The Works Of W. A. Mozart For The Basset - UF Music Education E ...

THE WORKS OF W. A. MOZART FOR THE BASSET HORN:
AN ANNOTATED BIBLIOGRAPHY INCLUDING A CATALOGUE DISCUSSION AND
REVIEW OF MOZART’S WORKS UTILIZING BASSET HORN AND BASSET CLARINET.
Keith Northover
6211-5955
Professor Mitchell Estrin
Honors Research Project
University of Florida, November 30, 2009

As an aspiring clarinetist with a fascination for all types of clarinets or auxiliary clarinets,
it would be imperative to study and research about the clarinet’s history including its close
relative, the basset horn. As a relatively young instrument to the orchestra, the clarinet began its
development around the later part of the 18 th century. Early in its development, instrument
makers would create and experiment with different shapes and sizes. As developers wanted
bigger instruments, the technological inadequacies of the time influenced the designs of the
larger clarinets, then called basset horns. Mozart, an influential and important composer, first
heard clarinets most likely during his stay in London in 1764, in Milan in 1771, and Mannheim
in 1777, but not in Salzburg because there were none in his home city. 1 After hearing and
discovering several virtuosi performing on the clarinet, the basset horn, and basset clarinet,
Mozart became highly motivated and inspired to write numerous works involving these
instruments. This project attempts to discuss and review all of the works that Mozart composed
utilizing the basset horn and the basset clarinet.
First, one must have a discussion on what makes a basset horn. The basset horn is a
clarinet pitched in F, which is a fourth below that of the normal B-flat soprano clarinet. It is not
to be confused with the alto clarinet, which is in E-flat. The basset horn differs by having a
traditionally thinner wall and a narrower bore, which creates a more wistful, dreamy, and sad
sounding instrument. 2 It’s compass is from sounding F on the first space below the bass clef,
written C, to sounding high C, two lines above the treble clef, written high G. Like the earliest
clarinets, it did not have the necessary keys to play all of the notes in its compass, however it was
able to play low C because it was developed to act as a bass clarinet.
1 Martha Kingdom Ward, “Mozart and the Clarinet,” Music and Letters 28, no. 2 (April
1947): 126, http://www.jstor.org/stable/855526 (accessed April 20, 2009).
2 John P. Newhill, The Basset Horn and its Music (Farthings: Rosewood Publications,
2003), 2.
2

In the technologically limited 18 th century, the extra tube required was accommodated by
different methods of construction. Sometimes there was a large wooden bow that turned up on
itself which then reduced the length of the instrument to a manageable size. Other times it was
just a continuous extended tube with some sort of curvature to bring the holes and keys within
reach. 3 In addition to being in F, the very first horns were mostly in G and as a sickle or half
moon form. 4 The name is thought to have derived from its sickle shaped appeared that
resembled a hunting horn with a large brass bell and for the diminutive of “bass”. It therefore
resulted in basset horn, or Bassethorn (Gr), cor de basset (Fr), and corno di basseto (It). It is
interesting to note that the Italian form is linguistically incorrect and may be the result of
translation errors when moving from language to language. 5
The first inventors of the basset horn is thought to be Anton and Michael Mayrhofer since
they are inscribed on along with “Invented and perfected at Passau” on the earliest documented
basset horns around the mid 18 th century. The Mayrhofer’s instrument was sickle shaped with a
normal clarinet mouthpiece at one end and a large brass bell at the other. In order to bring the
holes into a comfortable playing position the tube was curved downwards thus being sickle
shaped. The wood was cut in half, gouged out by hand, then glued and covered in leather. 6 The
bottom brass bell contained a box of wood, in which the tube made two “u” bends thus
elongating the wood called the “box”, or “Büch”, “Kasten”, and “Kätschen”. 7 The box is the
distinctive characteristic of the basset horn that existed well into the 19 th century. In the 1780’s a
famous instrument maker, Theodor Lotz, is credited for improving the basset horn of Mozart’s
3 Jack Brymer. Clarinet (London: Kahn and Averill, 1990), 35-36.
4 Geoffrey F. Rendall, The Clarinet: Some Notes on its History and Construction (New
York: W. Norton, 1971), 126
5 Newhill, Basset Horn, 7.
6 Ibid., 7.
7 Rendall, Clarinet, 127.
3

time. He added more keys to the horn thus allowing for the encompassing for low D, later E-flat,
and D-flat. Lotz also improved the construction method of the instrument by using a lathe,
modifying the tube, straightening it, and then putting an obtuse angle in the middle. This not
only improved the sound, it produced a better and more homogenous sound. 8 Lotz is also
credited with collaboration with Anton Stadler for developing the basset clarinet. This “Bass
Klarinette” 9 as described initially, was a normal soprano clarinet pitched in B-flat or A with a
lower compass to low C, D, later E-flat, and D-flat. As time would progress the basset horn and
basset clarinet constructional techniques would also progress into new straight model and better
sounding modern horns though both horns would decline in use rapidly in the 19 th century.
Basset horns in F with larger bores would reappear with the alto clarinets in military bands, and
in the last century a revival of historically authentic performances of solo and chamber music has
allowed the basset horn to be used, albeit sporadically, today. 10
The basset horn enjoyed a very busy and fulfilling life during the first century of its
inception, though has declined very much as a solo instrument. In the 18 th century the basset
horn spread rapidly throughout Europe probably because of the numerous virtuosi of the likes of
David, Springer, and the Stadler brothers. 11 The basset horn was included not only as a solo
instrument, but it was included in chamber, orchestral, operatic, and Masonic music as well.
Brymer poses an interesting thought where, “One can only wonder at the skills and dexterity of
the players whose mastery of their crude instruments was such that a host of fine composers were
8 Newhill, Basset Horn, 12.
9 Pamela L. Poulin, “Stadler Family” in The Cambridge Mozart Encyclopedia, ed. Cliff
Eisen and Simon P. Keefe (New York: Cambridge University Press, 2007), 490.
10 Newhill, Basset Horn 15
11 Ibid. 12.
4

