interesting post Lellyvigni ! Any discussion on Mozart 1770 would be interesting on this thread.

[stlukesguild]

The one of popular fiction or the one of reality ?

Of course one might suspect that lellyvigni... who has never posted in any thread outside those of Robert's is himself an invention... a fiction employed by our resident "musicologist" in an attempt to undermine the history which he alone imagines to be fiction. Certainly worthy of Kafka and Borges if only it was better wrought.:hand:

[Mutatis-Mutandis]

The one of popular fiction or the one of reality ?

Of course one might suspect that lellyvigni... who has never posted in any thread outside those of Robert's is himself an invention... a fiction employed by our resident "musicologist" in an attempt to undermine the history which he alone imagines to be fiction. Certainly worthy of Kafka and Borges if only it was better wrought.:hand:

Interesting theory. I think you're on to something :nod:.

[yanni]

'he alone imagines to be fiction', huh?

For the nth time time, StLuke, you tend to 'overlook' my posts in this forum, propably because they don't fit your own dream world.

Yes, Robert did create Lellyvigni to promote his late italian friend's conclusion that "Mozart faked his 1770 exams", and yes, Bianchini's conclusion IS CORRECT, and yes, MOZART WAS INDEED MANUFACTURED, as Robert claims, but this fact is just a drop in the ocean of lies under which your Atlantis is buried.




The one of popular fiction or the one of reality ?

Of course one might suspect that lellyvigni... who has never posted in any thread outside those of Robert's is himself an invention... a fiction employed by our resident "musicologist" in an attempt to undermine the history which he alone imagines to be fiction. Certainly worthy of Kafka and Borges if only it was better wrought.:hand:

[Musicology]

Please suspect what you like. Lellyvigni is a different poster from myself. This has been said 4 times. But you have still not learned that fact.

'Undermining history' is what you do not like. But you admit that what has been posted on the faking of Mozart is correct !!!

They should recruit you for the next 'Amadeus' movie.

p.s. Lellyvigni started this thread. I hope you have read the article on Mozart's musical exam in 1770. You can read, can't you ?



The one of popular fiction or the one of reality ?

Of course one might suspect that lellyvigni... who has never posted in any thread outside those of Robert's is himself an invention... a fiction employed by our resident "musicologist" in an attempt to undermine the history which he alone imagines to be fiction. Certainly worthy of Kafka and Borges if only it was better wrought.:hand:

[Musicology]

We are still looking forward to Mutatis Mutandi's comments on Mozart's music exam of 1770.



Interesting theory. I think you're on to something :nod:.

'Bianchini's conclusion IS correct, and yes, MOZART WAS INDEED MANUFACTURED, as Robert claims' - (Verdict of Yanni).

Great !! Glad we sorted that out. But don't tell the children. The events of 1770 provide us with literally dozens of other examples ! But we don't want to go too fast. The evidence is so clear even Yanni (our resident sceptic) admits it. There are thousands of proofs of the same. From the years before and after that date. Which begs the question of musical works written before and after that date of 1770. Some of whom are so fine that the implications are, well, huge. Strange that teachers and biographers seem to have missed them. For over 200 years. But hey, the show must go on !

Quick ! Let's have a commercial break.

- nervous laughter, rustling of papers, cornflakes ad, return to studio -

'Er, welcome back, we are discussing here the life and career of that icon of western musical culture, Wolfgang Amadeus Mozart, and are examining the facts surrounding his genius career. In particular the events of 1770. Lots of callers on the line (including some agitated defenders of convention). And we now have with us in the studio some highly paid experts from the world of 18th century music - including the propagandist (er, arts festival promoter) Dr. Schultz of Burgsaltz and the director of the Trazom Institute, Dr Hans Mogallon...who will defend convention against recent criticism. Over to you Sirs -

Camera pans to two empty chairs -

-nervous rustling of papers - cut to cornflakes ad -
'Everything you've heard is true'

'Welcome back, er....... (camera fades, nervous laughter)..... etc etc

etc

[yanni]

"The evidence is so clear even Yanni admits it."

Thank you, noble markiss, but allow me to remind you that 'Yanni' aknowledged the fact of Mozart's manufacture eversince you started the relevant thread. (post #2 of http://www.online-literature.com/forums/showthread.php?t=46636).

[Musicology]

Yes indeed Yanni. Since this thread is dedicated to the farce of 1770 in Bologna you deserve credit for saying so.



"The evidence is so clear even Yanni admits it."

Thank you, noble markiss, but allow me to remind you that 'Yanni' aknowledged the fact of Mozart's manufacture eversince you started the relevant thread. (post #2 of http://www.online-literature.com/forums/showthread.php?t=46636).

[yanni]

Thanks again but , to return the compliment, I must first understand what your own contribution has been in any of the threads you initiated in this forum.

But I can't.

You see, eversince 2004 or earlier, Mozart's fakery was made public: http://www.mozartforum.com/VB_forum/showthread.php?t=170 (By Dennis Pajot and another musicologist).

