(1)
I am much indebted to Mrs Jephta Drachman of Maryland, USA, the present
owner of the autograph manuscript of KV 405, who has assisted me in preparation
of this paper by painstakingly compiling a list containing both errors
in Kirkendale's editions in Mozart Jahrbuch (1962/63), pp. 140-155,
and corrections by Mozart in his manuscript. Her work, in extract, is given
in Appendix.
(2) Warren Kirkendale's
detailed study on his expanded second edition of Fugue and Fugato in
Rococo and Classical Chamber Music (Duke Univ. Press, 1979), p.156,
lists a selected letters and documents associated with Mozart, Bach and
fugues.
(3) Daines Barrington,
p.61f, London 1764/5, quoted from Warren Kirkendale's Fugue and Fugato,
p.156.
(4) According
to Kirkendale's Fugue and Fugato, p.155, Nissen once reported that
Thomas Attwood, who was one of Mozart's piano pupils in the years 1785-86,
"remembered that this volume of fugues [WTC] was always lying open
on his pianoforte" in 1786.
(5) Reinhold
Bernhardt, "Aus der Umwelt der Wiener Klassiker. Freiherr Gottfried
van Swieten (1734-1803)," Der Bär (1929-30), p.107.
(6) The Letters
of Mozart and His Family. Chronologically arranged, translated and
edited with an Introduction, Notes and Indexes by Emily Anderson (3re revised,
1985) p.800.
(7) ibid. p.
801
(8) According
to the letter to his father on 12 March 1783, we can learn to some extent
who were among the circle and how the session was like.
(9) ibid.
(10) This view
is shared by Warren Kirkendale's article, "More Slow Introductions
by Mozart to Fugues of J. S. Bach?" Journal of the American Musicological
Society, Vol. 17, No. 1 (1964), p.44, fn.8; Alan Tyson in his Mozart:
Studies of the Autograph Scores (Harvard Univ, Press, 1987), p.81;
and The Letters of Mozart and His Family (op.cit), p. 862, fn.3.
(11) Kirkendale,
Fugue and Fugato, p.154.
(12) The description
of this MS and other related sources are discussed in Kirkendale, "More
Slow Introduction", pp. 45-46, Holschneider, p.52, and Kirkendale,
Fugue and Fugato, p.333.
(13) Alfred
Einstein: "Mozart's Four String Trio Preludes to Fugues of Bach",
The Musical Times, Vol. 77, No. 1117 (March 1936), 209-216.
(14) Walther
Vetter: "Mozart und Bach". Bericht über die Internationale
Konferenz über das Leben und Werk W. A. Mozarts, Praha, 27.-31.
Mai, 1956 (Prague, n.d.) 61-69; also In: Mythos-Melos-Musica. Ausgewählte
Aufsätze zur Musikgeschichte II (Leipzig 1961), pp.333-345.
(15) The MS
is described by Kirkendale's article, "KV 405: Ein unveröffentlichtes
Mozart-Autograph." Mozart Jahrbuch 1962/63, pp. 140-155; and
Gerhard Herz, Bach Sources in America (Bärenreiter, 1984) 256-265.
(16) Gerhard
Croll: "Eine Neuentdeckte Bach-Fuge für Streichquartett von Mozart",
Österreichsches Musikzeitung Vol. 21 (1966) 12-18. Croll considers
that this manuscript, currently held at Schloßarchiv Kremsier, did
not belong to the set of 5 fugues on the evidence of its physical size.
(17) They are
described in Kirkendale's "More Slow Introduction", pp. 46-47.
(18) Kirkendale,
"More Slow Introduction" p.65, also cautions the earlier approach
by Einstein, and changes his view in Appendix IV, p.334, in his Fugue and
Fugato (1976) that KV 404a "should be removed from the canon of the
authentic works [of Mozart]".
(19) Alfred
Einstein: "Mozart's Four String Trio Preludes to Fugues of Bach",
p.210.
(20) The original
sentence reads "Immerhin bleiben von den in beiden Berliner Handschriften
gleichzeitig vorkommenden Abweichungen noch hinlänglich zahlreiche,
die beweisen, daß es Mozart ferngelegen hat, eine mechanische Streicher-Kopie
des originalen Klaviersatzes zu geben." p.335.
(21) "Er
hat vielmehr eine ganze Reihe von Änderungen angebracht, die verdeutlichen,
daß er, teils bewußt und planvoll, teils wohl auch rein instinktiv,
seine Individualität durchsetzte." ibid.