inspired to write for the instrument”. 12 This thought would be very interesting to research
because despite all the squeaks and squawks, Mozart loved the basset horn. He was able to
prove in his writing that the basset horns’ capacity for speed and agility was just like the clarinet,
and had a distinctively somber reedy tone color. 13
Wolfgang Amadeus Mozart (1756-1791) was one of those composers who was greatly
influenced and inspired by the basset horn, as it is described as his “favorite instrument”. 14 It is
also believed that Mozart was influenced by the Freemasons, when he became one when he
moved to Vienna. There he met fellow freemason and basset horn virtuoso, Anton Stadler,
began to write for him. Mozart joined the Vienna Freemasons in the 1780’s and was initiated in
the Zur Wohltätigkeit (Charity) and moved when it was combined with other Lodges into the Zur
Neugekröten Hoffnung (New Hope Crowned) Lodge. Mozart was deeply influenced by the
Masonic order and teachings. It not only allowed him to write with the universal beliefs in mind,
but also allowed him the freedom, recognition, and dignity that Salzburg had neglected and
denied him. 15
At the Lodges it is most likely that Mozart met Anton Stadler. Stadler was born in
Bruck-on-Leitha on June 28 th , 1753 and died Jun 15, 1812. He is considered one of the best and
most influential clarinetists of his time. After receiving musical instruction from their father, the
Anton and his brother grew up to become musicians for numerous courts and composers and
their first employment opportunity was as musical servants in the 1770’s to the Viennese Russian
12
Brymer Clarinet 36
13
Ward, “Mozart and the Clarinet”, 130.
14
Ibid., 36.
15
Jacques Henry, Mozart the Freemason: The Masonic Influence on his Musical Genius,
Trans. Jack Cain, (Rochester, Vermont: Inner Traditions, 2006), 5-6.
5

Ambassador. 16 It is most likely that Mozart met Anton Stadler through their mutual patrons
Joseph Starzer, Count Galitzin, or more likely their patroness the Countess Wilhemina Thun
after Mozart’s arrival in Vienna in 1781 where both were frequent luncheon guests. 17 Mozart
would write numerous pieces for Stadler most famously including the clarinet Quintet and
Concerto. Mozart and Stadler’s relationship was more than composer and performer, and they
developed into a very meaningful personal relationship over the years. 18 This friendship and
shared sense of humor is shown in Mozart’s letters by referring to Stadler as “Notschibinitschibi”
a combination of the words “poor booby” and “young man of follies”. 19 Mozart truly recognized
Stadler as a great artist, who could give him the desired sounds and timbres that were truly
divine. Stadler’s playing would foreshadow what future performers could do on more
manageable instruments. 20
Mozart was probably also influenced by other clarinet and basset horn virtuosi. Along
with Anton Stadler his brother Johann Stadler (1755-1804), was also a competent clarinetist and
basset hornist who performed and inspired Mozart. 21 Mozart was also most likely influenced by
the duo Anton David (1730-1796) 22 and Vincent Springer (1760-?). 23 David and Springer toured
Europe on the basset horn, performing city to city with their sickle shaped basset horns in G.
They were even given a benefit concert by Mozart and Anton Stadler in the Lodge to help send
them home, where the Masonic Adagios K. 410, and K. 411are thought to have been performed.
16
Pamela Weston, Clarinet Virtuosi of the Past, (London: Panda Group, 1977), 247.
17
Pamela L. Poulin, “A Little Known Letter of Anton Stadler,” Music and Letters 69 no.
1, (January 1988): 55, http://www.jstor.org/stable/855465 (accessed August 12, 2009).
18
Colin Lawson, Mozart: Clarinet Concerto, (New York: Cambridge University Press,
1996), 17.
19
Ibid.,. 19.
20
Ward, “Mozart and the Clarinet”, 128.
21
Weston, More Clarinet Virtuosi, 246-248.
22 Ibid., 81.
23 Ibid., 244-245
6