[Musicology]

Yanni doesn't read things very well. Dennis Pajot was writing about the first work attributed to Mozart - KV1. I am writing about KV 1 to KV626 inclusive (and works which were part of that list but are no more). A huge, even colossal difference. But yes, start reading about KV1. Everyone already knows about that.

This thread is on 'Mozart 1770 - Facts and Fictions'.

Thank You



Thanks again but , to return the compliment, I must first understand what your own contribution has been in any of the threads you initiated in this forum.

But I can't.

You see, eversince 2004 or earlier, Mozart's fakery was made public: http://www.mozartforum.com/VB_forum/showthread.php?t=170 (By Dennis Pajot and another musicologist).

[yanni]

Quite:

NOT BY MOZART!!!

K17-Symphony in Bb
Composer: Probably Leopold Mozart (1719 --1787)
Remarks: Andre assigned to 1760's; Köchel placed during London trip of 1764-65 but expressed reservations on authenticity. St.Foix stated because of "archaic and forced character" perhaps a composition of Leopold copied out by Wolfgang. That idea rejected by K3 and K6. However recently Cliff Eisen shows on documentary grounds it is probably by Leopold Mozart.
Other K Nrs: K3 = Anh.223a; K6 = Anh.C11.02
Recordings: MCA Classics (MCAD2-9808), Philharmonic Symphony Orchestra of London--Erich Leinsdorf conductor
Naxos (8.55087), Northern Chamber Orchestra-Nicholas Ward conductor.

K18-Symphony in Eb
Composer: Karl Friedrich Abel (1723 -- 1787)
Remarks: Mozart copied out Abel's symphony Op.7/6 probably in 1764 during his London stay, replacing Oboes with Clarinets.
Other K Nrs.: K3 = Anh.109i; K6 = Anh.A51
Recordings: MCA Classics (MCAD2-9808), Philharmonic Symphony Orchestra of London-Erich Leinsdorf conductor
Naxos (8.55087), Northern Chamber Orchestra-Nicholas Ward conductor.

K44- Antiphon "Cibavit eos"
Composer: Johann Stadlmayr (ca.1575 --1648)
Remarks: Mozart copied first and part of third section of the Intoitus to the Corpus Christi Fest from "Musica super cantum gregorianum" of Stadlmayr, most likely in Salzburg 1768/69.
Other K.Nrs: K3/K6 = K73u
Recordings: Philips Complete Edition v.20


K46-String Quintet in Bb
Composer: Unknown arranger
Remarks: Arrangement of movements 1,2,3,7 from "Gran Partitta" K361. Copy headed by Aloys Fuchs "for 2 Violins, 2 Violas, Cello, composed by Wolfgang Amadeus Mozart in Salzburg on January 25, 1768". Later arrangement of K361.
Other K.Nrs.: K6 = Anh B to 361/370a
Recordings: Westminister LP, Barylli Quartet with Wilhelm Hubner.


K52-Song "Daphne, deine Rosenwangen"
Composer: (arranger) Leopold Mozart (1719 --1787)
Remarks: Transcription of the Aria Nr.11 "Meiner Liebsten schone Wangen" from Bastien und Bastienne" as Piano Lieder.
Other K.Nrs: K3/K6 = 46c
Recordings: None


K55-60-Sonatas for Piano and Violin in F, C, F, Eb, c, e
Composer: Unknown
Remarks: Constanze Mozart sent manuscripts of Sonatas to B & H, published in 1803. Wyzewa/St.Foix thought them composed between November 1772 to March 1773 in Mozart's "Great Romantic Crisis". Einstein doubted authenticity, believed them composed by Joseph Schuster, later this shown to be wrong. Wolfgang Plath showed they had nothing to do with Mozart.
Other K.Nrs.: K3 = Anh 209d-209h; K6 = Anh. C23.01- 23.06
Recordings: Solstice (SOCD 44) Philip Bride-violin, Desire N'Kaoua-piano
MDG (620 0804-2) Anton Steck-violin, Robert Hill-piano.


K61: Sonata for Piano and Violin in A
Composer: Herman Freidrich Raupach (1728 -- 1778)
Remarks: Published in B & H 1804 Öeuvres Complettes; had been in Baron Taddaus von Dürnitz collection, mistakenly thought to be by Mozart.
Other K.Nrs.: K3 = Anh.290a; K6 = Anh. C23.07
Recordings: None


K64: Menuet for Orchestra in D
Composer: Leopold Mozart (1719 --1787)
Remarks: From the manuscript in Leopold's hand (thought to be Wolfgang autograph by André) it appears writer and composer one and the same.
Other K.Nrs: None
Recordings: None


K91- Kyrie in D
Composer: Georg Reutter (1708 - 1772)
Remarks: Mozart'ss copy for 4 voices, Violins and Organ of fugal ending of Kyrie from Reutter Mass (Hofer Nr. 80). Copy not completed by Mozart, but by Maximilian Stadler. Mozart's copy appears to date from Dec. 1787 to Feb. 1789.
Other K. Nrs: K3/6 = 186i
Recordings: Philips Complete Mozart Edition v.20


K92-Salve Regina
Composer: Possibly Leopold Mozart?
Remarks: Music the same as Benedictus from Mass in C K.Anh C1.20; music given text of Salve Regina by unknown arranger. Mass C1.20 originally attributed to Wolfgang, then Leopold. Recently found sources attribute to Franz Brixi.
Other K. Nrs: K3 = Anh 186c; K6 = Anh C3.01
Recordings: Guild (GMCD 7231), Georgian Chamber Orchestra Ingolstadt, Franz Hauk conducting.