(22) The MS
is first studied by Aldreas Holschneider in his paper "Die musikalische
Bibliothek Gottfried van Swietens" read at the Internationaler Musikwissenschaftlicher
Kongress, Kassel, 1962. The facsimile of this manuscript is published by
Riemenschneider Bach Institute, Baldwin-Wallace College in 1985 as Book
III and IV of "Riemenschneider Bach Facsimiles" series.
(23) Kirkendale,
"More Slow Introduction", p.49.
(24) This quotation
is by Kirkendale, "More Slow Introduction", p.48. Equivalent
statement is also made by Croll.
(25) In fact,
Kirkendale has occasionally shown his cautious approach in referring to
it as "the one most probably used by Mozart", in "Slow Introduction",
p.48, but he does not mention in his article the negative' information
contained in the Berea manuscript. Later scholars quote his view as being
definite: in the introduction to the facsimile edition (op. cit., p.35),
the editor writes "Warren Kirkendale has presented conclusive evidence
linking this manuscript to the copy of Bach Fugues that Mozart borrowed
from Baron van Sweiten in 1782"; Gerhard Herz in Bach Sources in
America (Bärenreiter, 1984, p.252) also says "... Furthermore,
Mozart's own transcriptions of the Well-Tempered Clavier prove by identical
and otherwise inexplicable deviations that the Berea manuscript was the
model from which Mozart copied."
(26) Werner
Breckoff, Zur Entstehungsgeschichte des zweiten Wohltemperierten Klaviers
von Johann Sebastian Bach. PhD diss., Tübingen 1965. 101p.
(27) More detailed
physical and philological information about these sources is expected to
be covered in Dürr's forthcoming "Kritischer Bericht" to
the Neue Bach Ausgabe. The information about the text from text-critical
viewpoint is covered fully in my second volume of J. S. Bach's Das Wohltemperierte
Clavier II' A Critical Commentary (Leeds, Household World, 1995). I
am most grateful to Dr Alfred Dürr for his information on sources
1, 2, 4 and 5 in our private communication in July 1991. Source 6 is discovered
by myself in July 1995.
(28) See Tomita
(1995), pp. ix-xi.
(29) The manuscript
shows no sign that the original gathering is now in different shape. Thus
I believe the collection was originally planned as is. The philosophy behind
selection and transpositions seems to be of the following: (1) exclusion
of the preludes apart from the purely contrapuntal piece (Pr.a = 2 part
invention); (2) exclusion of the fugues of quick tempi, which are particularly
suited for harpsichord and not for organ or string arrangement (such as
Fg.C, C#, c#, F, G and a); (3) avoidance of keys with more than three flats
or sharps in the key-signature. The collection is then rearranged, and
at the end, Albrechtsberger wrote "Fine" to mark the end of the
collection. This inscription is later changed to "Sieg Nro 17 in C
natural | 2/4" implying that the original Fg.C is to follow this collection.
Probably it is at this stage that the title to the manuscript in the top
margin of Fg.B (transposed to C major) on page 1 was modified to "XXIV.
Fugæ del Seg: Seb: Bach. Liber I." from "XVI ...."
(but this reconstruction of the erasure may not be accurate). Thus there
once had been an accompanying "Liber II", now lost, which contained
the remaining 8 fugues of WTC II.
(30) This manuscript
has been misquoted previously as Q 10728. The title page reads "24.
Fughe. | per il | Clavi Cembalo. | o per | l' Organo | Del: Sig: S: Bach".
It is worth noting that the title was modified later in different shade
of ink: "Fughe" from "Fuge" and two lines, "o
per | l' Organo", were added.
(31) For example,
I have identified 16 areas of pitch corrections in Fg.bb (transposed
to A minor) which can be considered to be related to the transposition
at copying stage.
(32) Kirkendale,
"More Slow Introduction", p.49, and Andreas Holschneider, "Zu
Mozarts Bearbeitungen Bachscher Fugen", Die Musikforschung Vol.
17 (1964), p. 177, however, did not study Source 1, although Kirkendale
in fact mentions the manuscript in his article, p.58.
(33) They are
listed in Appendix B of the author's Das Wohltemperierte Clavier II':
A Critical Commentary, Vol.2 (Leeds, Household World, 1995), p. xxix.
(34) At the
end of each piece that is edited, the reviser wrote an inscription with
a date, e.g., "Coll. C. Füg. 18 24/8 43." (collated by C.
Fügerl [?], 24 August 1843).
(35) Warren
Kirkendale: "KV 405", pp. 142-143.
(36) The
Letters of Mozart and His Family, p.801.