The basset hornist Franz Dworschack (?-1800 or later), is most likely to have performed with
Springer. 24 He is also thought to have also performed on the larger Mozart works containing
multiple clarinets and basset horns. The instrument maker Raymund Griesbacher (1752-1812)
also could also been an influence on Mozart and performed on the larger works 25 , as well as the
more famous instrument maker Theodor Lotz (1748-1792). Lotz performed on basset horn and
contrabassoon on some works by Mozart, was a fellow freemason and most importantly
developed and improved the basset horn, while creating the basset clarinet. 26 It is unknown who
was the most influential virtuoso, (probably Anton Stadler), but one can rest assured that Mozart
created numerous great works in the span of several years incorporating the basset horn in all
genres of music.
In Mozart’s music, freemasonry images and beliefs come out in many of his works that
contain basset horn or basset clarinet. Masonry beliefs were integrated by Mozart very well and
can be seen in numerous works including official and unofficial Masonic works. The threefold
element displayed by the use of three flats or sharps, with major and minor three note chords
represent symbols of ideal harmony. Numerous dotted rhythms reflect the symbol of time that
includes marches that are always slow and processional in nature. The space built into the music
represents the visual elements of space in the Lodge and practices of some rituals. Mozart
composed his music to reflect the ideas of transitioning from the “un-built to the unformed
rigor”, from “raw stone to the cube of stone”, and from “chaos to order”. He also used different
motives to signal the Masonic knocking and rising melodic shapes or rising stairs. 27
24 Ibid., 92.
25 Ibid., 117.
26 Ibid., 165.
27 Henry, Mozart the Freemason, 25.
7

Mozart composed about thirty-one pieces of music that included the basset horn or basset
clarinet. In the following section, each work where Mozart uses basset horn or basset clarinet
whether it is a full-completed piece or fragment is reviewed and discussed. Each entry contains
historical information, musical information, analytical thoughts, and historically controversial
information regarding dates, instruments, or performance practices. Also listed is where one can
find the music including its location in the Neue Mozart Ausgabe, if available Alte Mozart
Ausgabe, a short snippet of the score, and all the appropriate Köchel cataloging numbers that
have been used to identify works. Also included are the works listed in the Anhang section of the
Köchel cataogue that grouped all of the incomplete, fragmentary, and spurious works. The first
Köchel catologue listings are first, with subsequent catalogue relisting or numberings listed next,
and for fragments, the identifying fragment number is also included.
This research has been a long, interesting, and fulfilling process. Before this project
began the amount of great works utilizing and the reasons why Mozart incorporated the basset
horn and basset clarinet was unknown. Mozart truly wrote some great and everlasting works
including these instruments. If Mozart had continued to live, he would have certainly continued
to write for the basset horn and basset clarinet. It seems that he would have eventually reached
to the point of including the basset horn in the orchestra as a significant member, or at the very
least, a greater amount of chamber music written using the basset horn and basset clarinet.
8

Acknowledgements
Thanks and appreciation are given to the kind scholars at the Bibliotheca Mozartiana
with the Internatioanle Stiftung Mozarteum at the Universität Mozarteum in Salzburg, Ferdinand
Steiner, Dr. Oliver Kraft, who assisted and helped while studying abroad. Thanks are given to
Daniel L. Leeson, Dr. Kyle Coughlin, and Dr. Jay Niepoetter who helped pose ideas of where to
find information and other sources. Most importantly thanks is given to Professor Mitchell
Estrin who was the faculty advisor who helped identify and create a project that was very
interesting and very fulfilling.
9

K. 361 (370a) Serenade 'Gran Partita’ 28
• AMA: IX/Sec. 1/No. 12, p. 399 [R23]
• NMA: VII/17/2, p. 141 [Pb 17] BA 5331; TP 312
Example 1: K. 361, Movement 1, mm. 1-3 29
28 Mozart, Wolfgang Amadeus Mozart, NMA: III/9, 141,
http://dme.mozarteum.at/DME/nma/nmapub_srch.php?l=2 (accessed Nov. 1, 2009).
29 Ibid.
10

Example 2: K. 361 Movement 2, Menuetto: Trio 1 30
1 st Movement: Largo-Molto allegro
2 nd Movement: Menuetto
3 rd Movement: Adagio
4 th Movement: Menuetto; Allegretto
5 th Movement: Romance; Adagio-Allegretto-Adagio
6 th Movement: Tema con Variazioni; Andante
7 th Movement: Finale; Molto allegro
Mozart’s K. 361 or K. 3 370a is a seven-movement serenade, or sometimes referred to as a
“Harmonie ensemble” 31 or Harmoniemusik 32 , and is in B-flat-major for wind ensemble
containing two oboes, two clarinets, two basset horns, four horns, two bassoons, and a double
bass 33 . The extra basset horns, horns, and double bass were an unusual addition to the normal
30 Ibid., 165.
31 Stanley, Sadie. The New Grove: Mozart (New York: WW Norton, 1983), 99.
32 Daniel N. Leeson, gran Partitta: a book about Mozart’s Serenade in B-flat, K361 for
12 Wind Instruments and String Bass (Bloomington, IN: AuthorHouse, 2009), 51.
33 Ulrich Konrad, Mozart: Catologue of his Works, Trans. J. Bradford Robinson,
(London: Bärenreiter 2006), 102-103.
11