K93-Pslam "De profundis" in c-minor
Composer: Carl Georg Reutter (1708 - 1772)
Remarks: Mozart's continuo reduction with voice of De profundis by Reutter for 4 voices, 2 Violins, Bass, Organ. Paper used dates from Mozart's later years.
Other K. Nrs: K6 = Anh.A 22
Recordings: Abbey (LPB 773-LP), Sinfonia of St. Bartholomew
Vox (CDX 5055), Chorus & Orchestra of the Vienna Volksoper


K98-Symphony in F
Composer: Unknown
Remarks: Known only to K1 in 2-piano arrangement, vouched for by Aloys Fuchs; published for orchestra by AMA. Since Abert thought doubtful on stylistic grounds. A copy in Weyern attributed to "signore Haydn". However Franz Joseph and Michael Haydn scholars declare not by either.
Other K. Nrs: K3 = Anh.223b, K6 = Anh. C11.04
Recordings: None


K104-Six Menuets for Orchestra
Composer: Michael Haydn (1737 --1806)
Remarks: Actually copies of 3 dances from MH deest, 2 from MH 135 and one from MH 136. Apparently composition exercise. Mozart modified wind parts, adding or omitting instruments.
Other K.Nrs: K3/6 = 61e
Recordings: Philips Complete Mozart Edition v.6


K105-Six Menuets for Orchestra
Composer: Michael Haydn (1737 --1806)
Remarks: Actually copies of 6 dances from MH deest (different than MH deest used in K104) copied out by Mozart; possibly copied by Nannerl Mozart and Johann Baptist Schiedenhofen with additions by Wolfgang.
Other K.Nrs: K3/6 = 61f
Recordings: Philips Complete Mozart Edition v.6


K106-Overture and 3 Contredances
Composer: Unknown
Remarks: Originally thought to be composed in 1770, Wyzewa/St.Foix changed dating to 1790 and K3 followed. Believed spurious on stylistic grounds.
Other K.Nrs: K3/6 = 588a
Recordings: Philips Complete Mozart Edition v.6
Preludio (PHC3142) Paul Angerer and his Soloists


K115-Missa brevis in C
Composer: Leopold Mozart (1719 --1787)
Remarks: Manuscript for Voices and Organ complete in Kyrie, Gloria, Credo, breaks off in 9th measure of Sanctus. Originally thought to be Mozart autograph and dated beginning of 1770s. Later moved to late summer 1773 Vienna, then by Einstein to early summer 1773 in Salzburg. In 1970s found to be voice/continuo reduction of Leopold Mozart Mass in C (Sieffert IX/2) from 1764. Autograph lost but probably by Leopold Mozart.
Other K. Nrs: K3/6 = 166d
Recordings: Balkanton (10264--LP) Bulgarian a cappella choir; Georgi Robev,
Melodya (33C01256-60 --LP), A. Opnos;
Koch Schwann (313028) Roland Bader conducting Berlin DomkapelleÑ (Complete Leopold Mozart Missa Solemnis)


K116-Missa brevis in F
Composer: Leopold Mozart (1719 --1787)
Remarks: K1 believed fragment belonged in 1771 from character of writing similarities to K115. Einstein doubted manuscript Wolfgang's autograph, but thought Leopold Mozart's. Also questioned if work was W.A. Mozart's but kept it in main section of K3, moved to early summer 1771, stating it was the fruit of the contrapuntal studies of Eberlin and Michael Haydn music. Plath brought K116/90a and other fragment/sketchs thought to be by W.A. Mozart together to show all formed a Mass in F of Leopold Mozart. These K6 numbers are:
Kyrie = {K90a}; 34 measures
Gloria {"Et in terra" = K.Anh A18}
Gloria {"Quoniam" = K417B} = Total Gloria 136 measures
Gloria {"Cum Sancto" = K.Anh A19}
Credo {"Patrem omni" = K90a} 10 measures.
As André in his Manuscript Catalogue noted Mass complete to the words "sadet ad decorum patris" (i.e. "Sedet ad dexteram Patris"), large part of Credo still missing.
Other K.Nrs: K3/6 = 90a
Recordings: None


K122-Menuet in Eb
Composer: Possibly Joseph Starzer (1726 -- 1787) or Florian Deller (1729 - 1787)
Remarks: In Mozart's hand, written out and sent to Salzburg in a letter from Italy. Once thought to be "Pick" Menuet from letter of March 27/28, 1770. However recently this disputed.
Other K. Nrs: K3/6 = 73t
Recordings: Philips Complete Mozart Edition v.6
Preludio (PHC3142) Paul Angerer and his Soloists


