DONAUESCHINGER HARMONIEMUSIK of The Abduction from The Seraglio K384 (study score)

“Interest in the Abduction from the Seraglio Harmoniemusik was first aroused in 1950, when an anonymous arrangement, filed solely under the name “Mozart”, was found in the Schwarzenberg Archives in ÿesky Krumlov, Czeck Republic. It was initially assumed that Mozart had arranged the piece. However, the non-Viennese combination of instruments, viz. two English horns instead of two clarinets, some doubtful technical aspects and Mozart’s remark about the “no small task”, could not be explained. A few years later, the identical work for an authentic Viennese combination of instruments was discovered in Florence. Here both the composer and arranger were identified, Mozart and Johann Nepomuk Went respectively. Original documents prove that Went had indeed had made an arrangement of The Abduction from the Seraglio in the summer of 1782. Thus, Mozart’s competitor was identified but his own wind version had apparently been lost.’’

“Mozart must have made the Donaueschingen Harmoniemusik of The Abduction from the Seraglio himself and his source was… his own musical memory! This would explain the differences in many of the melodical details and the existence of an additional quotation from the Haffner Symphony (that is not present in the opera) in the Martern aria. Perhaps the absence of his own source may have been the reason VIII that Mozart described his work as “difficult.” The music was de facto recomposed. Today, 2005, Mozart himself is widely acknowledged as the maker. The present edition was prepared for performing purposes. A critical edition of the music appeared in the Denkmäler der Musik in Baden-Württemberg Band 13 (Strube Verlag München, 2005). The New Köchel assigned the number 384 both to the opera and this Donaueschingen Harmoniemusik”

- Bastiaan Blomhert
The Hague, Summer 2005

• Overtura
• Hier soll ich dich denn sehen
• Solche hergelauf'ne Laffen
• O, wie ängstlich
• Doch wie schnell schwand meine freude
• Durch Zártlichkeit und Schmeicheln
• Ich gehe, doch rathe ich dir
• Marterm aller Arten
• Welche Wonne, welche Lust
• Frisch zum Kampfe
• Vivat, vivat Bacchus lebe
• Wenn der Freude Tränen fließen
• Ach, Belmonte
• Ich baue ganz auf deine Stärke
• HA! Wie will ich triumphieren
• Adagio recitativo
• Finale

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