eight-member chamber wind ensemble. 34 This work is often performed nowadays with a
contrabassoon instead of a double bass. 35
It is often called “gran Partitta” which is written on the manuscript, or the “Grand
Partita” or “Gran Partita”. This subtitle has created some controversy because it is not written
in Mozart’s hand and is a German-Italian non-standardized combination of words and
grammar. 36 The date of composition, along with why it was written and its commissioner are
questionable and are long lost. The date of composition is either 1780-81 while Mozart was in
Munich 37 or was 1783-84 while Mozart was in Vienna. The compositional date of the work is
under debate due to the watermark research resulting in a date of 1782. 38 Mozart and his dog
could have contributed to the reason why conflicting watermarks are noticed when they possibly
knocked things around and mixed up his sheet music supply. This would have caused older
paper to be used 39 thus resulting in a dating error.
Whenever the date was, it was before 1784 because on March 23 of that year, four
movements of the Serenade were premièred by Stadler and twelve other musicians at the
National Hoftheater in Vienna and reviewed in the Winerblättchen newspaper. 40 According to
Daniel Leeson, he believes that “no one can definitively establish when it was written, what
circumstances that led to its creation, or who might have commissioned it”. 41
34 Sadie. New Grove, 99.
35 Neal Zaslaw and William Cowdery ed., The Compleat Mozart: a Guide to the Musical
Works of Wolfgang Amadeus Mozart, (New York: W. W. Norton, 1990), 248.
36 Leeson, gran Partitta, 41.
37 Sadie, New Grove, 76.
38 Zaslaw, Compleat, 248.
39 Leeson, gran Partitta, 20.
40 Zaslaw, Compleat, 248.
41 Leeson, gran Partitta, 13.
12

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. 42 On the other hand stylistic
evidence suggests that it may have been written for Anton Stadler. 43 Most likely the presence of
four excellent clarinet and basset horn virtuosi must have inspired Mozart to write such a work. 44
Anton Stadler’s playing and Mozart’s compositions were admired greatly and described in
Johann Friedrich Schink’s memoirs. 45 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.” 46 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. 47
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. 48 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
42 Ibid., 58.
43 Zaslaw, Compleat, 248.
44 Lawson, Mozart Concerto, 19.
45 Zaslaw, Compleat, 248.
46 Rendall, Clarinet, 82.
47 Newhill, Basset Horn, 95.
48 Zaslaw, Compleat, 248.
13

of instrumental combinations and is ultimately “kaleidoscopic writing… [which stands] without
parallel in wind music” today. 49
K. 384 Die Entfürung aus dem Serail 50
• 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 51
49 Sadie, New Grove, 99.
50 Mozart, NMA: II/5/12, 174.
51 Ibid.
14

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 16 th ,
1782. 52
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”. 53 Here Mozart’s favorite instrument is used
to portray longing 54 with a charming melody 55 to accompany the unhappy Constanze in her G-
minor aria portraying “sadness”. 56 Often this aria is deleted from the opera 57 possibly because of
the required use of basset horns.
52
Konrad, Mozart, 52-53.
53
Newhill, Basset Horn, 99.
54
Oscar Kroll, The Clarinet, Trans. Hilda Moris, (New York: Taplinger Publishing,
1968), 60.
55
Ward, “Mozart and the Clarinet”, 132.
56
Wolfgang Hildeishemer, Mozart Trans. Marion Faber (New York: Farrar Straus
Giroux, 1982), 180.
57 Kroll, Clarinet, 60.
15

K. 410 (440 d , 484d) Adagio 58
• AMA: X, p. 79 [R 25]
• NMA: VIII/21, p. 120 [Pb 18]
Example 4: K. 410, mm. 1-4 59
The Kanoniches or Canonic Adagio, K. 410, K 3 440d, K 6 484d, is for two basset horns
and bassoon. It is in F-major and was written in Vienna around 1784 or 17855 60 or even around
1782 or 1783. 61 This “miniature gem” 62 is of somewhat serious nature 63 and is apart of Mozart’s
Masonic “columns of harmony” where instruments are linked by their nature to breath and life. 64
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. 65
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
58
Mozart, NMA: VIII/21, 120.
59
Ibid.
60
Konrad, Mozart, 102-103.
61
Zaslaw, Compleat, 247.
62
Newhill, Basset Horn, 78.
63
Zaslaw, Compleat, 247.
64
Henry, Mozart the Freemason, 19.
65 Ibid., 28.
16

work, although David and Springer might have been the catalyst for this work among other
basset horn works. 66
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. 67
K. 411 (440 a , 484a) Adagio 68
• AMA: X, p. 80 [R 25]
• NMA: VII/17/2, p. 223 [Pb 17]
Example 5: K. 411, mm. 1-8 69
The Adagio in B-flat-major K. 411, or K 3 440a, K 6 484a is for two clarinets and three
basset horns. It was probably written around 1782 or 1783 70 . It is a splendid piece with
66
Lawson, Mozart Concerto, 19.
67
Zaslaw, Compleat, 247.
68
Mozart, NMA: VII/17/2, 223.
69
Ibid.
70
Konrad, Mozart, 102-103.
17

interesting sonorities 71 and a tonal gem that is of serious solemn Masonic nature. 72 Though
believed to be composed in 1782 or 1783, Henry believes it would be a mistake to date them
before December 1784. 73 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. 74
This, along with K. 410, is fundamental to understand Mozart’s Masonic compositions. 75
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. 76 Unlike K. 410 it might
have been intended to be a part of a much larger work. 77 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. 78
Like K. 410, K. 411 was probably inspired by the Stadler brothers and/or David and
Springer. 79 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.
71
Newhill, Basset Horn, 87.
72
Zaslaw, Compleat, 247.
73
Henry, Mozart the Freemason, 72.
74
Ibid., 92.
75
Ibid., 68.
76
Zaslaw, Compleat, 247.
77
Newhill, Basset Horn, 87.
78
Henry, Mozart the Freemason, 92.
79
Zaslaw, Compleat, 247.
18