K140-Missa brevis in G
Composer: Mozart?, Matthias Kracher? (1752 - ?)
Remarks: Otto Jahn doubted authenticity on stylistic grounds. K1 included Mass as it was vouched for by both Andre and Fuchs; however after being informed of a copy attributing Mass to F.X.Süssmayr, Köchel marked for removal and it was excluded from K2 to K6. However in 1959 set of parts found in Augsburg by Salzburg copyist with entries by W.A. Mozart and Leopold Mozart. Believed by NMA to be authentic Mozart. Some music in Gloria, Credo and Santus identical to numbers in Ballet music to Le gelosie del serraglio and to Ascanio in Alba leading Wolfgang Plath to question if it may be a "parody" Mass. Neal Zaslaw believes could be attributed to Matthias Kracher.
Other K. Nrs: K3 = Anh 235d; K6 = Anh C1.12
Recordings: EMI (764023-2) Collegium Cartusianum- Peter Neumann
Philips (422264-2) Rundfunk-Sinf. Orchestra Leipzig-Hebert Kegel
Teldec (3984-23569-2) Concentus musicus Wien-Nikolaus Harnoncourt
Musica Bavarica (MB75110) Convivium Musicum Munich-Schmidt-Gaden (Version with 2 Horns)
Philips Complete Mozart Edition v.19


K142-Tantum ego
Composer: Johann Zach (1699 - 1773)
Remarks: Possibly Mozart's copy of Tantum ego of Zach, slightly reinstrumented by Mozart, and an "Amen" added.
Other K Nrs: K3 = Anh 186d; K6 = Anh C3.04
Recordings: Philips Complete Mozart Edition v.45
Teldec (4509-98928-2), Concentus musicus Wien, Nikolaus Harnoncourt conducting.


K149-Song "Die grossmutige Gelassenheit"
K150-Song "Geheime Liebe"
Composer: Leopold Mozart (1719 --1787); (Words by J. C. Gunther)
Remarks: Originally described by Jahn (along with K151) as "simple lieder with clavier accompaniments that belong to the earlier Salzburg era" and as "pedantic" The autographs in the Linz and Budapest libraries are in Leopold Mozart's handwriting and K6 places them as composed in Salzburg 1772. Alfred Einstein however questioned whether they were Wolfgang's work or not. Ernst August Ballin identified them almost 40 years ago as being Leopold'ss, as the surviving manuscripts are in his hand, and no evidence exists anywhere to show that they were copies of a work by Wolfgang.
Other K.Nrs: K3/6 = 125d (K149); K3/6 = K125e (K150)
Recordings: Elly Ameling-Phlips Complete Mozart Edition v.24


K151-Song "Die Zufriedenheit im niedrigen Stande"
Composer: Leopold Mozart (1719 -- 1787); (Words by F. R. L. von Canitz)
Remarks: The same as stated for K149-150. Leopold's autograph is in the Linz library. However, the melody here in K151 reminds some of the vaudeville finale to Die Entführung.
Other K.Nrs: K3/6 = 125f
Recordings: Elly Ameling- Philips Complete Mozart Edition v.24


K152-Canzonetta "Ridente la calma"
Composer: Josef Myslivecek (1737 -- 1781); (Words ?)
Remarks: First printed in B & H "OEvrues Complettes" (1799) in piano reduction with German text "Der des Friedens" of Daniel Jäger. The piano reduction may be by Mozart; no autograph exists. K1 placed it in 1772; K3 switched to 1775, citing its buffo similiarities to K209 and K210. Wyzewa/St.Foix (and later Flothuis) showed this is a piano arrangement of Soprano Aria "Il mio caro bene attendo sospiro" of Myslivecek, probably from 1773-74. However, K6 also states that Bernard Paumgartner placed this song in connection with an aria by Cimarosa entitled "Bel nume che adoro", most likely as a piano arrangement. Thus, we may have a Mozart copy of a borrowing by Myslivecek of an original by Cimarosa.
Other K.Nrs: K3/6 = 210a
Recordings: Preludio (2152)--Luigi Alva
Arkadia (138.1)--Ernesto Palacio
Arion (68161) --Ana Maria Miranda
Musicales Actes Sud (210002)--Ensembles Vocaus
EMI (763702-2)--Elisabeth Schwarzkopf
Capriccio (10098) Mitsuko Shirai
Etcetera (KTC1035) Roberta Alexander
Philips Complete Mozart Edition v.24 Elly Ameling

K177-Offertorium sub exposito venerabili
K342-Chorus "Benedicite, angeli"
Composer: Leopold Mozart (1719 -- 1787)
Remarks: K1 only knew Soprano/Tenor Duet "Ut cervus per juga" (K177), attributed to W.A. Mozart from inscription on set of parts in Munich. Dated this 1773 according to its musical style. Chorus "Benedicite, Angeli" known in published set of parts. Dated by K1 1780 from the character of the composition. AMA (1877) combined two pieces into one after discovery of full score in Munich estate; thus K342 eliminated in K2. Copies in Ottobeuren and Salzburg later found attributed to Leopold Mozart.
Other K.Nrs: K3 = Anh 240a and Anh 240b; K6 = Anh C3.09
Recordings: Haydn Society (AS-34--LP) Felix Raugel conducting L'Anthologie Sonore (K342 only)


