MOZART AND THE PRACTICE OF SACRED MUSIC, 1781-91 a ...

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The autograph score of the C minor Mass is a complex document consisting of several paper-types of various date and provenance. The most common paper-type found in the score is Tyson 56-II, which Mozart used for the Kyrie (with the exception of its last page), a replacement bifolium in the Laudamus te, 101 the second half of the Quoniam and a large final stretch covering most of the Cum sancto together with the Credo and Et incarnatus in their entirety. This paper-type is found in a wide variety of works by Mozart dating from mid-<strong>1781</strong> to early 1788. Edge has suggested that Mozart made at least four separate acquisitions of this paper, the first by August <strong>1781</strong>, a second before the end of 1782, a third in the summer of 1784, and a final purchase in mid-1787. 102 It would be interesting to know whether the paper for the Kyrie originates with the first or second acquisition, but on present evidence it is not possible to distinguish between the two subtypes. 103 There is some evidence to suggest that Mozart did not write the movements entirely in order: the last page of the Kyrie, the abandoned Gratias on its reverse, and all of the Gloria are on paper of type Tyson 11, found principally in works of 1768-71. It seems that Leopold sent his son some spare leaves of this paper in the early 1780s, and the earliest known score to make use of it is the Horn Concerto K. 417, dated 27 May 1783. 104 By this date, of course, the C minor Mass was well under way. 101 It appears that f. 15-18 as originally drafted were all of type 56-II. When orchestrating this part of the movement Mozart decided to revise the material on f. 18, removed the entire outer bifolium (f. 15/18, now in D-Cv) and replaced it with a new bifolium of type Tyson 60-I. Thus, only the inner bifolium (f. 16-17) was of type 56-II in the final version. 102 MVC, 413. The presence of type 56-II in the Kyrie appears to contradict a communication from Tyson to Monika Holl, reported in the NMA introduction. Speaking of the bifolium on which the rejected draft of the Laudamus is written, also of type 56-II, Holl writes that it “gehört zu einer...Papiersorte, die Mozart erst für die nachfolgenden Sätze des Gloria verwendete.”; NMA KB xiii. 103 Given the unusually wide range of values for the total span (187.5 to 189.5), it is likely that type 56-II is actually a conflation of two or more subtypes. In the Kyrie of K. 427, for example, the TS is consistently 188+/189-. 104 MVC, 418. 97
A number of commentators have speculated that the mass was begun in connection with upcoming state occasions: the visit of Pope Pius VI to Vienna, for example, or the 1200 th anniversary of the Archdiocese of Salzburg. 105 As the papal visit took place in March and April of 1782, Mozart would have had to begin work on K. 427 considerably earlier than is generally assumed, and the composer’s apparent lack of interest in Pius’ arrival speaks against this theory. The anniversary celebrations in Salzburg took place in September 1782, which is again rather early. A year later, however, it was Salzburg that saw the partial premiere of K. 427, and the question naturally arises whether the mass was intended for that city from the beginning. Mozart’s sacred music continued to be performed in Salzburg after his departure in 1780 – on 13 April 1783, for example, the Litany K. 125 was heard at the Cathedral – and Leopold no doubt continued to promote his son’s works in this genre. 106 Whether or not Mozart maintained a specific Salzburg ensemble in mind when working on the mass, the fact remains that the lavish scoring of K. 427 is not matched by Mozart’s previous music for the Cathedral or St. Peter’s. 107 The orchestration is closest to that of the Dominicus Mass, but K. 66 like Mozart’s other works for the Abbey appears to lack trombone parts. Although the florid first soprano part is anticipated in many respects by the Regina coeli K. 127, the unusual disposition of the vocal concerti as SSTB and the division of 105 Schmid, “Bildintentionen,” 2, Neal Zaslaw, “Mozart's Salzburg Sacred Music and His Mass in C Minor, K. 427,” in Mozartiana. The Festschrift for the Seventieth Birthday of Professor Ebisawa Bin, ed. Yoshiko Tokumaru (Tokyo: Tokyo Shoseki, 2001), 578. 106 MBA, iii.265; Karl Pfannhauser, “Nannerl Mozarts Tagebuchblätter: eine Forschungsstudie zur Gleichnamigen Publikation von Walter Hummel,” Mitteilungen der Internationalen Stiftung Mozarteum 8 (1959): 15. A set of parts for K. 275 in A-Sd, A 1153 probably dates from 1780s; the watermarks include three moons over REAL | GFA, three moons over REAL | GF under canopy and A over HF over REAL | three stars in large crest. 107 The sole example of double-choir writing in Mozart’s oeuvre prior to the C minor Mass is found in the offertory Venite populi K. 260. Michael Haydn’s Vespers MH 321, written in July 1782 for the 1200-year anniversary of the diocese matches the instrumental demands of K. 427 exactly (including the flute), but the vocal forces are the usual SATB soli and ripieni. The Missa a due chori (Missa Hispanica) MH 422 is scored for SATB soli and SATBSATB ripieni with an orchestra matching K. 427 in all except the flute, but it was not written for Salzburg. 98