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. 80 They were most
likely written in Vienna, in 1787 and not 1783 81 as previously thought. The author of all the
texts is or is thought to be Pietro Mestastasio, an important 18 th century librettist. These works
are short and simple songs where the text and music evoke feelings of love and happiness 82 .
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. 83 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. 84
80 Konrad, Mozart, 40-41.
81 Newhill, Basset Horn, 98.
82 Zaslaw, Compleat, 97.
83 Zaslaw, Compleat, 97.
84 Hildeishemer, Mozart, 180.
19

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. 85
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.
85 Ibid.
20

K. 346 (439a) Nocturne "Luci care, luci belle" 86
• NMA: III/9, p. 42 [Pb 10] BA 5326
Example 6: K. 346, mm. 1-3 87
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 88 and the text might have been possibly and probably
partly written by Gottfried von Jacquin, though Mestastasio is likely to be the author. 89
Here the basset horns are mere accompaniment and the third basset horn contains
numerous low basset note C’s.
86
Mozart, NMA: III/9, 42.
87
Ibid.
88
Konrad, Mozart, 40-41.
89 Ibid.
21

K. 436 Nocturne “Ecco quel fiero istante” 90
• 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 91
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”. 92
Here the basset horn role is merely accompaniment with an endearing melody 93 and contains
obbligati parts. The early performers must have had a low C-sharp and a low C available for
90
Mozart, NMA: III/9, 31.
91
Ibid.
92
Konrad, Mozart, 40-41.
93
Ward, “Mozart and the Clarinet”, 138.
22

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" 94
• 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 95
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 96 .
94
Mozart, NMA: III/9, 35.
95
Ibid.
96
Konrad, Mozart, 40-41.
23

This work approaches that of an operatic terzetto 97 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 98 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.
97 Ibid.
98 Ward, “Mozart and the Clarinet”, 138.
24

K. 438 Nocturne “Se lotan, ben mio tu sei” 99
• AMA: XXIV/8/No. 46, p. 67 [R 40]
• NMA: III/9, p. 29 [Pb 10] BA 5326 S
Example 9: K. 438, mm. 1-2 100
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. 101 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
99
Mozart, NMA: III/9, 29.
100
Ibid.
101
Konrad, Mozart, 40-41.
25

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" 102
• NMA: III/9, p. 26 [Pb 10] BA 5326 S
Example 10: K. 439, mm. 1-2 103
Example 11: K. 439, 3 rd BH, mm. 14-19 104
102
Mozart, NMA: III/9, 26.
103
Ibid.
104
Ibid., 26-27.
26

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. 105
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 3 rd 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.
105 Konrad, Mozart, 40-41
27

K. 549 Canzonetta "Più non si trovano" 106
• AMA: VI/2/No. 41, p. 185 [R 19]
• NMA: III/9, p. 44 [Pb 10] BA 5326 S
Example 12: K. 549, mm. 1-2 107
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 108 . The
basset horns are used as accompaniment throughout, however, they do contain some fine
106
Mozart, NMA: III/9, 44.
107
Ibid.
108
Konrad, Mozart, 40-41.
28

obbligati parts, especially in the 3 rd basset horn part. The third basset horn also contains several
low extended D’s and C’s.
K. 477 (479a) "Maurerische Trauermusik" 109
• 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. 1-8 110
The Maurerische Trauermusik or Masonic Funeral Music, K. 477 or K 3 479a was
composed on November 17 th , 1785 in Vienna. 111 It is in C-minor and calls for two oboes, a
109 Mozart, NMA: IV/11/10, 11.
110 Ibid.
29

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. 112 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 9 th , Mozart added a contrabassoon and two more basset horn parts, most
likely for Lotz and the Stadler brothers who were also fellow masons. 113 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. 114 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. 115
K. deest Meistermusik, “replevit me amaritudinibus” 116
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
111 Newhill, Basset Horn, 100.
112 Konrad, Mozart, 82-83.
113 Zaslaw, Compleat, 37.
114 Georgina Dobrée, “The basset horn” in Cambridge Companion to the Clarinet, ed.
Colin Lawson, (New York: Cambridge University Press, 1995), 61-63.
115 Ward, “Mozart and the Clarinet”, 139.
116 Zaslaw, Compleat, 37.
30

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. 117
K. 484e Allegro 118
Fr. 178X/B
• NMA: X/30/4, p. 213
Example 14: K. 484e, mm. 1-4 119
K 6 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
117 Ibid., 37-38.
118 Mozart, NMA: X/30/4, 213.
119 Ibid.
31

ut otherwise lost composition. 120 Is of note that the manuscript is among other basset horn
fragments located in the Salzburg. 121
K. 487, (496 a ) Zwölf Duos 122
• 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. 1-6 123
1. Allegro
2. Menuetto; Allegretto
3. Andante
4. Polonaise
5. Larghetto
6. Menuetto
7. Adagio
8. Allegro
120 Konrad, Mozart, 204-205.
121 Newhill, Basset Horn, 81.
122 Mozart, NMA: VIII/21, 49.
123 Ibid.
32