K187-Divertimento for 2 Flutes, 5 Trumpets, 4 Timpani in C
Composer: Christoph Willibald Gluck (1714 - 1787) and Joseph Starzer (1726 - 1787)
Remarks: Of the 9 known pieces in this Divertimento (#6 is lost), 4 are arrangements from Gluck opera and 5 from Joseph Starzer suite. Handwriting of 8 pieces by Leopold Mozart, one (#8) in Wolfgang's hand (K6=K626b/28).
Other K. Nrs: K3 = 159c, K6 = Anh. C17.12 and K626b/28
Recordings: Nimbus (NI 5121) John Wallace Collection (Only Nrs 1-5, 7,9,10)


K197-Tantum ergo
Composer: Unknown
Remarks: Believed doubtful on stylistic and handing down criteria, but Münster (1965) believes likely authentic.
Other K. Nrs: K3 = Anh 186e; K6 = Anh. C 3.05
Recordings: Philips Complete Mozart Edition v.45
Centaur (CRC 2074) Choir and Orchestra of Cathedral of St. Thomas More, conductor Haig Mardirosian.


K198-Offertorium "Sub tuum praesidium"
Composer: Unknown
Remarks: First known in version for Soprano/Tenor, dated 1774. Later version for 2 Sopranos found. Doubt formed in 1932 when Offertory by Michael Haydn found with same beginning measures. K3 moved back to Milan 1773, believing for Tenor /Castrato there. In 1950s believed Mozart wrote his Offertorium after hearing Michael Haydn piece, redated work 1774 or later and believed 2 Soprano version authentic. K6 placed in Anh C, citing its similarity to M. Hadyn composition from opera Pietas in Hostem from 1767, which is same music as offertory listed above.
Other K.Nrs: K3 = K158b; K6 = Anh C3.08
Recordings: Naxos (8.550495) Johannes Wildner conducting Camerata Cassovia (Version for Soprano and Tenor )
Philips Complete Mozart v.20 , Herber Kegel (Version for 2 Sopranos)


K221-Kyrie in C
Composer: Ernst Eberlin (1702- 1762)
Remarks: Leopold Mozart's copy of Kyrie from Eberlin's Requiem in C-major.
Other K. Nrs: K3 = 93b; K6 = Anh. A 1
Recordings: None


K226-Canon "O Schwestern traut dem Amor nicht"
Composer: Unknown
Remarks: Tune found in Athanasius Kircher's "Musurgia" of 1650. Text provided by B & H for "Oeuvres Complettes" of 1804.
Other K.Nrs: K3 = Anh 289d; K6 = Anh C10.02
Recordings: None


K227 Canon "O wunderschon ist Gottes Erde"
Composer: ??William Byrd (1543 - 1623)
Remarks: The earliest known source of the music is a manuscript book copied out around 1620 to 1625 in England, where it has no words and no author indication. The Canon was printed in 1651 with the text "Non nobis, Domine, non nobis" in John Playford's Musical Banquet and again in 1652 in John Hilton's Catch that catch can, both times anonymous. In 1715 in a manuscript attributed to Thomas Morley appeared. First attributed to Byrd in John Christopher Pepusch's Treatise in Harmony in 1730 and again by Matthesen in Hamburg in 1739, and has mostly continued to be attributed to Byrd since. However it is not included in the latest edition of that composer's complete works (1974). Mozart's lost autograph (if actually an autograph) had been provided with text by B & H for 1804 "Oeuvres Complettes".
Other K.Krs: K2 = Anh 284b; K3 = Anh 109xii; K6 = Anh A31
Recordings: None


K233-Canon "Leck mir den Arsch"/"Nichts labt mich mehr"
Composer-Wenzel Johann Trnka (1739 - 1791)
Remarks: Appeared first in printing for 3 Voices by Trnka with Italian text "Tu se gelosa, e vero". B & H had changed "improper" text they believed originated from Mozart.
Other K.Nrs: K3/6 = 382d
Recordings: Philips Complete Mozart Edition v.23 as "Nichts labt mich mehr"
Tall Poppies (TP009) "Mozart Unexpurgated"--in English


K234-Canon "Bei der Hitz im Sommer"/"Essen, Trinken"
Composer-Wenzel Johann Trnka (1739 - 1791)
Remarks: Appeared first in printing for 3 Voices by Trnka with Italian text: "So che vanti un cor ingrato". B & H had changed "improper" text they believed originated from Mozart.
Other K.Nrs: K3/6 = K382e
Recordings: Philips Complete Mozart Edition v.23--"Essen, Trinken"
Seraphim (60050 -LP) "Comic Mozart" -- "Essen, Trinken"
Tall Poppies (TP0009) "Mozart Unexpurgated" in English


