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

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Table 2.2. Matthäus Fischer’s Spartierungen of works by Mozart. Work Score Location Source Litaniae K. 125 Augsburg, ?Erich Gackowski ?lost parts sent by Leopold Mozart, 1778 (see MBA, ii.381) Missa in G K. 140 D-As, Hl 11 (olim Gackowski) D-As, Hl 11 Litaniae K. 243 D-Admg, 10 Augsburg, private collection; ?=parts sent by Leopold in 1778 Cantate Domino D-As, Hl 21 ?lost Mozart family parts; contrafactum of Regina Coeli K. 276 Vesperae de Dominica, K. 321/1-4 A-Wn, Mus. Hs. 14587 D-As, Hl 15, 16 Vesperae de Dominica, K. 321/5 D-F, Mus. Hs. 440 D-As, Hl 15 Missa in C, K. 317 Augsburg, Erich Gackowski lost Mozart family parts; score copy reported in K 6 “Augsburg, Stadtarchiv (W. Senn, 1956)” rejected in NMA I/1/1/v, xiv n44 but see KB, 29. Missa in C, K. 337 D-As, Hl 78 D-As, Hl 9; Benedictus fugue only; signature given as Hl 9 in NMA but found under Hl 78 during inspection Missa in C minor, K. 427 A-Wn, Mus. Hs. 14586 D-As, Hl 10 and lost Mozart family parts Note: the following sets of performance material contain parts written by Fischer, all in D-As: Hl 11 (K. 140), Hl 19 (K. 193), Hl 20 (K. 222), Hl 6 (K. 257), Hl 5 (K. 262), Hl 21 (K. 276), Hl 9 (K. 337). The set for K. 337 is reported lost in Eisen, “Salzburg Copyists,” 306 but was available for inspection in 2005. 111
Fischer’s copy of K. 321. 142 As an inventory shows, the Heilig Kreuz collection was still substantially intact as of 1855, 143 but at some point part of the collection was moved to Stift St. Stephan in Augsburg. Adolf Buff reported in 18<strong>91</strong>: Die Musikalien des ehemaligen heil. Kreuzklosters befinden sich gegenwärtig zum Theile in dem St. Stephanskloster unter der Obhut des Herrn Seminardirektors P. K. Berchthold O. S. B., und der Rest soll demnächst ebenfalls dorthin verbracht werden. Ich sah unter anderm darunter eine Messe in C dur und eine Litanei in Es dur, welche Compositionen Mozart damals dem Prälaten schenkte. Die Litanei zeigt die Handschrift des P. Matthäus Fischer vom hl. Kreuzkloster, der selbst noch in jene Zeit hinaufreichte. 144 Despite Buff’s mention of an upcoming transfer, the remaining part of the collection stayed at Heilig Kreuz, where it was examined by Theodor Kroyer at the beginning of the twentieth century and again by Ernst Fritz Schmid in 1942. Schmid soon produced an important if rather rambling article on Mozart’s association with Heilig Kreuz which included the first mention of the parts for K. 427, now reduced to just the organ and trombone parts. 145 Schmid also arranged for the parts to be transferred to the Stadtarchiv in Augsburg – a fortunate initiative, since the church was severely damaged by Allied bombing in February 1944. The collection at St. Stephan, which included works by Fischer himself, was seen by Schmid in 1942, 146 but that church was likewise destroyed in 1944. Some or all of the works 142 Fischer was still living when André’s investigations took place, but it is unknown what involvement the two may have had. André’s print of K. 427, published in the year of Fischer’s death, states that Mozart “...eine Abschrift davon einem Kloster in Baiern überlassen hat, woselbst ich solche vorgefunden und mit dem in meinen Händen befindlichen Original Manuscript verglichen habe.” Holl (NMA I/1/1/v, xvi) thought it probable that Fischer compiled the manuscript especially for André, but this is certainly incorrect: André would never have been satisfied with the incomplete nature of Fischer’s score, and the formulation of André’s statement rules out the possibility in any case. On the transmission of the two sources, see Plath, “Mozartiana,” 134. 143 D-As, Hl 78. The inventory, compiled by the then regens chori of Heilig Kreuz, Jakob Niggl, is unfortunately non-thematic and lists the collection only in summary, but it makes mention of 15 Mozart masses “und ein Sanctus und Agnus Dei.” See Walter Senn, “Die Mozart-Überlieferung im Stift Heilig Kreuz zu Augsburg,” in Neues Augsburger Mozartbuch, Zeitschrift des Historischen Vereins für Schwaben (Augsburg: M. Seitz, 1962), 333-34. 144 Adolf Buff, “Mozarts Augsburger Vorfahren,” Zeitschrift des historischen Vereins für Schwaben 18 (18<strong>91</strong>): 30n65. 145 Schmid, “Mozart und das Geistliche Augsburg,” 172. 146 Ibid., 194-95. 112
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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
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Seyn Sie nicht gar zu andächtig, g
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Daß die ohnöthigen bildereyen in
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Unterdessen will ich ihnen benachri
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instrumentally accompanied music fr
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dolorosa von Haydn - aber hatte mir
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performance of the mass ordinary an
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Figure 2.1. Opening of Frieberth’
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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
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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 and 108: often accompanied her (Madame Mozar
Page 109 and 110: A number of commentators have specu
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: One of the chief documents supporti
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
Page 159 and 160: Salieri...geflochten hatte, öffnet
Page 161 and 162: Figure 3.5. Autograph opening of Pa
Page 163 and 164: parts taken by Catarina Cavalieri,
Page 165 and 166: Cathedral preserves two sets of par
Page 167 and 168: the 1780s do however set texts of a
Page 169 and 170: The two “sacred songs” O Gottes
Page 171 and 172: 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
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Taken as a group, the four reports
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otherhood, the St. Cecilia Brudersc
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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
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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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