9. Menuetto
10. Andante
11. Menuetto
12. Allegro
K. 487 or K 3 496a is an interesting and enchanting composition containing twelve duos in
Eb for two horns. It was composed on July 27 th , 1786 in Vienna. 124 Only duos No. 1, 3, and 6
have corresponding manuscripts in Mozart’s own hand. 125
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. 126 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. 127 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. 128 It has even been published that they might
have been written for the Stadler brothers. 129 The duos would have been possible to have been
performed on natural horns but would have required a horn virtuoso similarly to Joseph
Leutgeb 130 . Mozart wrote most of his concerti and quite possibly the duos for Leutgeb because
124
Konrad, Mozart, 102-103.
125
Zaslaw, Compleat, 248.
126
Ibid.
127
Kroll, Clarinet, 65.
128
Newhill, Basset Horn, 72-73.
129
Ward, “Mozart and the Clarinet”, 145.
130
Konrad, Mozart, 89.
33

they require incredible demands on the player to perform in the upper registers. 131 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. 132
131 Zaslaw, Compleat, 248.
132 Newhill, Basset Horn, 72.
34

K. 577 Soprano Aria; "Al desio di chi t'adora" 133
• AMA: V/No. 17, p. 411 [R 14]
• NMA: II/5/16, p. 602 [Pb 7]
Example 16: K. 577, mm. 1-3 134
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
133 Mozart, NMA: II/5/16, 602.
134 Ibid.
35

evived 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. 135 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 4 th act aria, “Deh vieni, non tardar” where Susanna is teasing Figaro, by knowing he
is eavesdropping just to make him jealous. 136
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. 137 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. 138 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”. 139 It is a
shame and one cannot help regret that this great aria is not performed more today. 140
135 Konrad, Mozart, 62-63.
136 Zaslaw, Compleat, 82.
137 Ward, “Mozart and the Clarinet”, 137.
138 Newhill, Basset Horn, 62.
139 Kroll, Clarinet, 110.
140 Newhill, Basset Horn, 63.
36

K. 581 Quintet for Clarinet and String Quartet 141
• 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. 1-9 142
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. 143
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
141
Mozart, NMA: VIII/19/Sec. 2, 15.
142
Ibid.
143
Konrad, Mozart, 122-123.
37

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. 144
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. 145
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. 146 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.
144 Zaslaw, Compleat, 256.
145 Henry, Mozart the Freemason, 41.
146 Brymer, Clarinet, 37.
38

K. 584 b , 621b Concerto Movement 147
Fr. 1787v
• Konzertsatz für Bassethorn und Orchester KV 584 b (KV 6 621 b ) Faksimile-Wiedergabe
des autographen Entwurfs
Example 18: K. 584b, mm. 1-4 148
K 3 584b, or K 6 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
147 Wolfgang Amadeus Mozart, Konzertsatz für Bassethorn und Orchester KV 584 b (KV 6
621 b ) Faksimile-Wiedergabe des autographen Entwurfs, NMA online.
148 Ibid.
39

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. 149
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. 150 Kroll also concluded that the
original was for a clarinet extended to low C, 151 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
149
Newhill, Basset Horn, 39.
150
Ibid.
151
Kroll, Clarinet, 37.
40

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. 152
K. 588 Cosi fan tutte ossia La scuola degli amanti 153
• 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. 1-5 154
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
152 Newhill, Basset Horn, 39-40.
153 Mozart, NMA: II/5/18 (2 sub volumes), 383.
154 Ibid.
41

aritone 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. 155
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 2 nd basset clarinet in B-flat contains
numerous low D’s, which were not available on the normal B-flat soprano clarinet. 156
K. 620 Die Zauberflöte 157
• AMA: V/No. 20 [R 17]
• NMA: II/5/19 [Pb 9] Ba 4553 VcS, HM; TP 155
155 Konrad, Mozart, 54-55.
156 Lawson, Mozart Concerto, 26.
157 Mozart, NMA: II/5/19, 127, 191, 194
42

Example 20: K. 620, No. 8, mm. 1-2, No. 9, mm. 1-8, No. 10, mm. 1-7 158
158 Ibid.
43

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. 159
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”. 160 The basset horn portrays the solemn gravity
of Sarastro 161 and in the music for the High Priests it “is perfect vehicle for dignified and perfect
utterance”. 162
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. 163 It might be possible to say that because
159 Konrad, Mozart, 54-55.
160 Newhill, Basset Horn, 99.
161 Kroll, Clarinet, 108.
162 Brymer, Clarinet, 36.
163 Ward, “Mozart and the Clarinet”, 134-135.
44

in the Magic Flute, Mozart was defending Masonic initiation and Masonic beliefs 164 and is
probably the reason why he included the Masonic instruments of basset horns.
K. 621 La Clemenza di Tito 165
• 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-
10 166
164 Henry, Mozart the Freemason, 7-8.
165 Mozart, NMA: II/5/20, 102, 265.
166 Ibid.
45

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. 167
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. 168
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 169 because Mozart could not trust any other clarinetist to execute the solos so perfectly. 170
167 Konrad, Mozart, 54-55.
168 Newhill, Basset Horn, 63.
169 Kroll, Clarinet, 66.
46

K. 622 Concerto for Clarinet 171
• 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. 1-4 172
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
15 th , 1791 a month or so before Mozart’s death. Most dubiously, the concerto was written for
170 Ward, “Mozart and the Clarinet”, 135.
171 Mozart, NMA: V/14/4, 3.
172 Ibid.
47