K235 Canon for Piano
Composer-Carl Philipp Emanuel Bach (1714 - 1788)
Remarks: Canon appears in unresolved form in J.P. Kirnberger's Die Kunst des reinen Satzes in der Musik attributed to C.P.E. Bach, as well as volume of Canons by J.G. Albrechtsberger. In this resolved form by Mozart?.
Other K. Nrs: K2/3 = Anh 284e; K6 = Anh C10.17
Recordings: None


K268-Violin Concerto in Eb
Composer: Probably Johann Friedrich Eck (1766 - 1809)
Remarks: First published in 1799. K1 dated it 1776, K3 thought 1780, K6 placed it in doubtful and spurious works. One theory has it as an incomplete draft started by Mozart that Eck completed, himself supplying the entire second movement. Thematic materials in the concerto appear to relate it to some of Mozart's works from 1779, and Eck first met Mozart in 1780.
Other K Nrs: K3 = 365b; K6 = Anh. C14.04
Recordings: Ess.a.y (1071) Vol. 2 Mozart: The Violin Concertos, Mela Tenenbaum soloist, Czech Philharmonic Chamber Orchestra -- Richard Kapp Conductor
Denon (33CO-1331): Violin Concertos Nr.6 & 7; Jean-Jacques Kantorow soloist, Leopold Hager conducting Netherlands CO


K289-Divertimento for 6 Winds
Composer: ?Mozart?
Remarks: Due to numerous stylistic deviations from Mozart, in addition to qualitative deficiencies, Uri Toeplitz doubts authenticity.
Other K. Nrs: K3/6 = 271g
Recordings: Accent (8856) Octophoros
London (STS15377--LP)--Jack Brymer
EMI (290994-3--LP)--Consortium Classicum
Philips Complete Mozart Edition v.5


K291-Symphony (fuge) in D
Composer: Michael Haydn (1737 - 1806)
Remarks: Actually the last movement of a symphony by Haydn composed in 1781 with an opening Adagio added by Simon Sechter later. Mozart's autograph contains 45 measures of Haydn's work. The remaining 251 measures were not copied out. A version using the Adagio opening was completed by Sechter in 4-hand piano arrangement. The paper used by Mozart dates from 1783, so it is very likely that he saw Haydn's original when they met in Salzburg in 1783 and made his copy at that time.
Other K Nrs: K6 = Anh. A52
Recordings: Vox Cum Laude CD (MCD 10025) listed as Michael Haydn Symphony No. 23, Bournemouth Sinfonietta -- Harold Farberman conducting


K292-Sonata for Bassoon and Cello in Bb
Composer: ?Mozart?
Remarks: Usually thought to have been composed for amateur Bassoonist Baron Thaddaus von Dürnitz. Due to poor compositional working, Uri Toeplitz believed is a work of a Mozart contemporary, or a Mozart imitation. Dietrich Berke (NMA-1974) expresses no doubts on stylicist grounds but first believed Sonata for Bassoon and Cello was "publisher's choice" and possibly originally for 2 Bassoons. More recently he believes it could not be for 2 instruments but further parts missing--possibly a keyboard. Also he believes possible it is solo part and cello line for a Concerto.
Other K. Nrs: K3/6 = 196c
Recordings: Philips Complete Mozart Edition v.10
MHS (703--LP) Hermann Stiedel & Josef Luitz


K324-Hymn "Salus infirmorum"
Composer : Unknown
Remarks: Köchel (following Jahn) believed a movement of a Litany BMV (as well as K325). Einstein placed in the Anhang believing copies of a-cappella compositions of 17th Century or beginning of 18th century with Basso continuo added. Later Karl Fellerer believed probably copy of Quirino Gasparini work, as K327 turned out to be.
Other K. Nrs: K3 = Anh.186a; K6 = K. Anh C3.02
Recordings: None


K325-Hymn "Sancta Maria"
Composer: Unknown
Remarks: See K324
Other K. Nrs: K3 = 186b; K6 = K.Anh C3.03
Recordings: None


K326-Hymn "Justum deduxit Dominus", "O sancte", "fac nos captare" in C
Composer: Ernst Eberlin (1702 - 1762)
Remarks: Study copy for 4-voices and Organ in Leopold Mozart's hand of an Offertorium by Eberlin, originally for 4 Voices, 2 Violins, Viola, 2 Horns 3 Trombones, Organ. Here is omitted Soprano Aria that is 2nd section of Offertorium.
Other K. Nrs: K3 = 93d; K6 = Anh. A 4
Recordings: Abbey (LPB-773-LP), Sinfonia of St. Bartholomew


K327-Hymn "Adoramus te" in c-minor
Composer: Quirino Gasparini (1725 - 1778)
Remarks: Leopold Mozart's copy of Gasparini's motett.
Other K. Nrs: K3 = Anh 109iii; K6 = Anh A10
Recordings: Abbey (LPB 773-LP), Sinfonia of St. Bartholomew


K340-Kyrie
Composer: Unknown
Remarks: Manuscript thought to have once been in André's possession, believed by Köchel to be autograph, but Einstein believed probably a copy. Köchel though opening to a Litanie, Einstein believed a-cappella composition of the 17th Century. Music never known.
Other K: K3 = Anh. 186f; K6 = Anh C 3.06
Recordings: None


K342-Offertorium "Benedicite angeli"
See above K177.