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MOZART AND THE PRACTICE OF SACRED M
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Prof. Christoph Wolff, advisor Davi
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In Omnibus Glorificetur Deus M pia
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Acknowledgements A study of this ki
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Neal Zaslaw. Dexter Edge was an ess
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KBZ Tschink, Kajetan, ed. Kritische
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surprising that the ceremony was an
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on Jews. Church music was, so far,
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fidelium animi ad spiritualium reru
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liturgical calendar enjoyed the sup
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Figure 1.1. The Consistorium’s pr
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appeared somewhat disingenuous, for
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“military music” were heard in
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Figure 1.2. First page of signature
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Vorfallenheiten und Feierlichkeiten
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mentioned by Leopold Mozart. 43 Bot
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could cite not only Muratori for ph
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medical care, the housing of orphan
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esponsible priests. 60 Joseph himse
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Lent, the number of parishes in Vie
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Figure 1.4. Migazzi’s petition to
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outset; see Figure 1.5. One excepti
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the restrictions was the natural ou
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Cistercian, Dominican and other con
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music in some form, and experienced
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een written by Wolfgang to his fath
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Zeit lediger allzeit mitsammen so w
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Mozart was concerned with reassurin
Page 57 and 58: Seyn Sie nicht gar zu andächtig, g
Page 59 and 60: Daß die ohnöthigen bildereyen in
Page 61 and 62: Unterdessen will ich ihnen benachri
Page 63 and 64: instrumentally accompanied music fr
Page 65 and 66: dolorosa von Haydn - aber hatte mir
Page 67 and 68: performance of the mass ordinary an
Page 69 and 70: Figure 2.1. Opening of Frieberth’
Page 71 and 72: provided obsequies for Mozart and a
Page 73 and 74: More celebrated than Richter’s te
Page 75 and 76: conditions of employment differed s
Page 77 and 78: Work Catalogue Principal Source(s);
Page 85 and 86: composer’s maturity. The C minor
Page 87 and 88: The recovery of several autographs
Page 89 and 90: status of the church. Albrechtsberg
Page 91 and 92: autograph but appears consistent wi
Page 93 and 94: “Mottett” in 1789. 53 The autog
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Page 97 and 98: Determining the identity of the wor
Page 99 and 100: There is no sure way of identifying
Page 101 and 102: erhielt ich in Partitur-Abschrift;
Page 103 and 104: Mozart’s “lieblingsfach,” the
Page 105 and 106: Figure 2.6. Score of Davide, signed
Page 107: often accompanied her (Madame Mozar
Page 111 and 112: Example 2.1. Jesu Rex patriarcharum
Page 113 and 114: Example 2.2. Opening of the final f
Page 115 and 116: Figure 2.7. Title page of the Vienn
Page 117 and 118: that city. This would seem to imply
Page 119 and 120: combining: on 31 August 1782, the d
Page 121 and 122: One of the chief documents supporti
Page 123 and 124: Fischer’s copy of K. 321. 142 As
Page 125 and 126: was not the usual disposition, eith
Page 127 and 128: including the organ and woodwind, c
Page 129 and 130: not square. 166 Both the organ part