Anton Stadler and his newly designed basset clarinet, although no surviving manuscript exists
though a nearly identical sketch for basset horn in G exists. 173
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. 174 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 175,176,177 . 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. 178
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”. 179 The
specific reason for the concerto is to be unknown. 180 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
173 Konrad, Mozart, 88-89.
174 Sadie, New Grove, 159.
175 Ibid., 157
176 Brymer, Clarinet, 37.
177 Lawson, Mozart Concerto.
178 Sadie, New Grove, 157.
179 Hildesheimer, Mozart, 353.
180 Rendall, Clarinet, 132.
48

money, and to satisfy his friend and musical talent. 181 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. 182 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. 183
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.
181
Henry, Mozart the Freemason, 102.
182
Ibid., 104.
183
Hildesheimer, Mozart, 353.
49

K. 626 Requiem 184
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. 1-7 185
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
184 Mozart, NMA: I/1/Sec. 2, Subvolume 1, 3.
185 Ibid.
50

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. 186
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. 187
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”. 188
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. 189 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. 190
186 Konrad, Mozart, 202-203.
187 Newhill, Basset Horn, 99.
188 Henry, Mozart the Freemason, 121.
189 Ibid.
190 Ibid., 13.
51

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. 191
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. 192
Anh. 11 (K. 3 41 b ) Pieces or Processions 193
Viele Stücke für zwei Corni di Bassetto or Many Pieces or Processions, Anhang 11 or K 3 .
41b for basset horn, trumpet, or clarinet have long been lost. These pieces are composed
sometime before the end of 1768. 194 Leopold Mozart list these in his catalogue of his son’s
works as being composed in 1767. 195 No such pieces are known and musicologists believe that
if they did exist that they were probably youthful duets with no true instrumentation. 196
191 Zaslaw, Compleat, 36.
192 Ward, “Mozart and the Clarinet”, 139.
193 Wolfgang Amadeus Mozart, Verzeichnis aller meiner Werke und Leopold Mozart
Verzeichnis der Jugenderwerke W.A. Mozarts, Ed. E. H. Mueller von Asow, (Vienna: Verlag
Doblinger, 1956), 3.
194 Konrad, Mozart, 102-103.
195 Mozart, Verzeichnis aller meiner Werke, 3.
196 Newhill, Basset Horn, 73.
52

Anh. 54 (452 a ) Slow Introduction to a Quintet Movement 197
• NMA: X/30/3, Skb 57 and X/30/4, p. 104
Example 24: Ahh. 54, mm. 1-
8 198
Oboe
Clarinet in Bb
Basset Horn
Ob.
Bassoon
Piano
& bb & bb &
& b
?
bb & bb ?
bb 6
8
6
8
6
8
6
8
8
6
6
8
œ . œ.
œ . œ.
!
!
œ . œ.
œ œ
œ . œ.
œ . œ.
.
œ
.
œ
œ.
œ.
!
!
œ.
œ.
.
œ
.
œ
œ œ œœœ œ œœœ
œ œ
j
œ
œ
J
j
œ
‰‰
œ œ œœœ œ œœœ
œ œ
!
œ‰‰
J
!
œ œ œœœ œ œœœ
œ œ
˙.
!
!
!
œ ‰‰Œ.
J
j
œ ‰‰Œ.
œ
œ
Jœ
œ
J
œ. œbœ J
œ ‰Œ.
œ
œ
œ
‰Œ.
!
!
œ j
œ œ j
œ
œ J œ œ J œ
!
!
œ
œœ œ
J J
œ. œbœ J
j
œ ‰‰Œ.
œ ‰‰Œ. !
J
Ÿ~~~~~~~~~~~~~~~~~
˙.
˙.
!
œ J œ œ J œ
œ j
œ œ j
œ
!
!
œ ‰‰Œ.
J
j
œ ‰‰Œ.
!
!
œ. œ œ
J
Anhang 54 or K
Bb Cl. & ! ! ! ! ! !
! !
3 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,
& b ! ! ! ! ! !
! !
oboe, clarinet, basset horn, and bassoon. It was probably started in 1783 in Vienna, however it
B. Hn.
Score
9
!
!
K. Anh. 54 (452a)
?
bb was never completed.
Bsn. ! ! ! ! ! !
! !
199 It is of a light character and the basset horn seems to be paired with the
& b
?
b
bb 9
œ . œ.
œ . œ.
nœœ‰ œœ ‰
Pno.
œ . œ.
œ .
œ. œ # œ œ . œ . ‰‰
J j
œ ‰‰ j
# œ
œ œ
J œ
J
œœ œœ œ œ
" J œœœœ œ j j
œ œ œ
j j
Œ ‰ bœ
. œ œœ
œ
nœ
. œ . œ.
œ œœœœœœ
œ œ b œœ œ j j
œ œ œ
œ
œ œœœ œ b œ
œœ œ œœ œœ
‰Œ.
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
197
Mozart, NMA: X/30/3, 57.
œ ‰Œ.
198
Ibid.
199
Konrad, Mozart, 186-187.
©
˙.
Mozart
!
œ œœœœn œœœœ
53

several other fragments, no definitive evidence or music has been left to evaluate any of
Mozart’s intentions.
Anh. 61 (537 b ) Concerto Movement 200
Fr. 1786k
• NMA: V/15/8, p. 198 [Pb16] and X/30/4, p. 147
Example 25: Anh. 61, mm. 1-6 201
200 Mozart, NMA: V/15/8, 198.
201 Ibid.
54