K350-Song "Schlafe mein Prinzchen"
Composer: Bernard Flies (1750 - ca. 1803)
Remarks: The Cradlesong was once attributed to Mozart and issued under his name many times, including the Complete Mozart Edition of Mozart's works in the 1880's (AMA). The song was originally listed twice in Nissen's Mozart biography: issued in the supplement as complete, but is also cited in the Anhang section under Mozart's fragments. Nissen wrote of the song "It is entirely Mozartish, naive, original and playful. It is here added as supplement." However from a diary entry of Constanze Mozart/Nissen of September 27, 1828, it appears she had doubts on the song. Text used (by Johann Friedrich Wilhelm Gotter in his play Esther) written in 1789, but not published until 1795. In 1896 it was shown song to be a work of Bernhard Flies, to whom numerous copies and printings are attributed. However an earlier setting of the song by Johann Friedrich Anton Fleischmann (1766 - 1798)--possibly for the 1789 performance of the play--appears to have heavily influenced Flies. Ernst August Ballin concluded Mozart's authenticity was "doubtful in the highest degree", but left the door open that the fragment cited in the Nissen biography could have come from Mozart.
Other K.Nrs: K3 = Anh 284f; K6 = Anh C8.48
Recordings: Intercord (120.898--LP)- Ilse Hollweg


K351-Song "Komm, libe Zither"
Composer: ?Mozart?
Remarks: Constanze only refers to one Lied with Mandolin in her correspondence with B & H. No autograph ever known. Ballin doubted authenticity on musical grounds: believes possible melody originated from Mozart and another completed accompaniment.
Other K.Nrs: K3/6 = K367b
Recordings: Musciales Actes Sud (210002) Ensembles Vocaus (with Mandolin)
Philips Complete Mozart v.24--Elly Ameling (with Mandolin)
Capriccio (10098) Mitsuko Shirai (with Piano)
Eurodisc (69170-2) "Mozart and His Time" (Arranged for Chorus)
Tall Popplies (TP009) "Mozart Unexpurgated" (in English with Mandolin)


K444-Symphony in G #37
Composer: Michael Haydn (1737 - 1806)
Remarks: Copy of symphony by Michael Haydn partly in Mozart's hand, found in his papers after his death. Originally composed by Haydn in 1783; probably copied by Mozart when he was in Salzburg that year visiting his family, or shortly thereafter back in Vienna. Not an exact copy, as Mozart added a slow introduction and modified slightly some of the part writing.
Other K Nrs: 425a = K3/K6; as well K6 = Anh A53
Recordings: Complete Mozart Edition v 2
Naxos (8.550875) Northern Chamber Orch.--Nicholas Ward
L'Oiseau Lyre (421135-2)--Vol. 7 Mozart Symphonies, Academy of Ancient Music--Christopher Hogwood


K510-Nine Contredances for Orchestra
Composer: Unknown
Remarks: Originally thought to be connected to Mozart by an anecdote that he wrote out these Contredances in one hour for a Count in Prague. Köchel thought a Mozart autograph existed, but later found not to be. Headings and spellings not in Mozart manner. Music very un-Mozartian, even unskilled in parts.
Other K. Nrs: K3 = Anh 293b; K6 = Anh C13.02
Recordings: Supraphon (8023) Prague CO conductor Libor Hlavacek (Nrs. 1-4, 6-7).


K514-Rondo for Horn and Orchestra
Composer: Franz Xavier Süssmayr (1766 - 1803)
Remarks: Completion by Süssmayr of incomplete draft of a Rondo started by Mozart. Dated "Good Friday 6 April 1792" though originally the date was read as "1797." Süssmayr modified many sections and added more bars of material in his completion. Has been the standard version of the work for about 200 years; Mozart's original version has now had completions made and been recorded.
Other K Nrs: 386b = K6, (Also paired with K412 to make Horn Concerto #1)
Recordings: Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr's versions)
LaserLight (15874) Sebastian Weigle soloist (uses both versions)
DG (423277-2) David Jolley soloist
CBS (MK42324) Dale Clevenger soloist .

Gary Smith and Dennis Pajot



Yanni doesn't read things very well. Dennis Pajot was writing about the first work attributed to Mozart - KV1. I am writing about KV 1 to KV626 inclusive (and works which were part of that list but are no more). A huge, even colossal difference. But yes, start reading about KV1. Everyone already knows about that.

This thread is on 'Mozart 1770 - Facts and Fictions'.

Thank You

[Musicology]

Yanni,

These are already known to everyone who has studied Mozart. They are not news. They are already known/acknowledged in every list of Mozart's works ever published in recent years. They are a disaster, for sure. But there are dozens, even hundreds of musical works which are still (falsely) attributed to W.A. Mozart. Why don't you read about this subject before you post here ? Ask the members of Mozart Forum or any editor of a book on Mozart.