Page 131 and 132: form, but K. 427 itself seems to ha
Page 133 and 134: Figure 2.10. Violino 2 do from an u
Page 135 and 136: The three sketchleaves mentioned ab
Page 137 and 138: educed to a one-to-one corresponden
Page 139 and 140: might receive a pension from the To
Page 141 and 142: services involving the court are do
Page 143 and 144: withholding on the curious grounds
Page 145 and 146: Signature Work Date(s) Comments 54
Page 147 and 148: Signature Work Date(s) Comments 28
Page 149 and 150: Figure 3.1. Title of the Hofkapelle
Page 151 and 152: Ecce quomodo moritur justus by Jako
Page 153 and 154: it seems that Wenzel Sukowaty, the
Page 155 and 156: Figure 3.3. Violino Primo part in a
Page 157 and 158: Two works by Salieri himself, a Mas
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Salieri...geflochten hatte, öffnet
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Figure 3.5. Autograph opening of Pa
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parts taken by Catarina Cavalieri,
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Cathedral preserves two sets of par
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the 1780s do however set texts of a
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The two “sacred songs” O Gottes
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paper is ruled with 14 staves, a ch
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A letter from Norbert Lehmann to Ni
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Example 3.1. Jacquin: Wir werfen un
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Example 3.1, continued. 166
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of a sacred piece sitting on Mozart
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Figure 3.9. Opening of Mozart’s c
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handwriting in the two psalm settin
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Nativity of the Virgin and St. Leop
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Figure 3.12. Opening of the second
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Mozart’s selection of two homopho
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eference to the Thomaskantor in Moz
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church sonatas of Fux and Caldara.
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Figure 3.13. Title page to a set of
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central and northern Germany, altho
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violas and woodwind. The most disti
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If Plath’s dating of Fr 1790a to
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orchestrates the first few bars, th
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Figure 3.15. Entries for the Kyrie
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suggestion in the literature: a Vie
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players at great expense, but it is
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Figure 3.16. The musicians of the H
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speaking, this is an attractive the
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Figure 3.17. Last page of concertma
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separated was high. 218 A further c
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Figure 3.18. The hand of Joseph Hof
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Joseph Hoffmann was at the centre o
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Nurscher died of “Brustwassersuch
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the composer. 238 In contrast, the
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Figure 3.23a. First page of Salieri
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now lost, so we will never know if
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e Alma Dei creatoris MH 221, a copy
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the “etwas kleinere” mass offer
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Figure 3.25a. Works by Mozart in Sa
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Mosel’s statement is only partial
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a mass by Kozeluch himself has an a
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Table 3.4. Performance calendar for
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der Musikfreunde in Vienna; see Fig
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Figure 3.28. Violino Primo in a set
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e pursued in detail here, and the e
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Table 3.5. Some early copies of K.