Anhang 61, or K 3 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. 202 It would have been very
interesting to hear how Mozart would have used the basset horns in a pianoforte concerto
setting. 203
Anh. 88 (581 a ) Rondo for a Quintet 204
Fr. 1790g
• NMA: VIII/19/Sec. 2, p. XVIII (fol. 2 r ), 50 [Pb 17] ;; X/30/4, p. 199
Example 26: Anh. 88, mm. 1-5 205
Anhang 88, or K 3 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
202 Konrad, Mozart, 192-193.
203 Ward, “Mozart and the Clarinet”, 142
204 Mozart, NMA: VIII/19/Sec. 2, 50.
205 Ibid.
55

etween 1790-1791. 206 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..
206 Konrad, Mozart, 200-201.
56

Anh. 90 (580 b ) Allegro for a Quintet 207
Fr. 1787q
• NMA: VIII/19/Sec. 2, p. XVII (fol. 1 r ), 45 [Pb 17] and x/30/4, p. 164
Example 27: Anh. 90, mm. 1-15 208
Anhang 90, or K 3 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
207 Mozart, NMA: VIII/19/Sec. 2, 45.
208 Ibid.
57

clarinet in C, basset horn, violin, viola, and violoncello. 209 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. 210 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. 211
Anh. 91 (516 c ) Allegro for a Quintet 212
Fr. 1789d
• AMA: XXIV/5/No. 22a, p. 41 [R 39]
• NMA: VIII/19/Sec. 2, pp. XV (fol. 1 r ), 41 [Pb 17] and X/30/4, p. 174
Example 28: Anh 91, mm. 1-11 213
Example 29: Anh 91, mm. 54-57 214
209
Konrad, Mozart, 194-195.
210
Zaslaw, Compleat, 41.
211
Newhill, Basset Horn, 88.
212
Mozart, NMA: VIII/19/Sec. 2, 41.
213
Ibid.
214
Mozart, NMA: VIII/19/Sec. 2, 42.
58

Anhang 91 or K 3 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. 215 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 (440 c , 484c) Adagio 216
Fr. 1787g
• NMA: VII/17/2, p. 237 [Pb 17] and X/30/4, p. 155
Example 30: Anh. 93, mm. 1-6 217
215 Konrad, Mozart, 198-199.
216 Mozart, NMA: VII/17/2, 237.
217 Ibid.
59

Anhang 93, or K 3 440c, K 6 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. 218
Anh. 94 (580 a ) Adagio 219
Fr. 1788a
• NMA: VII/17/2, p. 238 [Pb 17] and X/30/4, p. 171
Example 31: Anh. 94, mm. 1-12 220
Anhang 94, or K 3 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. 221 Although Mozart did
not complete this work (with only the melody existing in the second half), several editors have
218
Konrad, Mozart, 194-195.
219
Mozart, NMA: VII/17/2, 238.
220
Ibid.
221
Konrad, Mozart, 196-197.
60

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. 222
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. 223
Anh. 95 (440 b , 484b) Allegro assai 224
Fr. 1786f
• NMA: VII/17/2, p. 236 [Pb 17] and X/30/4, p. 144
Example 32: Anh. 95, mm. 1-7 225
Anhang 95, or K 3 440b, K 6 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
222 Newhill, Basset Horn, 81.
223 Henry, Mozart the Freemason, 40-41.
224 Mozart, NMA: VII/17/2, 236.
225 Ibid.
61

autograph of clarinet 1 of, K. 411. 226 Is of note that the manuscript is among other basset horn
fragments located in the Salzburg Mozarteum. 227
Anh. 229 (K. 2 Anh. 229 a , K. 6 439b) fünfundzwanzig Stücke (fünf divertimenti) 228
• 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. 1-3 229
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
226 Konrad, Mozart, 192-193.
227 Newhill, Basset Horn, 87.
228 Mozart, NMA: VIII/21, 67.
229 Ibid.
62

Anhang 229, or K 2 Anhang 229a, K 6 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 K 1 listing only Divertimento II, K 2 listing as Anhang 229a, 3
Terzetti facili, and then finally K 6 as 439b, 5 Divertimenti. They were allegedly composed
between 1783 and 1788. 230 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. 231 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. 232 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. 233 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.
230 Konrad, Mozart, 102-103.
231 Pamela L. Poulin, “A Report on New Information Regarding Stadler’s Concert Tour
of Europe and Two Early Examples of the Basset Clarinet” in Bericht über den Internationalen
Mozart-Krongreß Salzburg 1991, (New York: Bärenreiter, 1992), 950.
232 Zaslaw, Compleat, 247.
233 Newhill, Basset Horn, 76.
63

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. 234 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. 235
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. 236 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. 237
234 Trio di Clarone, “Forward” in Five Divertimenti for Three Basset Horns by Wolfgang
Amadeus Mozart, (Wedemark/Iffezheim: Breitkopf and Härtel, 1987).
235 Henry, Mozart the Freemason, 39.
236 Ibid., 40.
237 Ibid., 39-40.
64

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66