What you have posted is not new. Every student of Mozart already knows what you have posted. But it is a small fraction. The vast majority of works are still (falsely) attributed to Mozart. This is what you (and others) obviously do not know.

Which part of this message do you still not understand ?

This particular thread is on the year 1770. When Mozart was 14 years old. Anything you have to say on this particular part of his career will be appreciated.

[yanni]

I already said what I don't 'understand':

Your own contribution to all threads on Mozart initiated by you in this forum, including the Mozarts in Italy, 1770!



Yanni,

These are already known to everyone who has studied Mozart. They are not news. They are known in every list of Mozart's works. They are a disaster, for sure. But there are dozens, even hundreds of works which are still (falsely) attributed to Mozart. Why don't you read about this subject before you post here ? Ask the members of Mozart Forum or any editor of a book on Mozart.

What you have posted is not new. Every student of Mozart already knows what you have posted. But it is a small fraction. The vast majority of works are still (falsely) attributed to Mozart. This is what you (and others) obviously do not know.

Which part of this message do you still not understand ?

This particular thread is on the year 1770. When Mozart was 14 years old.

[Musicology]

Yanni,

This thread is on 'Mozart, 1770, Facts and Fictions'. Please tell us when you have read the PDF. And if you have anything to contribute to it, please do so.

I am so glad you understand this.

Just in case you forget (again) this thread is dealing with -

'Mozart, 1770, Facts and Fictions'. Which means (as its title suggests) it is dealing with Mozart in the year 1770.

Thank You. We look forward to anything you may offer on this subject.

In the meantime -

BWV 131/1
Chorus

http://www.youtube.com/watch?v=vvpOD0eE5UE&feature=related


I already said what I don't 'understand':

Your own contribution to all threads on Mozart initiated by you in this forum, including the Mozarts in Italy, 1770!

[yanni]

What I was invited to read in this thread was Bianchini's study on Mozart being 'assisted' to pass his Bologna exams in 1770.

Having long concluded that Mozart, much like many other music masters of the 18th, was as well manufactured by 'youknowho', I declined, waiting to see what more info there is on your subject, besides Bianchini's.

In vain!

So I decided to raise the 1770 subject in my http://www.online-literature.com/forums/showthread.php?t=54106 where it belongs.

Ta-ta!




Yanni,

This thread is on 'Mozart, 1770, Facts and Fictions'. Please tell us when you have read the PDF. And if you have anything to contribute to it, please do so.

I am so glad you understand this.

Just in case you forget (again) this thread is dealing with -

'Mozart, 1770, Facts and Fictions'. Which means (as its title suggests) it is dealing with Mozart in the year 1770.

Thank You. We look forward to anything you may offer on this subject.

In the meantime -

BWV 131/1
Chorus

http://www.youtube.com/watch?v=vvpOD0eE5UE&feature=related

[JCamilo]

Ok, ok. There can be only one. If Yanni got there first, Musicology must find another conspiracy theory for him.

[Mutatis-Mutandis]

Yes, Robert did create Lellyvigni

Hmmmmm. So, you claim he did create Lellyvigni, but Musicology claims he hasn't:


Lellyvigni is a different poster from myself.

I suspect even yanni is the same poster as Musicology and Lellyvigni. Very similar writing styles, and they seem to be the only posters who place quoted text at the end of the post.

It's like sitcom episodes where the man attempts to juggle more than one girlfriend and inevitably trips up.



You can read, can't you ?

And there's one of those pejoratives :nod:.

All this put together tends to makes me not even consider any of what you "three" have to say is in any way valid.

[lellyvigni]

'he alone imagines to be fiction', huh?

For the nth time time, StLuke, you tend to 'overlook' my posts in this forum, propably because they don't fit your own dream world.

Yes, Robert did create Lellyvigni to promote his late italian friend's conclusion that "Mozart faked his 1770 exams", and yes, Bianchini's conclusion IS CORRECT, and yes, MOZART WAS INDEED MANUFACTURED, as Robert claims, but this fact is just a drop in the ocean of lies under which your Atlantis is buried.

Non so chi sia Robert. Adesso mi avete proprio scocciato. Sono italiana e mi chiamo Maria. Scrivo in questo forum unicamente perché amo la musica, Ma voi siete un branco di coglioni.

Maria

[Emil Miller]

Ma voi siete un branco di coglioni.

Maria

Not very nice language from a lady.

[lellyvigni]

Not very nice language from a lady.

Ciao Brian,
Bravo! Mi fa piacere che tu conosca l'italiano.
Finalmente ti sei accorto che sono una Lady.:)

Il termine che ho usato lo ritrovi anche nelle lettere di Leopardi, che è uno dei più grandi poeti italiani. È anche nei Canoni di Mozart.

E adesso bando alle ciancie e parliamo di musica!

Maria

[Musicology]

Goodness ! If Mozart 1770 cannot be answered by those who 'know' musical history on 1770 we can move on to 1771 and the music of that year.

Remember - 'Everything you've heard is true' (Trailer to the film 'Amadeus')

Parliamo Italiano ?

[Scheherazade]

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This is an English-only Forum.

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