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Krönungsfeyer S r . M. / Franz. I
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Figure 3.31. Title page of a set of
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FOUR A Kapellmeister at St. Stephen
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dell’organo.” 5 If carried out,
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It is difficult to say whether the
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through local congregations and not
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independence from the ecclesiastica
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Cathedral to cave in, destroying mu
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Figure 4.3. Choirloft and organ at
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copied before Reutter became Kapell
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Maestro di Capella part for the off
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Figure 4.6. Harmonisation of chant
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Figure 4.7. Pope Pius VI celebrates
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to equate these necessarily with th
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Whether Burney communicated any of
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Gottesdienstordnung, the town counc
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Figure 4.9. Inventory of the St. St
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Name Position Table 4.1. Musicians
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Name Position Table 4.2. Music pers
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Name Position Payment (fl.xr) Comme
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Year Essential Gnadenbild (fl.xr) C
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comparatively small remaining amoun
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intention of departing Vienna in th
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were present at St. Stephen’s on
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Whatever the background, Mozart eve
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Als Hr: kapellmeister Hofmann krank
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292 Figure 4.12. Deleted rejection
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information, for the mention of the
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and the newly-written Ave, verum co
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Figure 4.14. Autograph petition by
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Question. Whether he occasionally a
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IV. MUSIC AT THE BADEN PFARRKIRCHE
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most renowned of the composer’s s
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elations with Stoll after the death
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following letter to Constanze, Moza
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months. 170 For our purposes, the p
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Figure 4.15. Opening of Mozart’s
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Figure 4.17. Verso of Mozart’s (
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Perhaps the shared key of the mass
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Es dürfte wahrscheinlich nur wenig
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then Hofbibliothek in Vienna, where
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example, sets of parts used in Bade
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Figure 4.18. Title wrapper of a set
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evival of Die Entführung aus dem S
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paper dimensions, watermarks, the s
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Figure 4.19. Canto part for Ave, ve
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and other material. 222 Among the n
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suggests that Mozart took part in t
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eceived a letter from her, “welch
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welche Wonne!” in Die Zauberflöt
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Like much else in Mozart’s short
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FIVE Mozart’s Obsequies 342 Die M
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leading up to the Exequien for Moza
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Leuthe, Lichtern, Kirchen apparaten
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The score of Gluck’s De Profundis
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the material derives from the Hofka
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Figure 5.3. Wrapper of parts for Ga
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part is marked “Trani” in the I
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II. THE COMMISSIONING OF THE REQUIE
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eplacement for the usual clarinet p
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Bauman, it is “unworthy of Mozart
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Whatever attitudes Mozart may have
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several works for the German liturg
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service in the orchestra, and it ma
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Figure 5.7. Autograph opening of S
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Figure 5.8. Autograph title page of
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comparisons between Mozart and Süs
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Süssmayr’s relations with Salier
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Musikfreunde, was witnessed by Sali
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The earliest report, completed in P
Page 391 and 392:
Taken as a group, the four reports
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otherhood, the St. Cecilia Brudersc
Page 395 and 396:
Fortunately, a number of Johann Geo
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Figure 5.11. “Singers’ graffiti
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detailed account of payments and a
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Majus 1791 [...] 1: 40: p[ro] descr
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SmWV 226. Both operas are undated,
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Figure 5.14. Entry in the St. Micha
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Seelenamt 6.-- Ornat beym Seelenamt
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Figure 5.15. Receipt by Spangler da
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the rhythm of the Cum sanctis. 172
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than 1795, and in a score of Don Gi
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Figure 5.19. Entry by Freystädtler
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minor. 186 It may be doubted, howev
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Discovering the true identity of th
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organist in Vienna. 200 Benedikt Sc
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Figure 5.21. Autograph Clarino Imo
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company entered these parts into Mo
Page 427 and 428:
Bibliography 850 Jahre St. Stephan:
Page 429 and 430:
Armstrong, James. “'Litaniae Laur
Page 431 and 432:
———. “Mozarts Wiener Kirche
Page 433 and 434:
———. “Mozarts Anstellung am
Page 435 and 436:
———. “Eine zweite, fast ver
Page 437 and 438:
———. “The Mozarts' Salzburg
Page 439 and 440:
Godt, Irving. “Marianna in Italy:
Page 441 and 442:
Heidrich, Jürgen. Protestantische
Page 443 and 444:
Howe, Timothy E. “Developing a Hi
Page 445 and 446:
Klueting, Harm, ed. Der Josephinism
Page 447 and 448:
———. “Mozart fälschlich zu
Page 449 and 450:
Manal, Josef. “Die Einführung de
Page 451 and 452:
Murray, Sterling E. “A Requiem fo
Page 453 and 454:
———. “Aus Herbecks Leben, W
Page 455 and 456:
Rice, John A. “Adding Birds to Mo
Page 457 and 458:
Scheib, Wilfried. “Die Entwicklun
Page 459 and 460:
Schwerdling, Johann. Practische Anw
Page 461 and 462:
Strebel, Harald. “Mozart und sein
Page 463 and 464:
Wallner, Viktor. Wolfgang Amadeus M
Page 465 and 466:
———. “Mozarts c-Moll-Messe
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