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

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watermarks are found in precisely dated Salzburg manuscripts only between 24 June 1784 and 30 May 1785, and are not found in combination with any other watermark. 171 For manuscripts written in Vienna, great caution would be exercised when drawing conclusions from such data, since there was a large market for music paper and it is not certain that the availability of a particular type could be dated so precisely. In Salzburg, however, the market was much smaller, and the availability of any one type was likely more restricted in chronological terms. Consequently, the fact that no datable Salzburg manuscript with the watermarks of the K. 427 parts originates earlier than 1784 leads to the possibility that the surviving performance materials for the mass were copied after the October 1783 performance. 172 If they were, then we would need to reconsider the disposition of the premiere at St. Peter’s, the history of the autograph after Mozart’s departure, the possibility of a lost intermediary source, and the prospect of a further performance of the mass in Salzburg or elsewhere. To be sure, not all manuscripts from Salzburg have been investigated, and it is possible that dated sources from 1783 with the watermarks of the Heilig Kreuz parts will turn up. In the absence of such sources, however, and with uncertainty surrounding the alleged corrections by Mozart, the partial performance material for K. 427 may yet retain the capacity to lead scholarship on the C minor Mass in unexpected directions. The transmission and performance history of the C minor Mass outside the environs of Salzburg and Heilig Kreuz has been little studied. Most of the music was well-known through Davide penitente, a work that was widely distributed in both manuscript and printed 171 One type is found in five Michael Haydn autographs beginning with Dilexisti justitiam MH 376 (11.7.84) and ending with the Symphony in F MH 405 (30.5.85), while the other appears nine times, first in the autograph of Constitues eos MH 373 (24.6.84) and last in Oculi omnium MH 401 (14.4.85). 172 Estlinger continued to work for Leopold after Wolfgang’s departure, and copied parts for the “Linz” symphony sometime between May and September 1784; see Cliff Eisen, “New Light on Mozart's 'Linz' Symphony, K. 425,” Journal of the Royal Musical Association 113 (1988): 84. 119
form, but K. 427 itself seems to have remained obscure. 173 The Viennese music dealer Johann Traeg had however acquired a copy of it by 1799, most likely through Constanze. 174 A set of parts based on Andre’s first edition of 1840 survives at Stift Kremsmünster, although it is not known at present if the parts were used in liturgical context. 175 The first completion of K. 427 was prepared by Joseph Drechsler (1782-1852) in 1847, three years after he became Kapellmeister at St. Stephen’s Cathedral. The completion was performed at the Cathedral on 15 November 1847, and a detailed review in the Wiener allgemeine Musik- Zeitung allows us to gain some idea of its content. 176 Although the completion is listed in the St. Stephen’s music catalogue, it was already unknown to Köchel, and the sole source at the Cathedral may have been destroyed in 1945; see Figure 2.9. 177 Figure 2.9. Entry for Drechsler’s completion of K. 427 in the St. Stephen’s music catalogue. A-Wda, s.s., 26. 173 Artaria published vocal scores of the solo numbers from Davide in 1797. Edge has shown that one of the two principal surviving sources for Davide, D-FUl, M 2<strong>91</strong>, dates from around 1800, contrary to the assertion of Monika Holl in the NMA that it dates from c. 1785 and derives from Mozart’s Nachlass; MVC, 536, 1093. Holl’s other principal source, A-Wn, Mus. Hs. 19903, described as “zeitgenössische,” likewise dates from around 1800. This score, which is partly in the hand of Peter Rampl, has a watermark consisting of a single man-in-the-moon countered by GA over F in a heart-shaped crest; this design does not appear in Viennese papers during Mozart’s lifetime. For reasons unknown, Nissen wrote “Davide penitente” at the top of the piano concerto fragment Fr 1785g. 174 See the following chapter. 175 A-KR, C 32/899. 176 Reprinted in Alexander Weinmann, “Ein Ins Leere Gehender Fundbericht,” Wiener Figaro 46 (December 1979): 30-31. 177 See Eva Kitzler, “Joseph Drechsler und seine Kirchenmusik” (PhD diss., Universität Wien, 1983), ii.142-44. Note that the copyist of the incipit in Figure 2.9 skipped a bar in the violin part, and that the inventory makes no mention of flute, trumpet or timpani parts. 120
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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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provided obsequies for Mozart and a
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More celebrated than Richter’s te
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conditions of employment differed s
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Work Catalogue Principal Source(s);
Page 79 and 80: 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
Page 95 and 96: performance has been exaggerated. I
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 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: not square. 166 Both the organ part
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
Page 173 and 174: A letter from Norbert Lehmann to Ni
Page 175 and 176: Example 3.1. Jacquin: Wir werfen un
Page 177 and 178: Example 3.1, continued. 166
Page 179 and 180: 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,
Page 259 and 260:
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
Page 267 and 268:
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
Page 323 and 324:
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
Page 351 and 352:
Like much else in Mozart’s short
Page 353 and 354:
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
Page 359 and 360:
The score of Gluck’s De Profundis
Page 361 and 362:
the material derives from the Hofka
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Figure 5.3. Wrapper of parts for Ga
Page 365 and 366:
part is marked “Trani” in the I
Page 367 and 368:
II. THE COMMISSIONING OF THE REQUIE
Page 369 and 370:
eplacement for the usual clarinet p
Page 371 and 372:
Bauman, it is “unworthy of Mozart
Page 373 and 374:
Whatever attitudes Mozart may have
Page 375 and 376:
several works for the German liturg
Page 377 and 378:
service in the orchestra, and it ma
Page 379 and 380:
Figure 5.7. Autograph opening of S
Page 381 and 382:
Figure 5.8. Autograph title page of
Page 383 and 384:
comparisons between Mozart and Süs
Page 385 and 386:
Süssmayr’s relations with Salier
Page 387 and 388:
Musikfreunde, was witnessed by Sali
Page 389 and 390:
The earliest report, completed in P
Page 391 and 392:
Taken as a group, the four reports
Page 393 and 394:
otherhood, the St. Cecilia Brudersc
Page 395 and 396:
Fortunately, a number of Johann Geo
Page 397 and 398:
Figure 5.11. “Singers’ graffiti
Page 399 and 400:
detailed account of payments and a
Page 401 and 402:
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
Page 407 and 408:
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
Page 415 and 416:
Figure 5.19. Entry by Freystädtler
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minor. 186 It may be doubted, howev
Page 419 and 420:
Discovering the true identity of th
Page 421 and 422:
organist in Vienna. 200 Benedikt Sc
Page 423 and 424:
Figure 5.21. Autograph Clarino Imo
Page 425 and 426:
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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