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

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einen clavicord spiellte.” 181 While at Lambach, Mozart may have taken the opportunity to copy the Pignus fugue from a Litany by Michael Haydn, MH 228 in G minor. Mozart’s score, K. Anh. 240/Anh. A. 12 is written on an unusual “local” paper with the watermark Tyson 69, otherwise found in the autograph of the piano sonata K. 333 and the sketchleaves Skb 1783ε, 1783ζ and 1783η. Tyson has shown that this was likely paper that Mozart obtained somewhere between Vienna and Salzburg in late October or November 1783. 182 Although is possible that Mozart copied the Pignus in Vienna, contemporary Viennese sources for the work have yet to be identified, and Lambach does possess a copy of the litany that might have served as Mozart’s source. 183 About the same time, Mozart copied another Pignus by Haydn, this one from the earlier Litany MH 66. K. Anh. 239/Anh. A. 11 is written on paper of type Tyson 62-II, the same “Salzburg” type on which the woodwind and brass particella for the Sanctus of K. 427 is written. 184 St. Peter’s in Salzburg possesses a copy of the Litany dated 1768, and there is one at Lambach from 1780, but given the associations with Michael Haydn himself during the Salzburg visit it is possible that Mozart obtained the work directly from its composer. 185 As most of the orchestration is missing in both manuscripts, it would seem that Mozart copied the works for study purposes or small-scale vocal performance among the van Swieten circle. 186 181 MBA, iii.291. 182 Alan Tyson, “The Date of Mozart's Piano Sonata in B-Flat, K. 333 (315c): The "Linz" Sonata?,” in Mozart: Studies of the Autograph Scores (Cambridge, MA: Harvard University Press, 1987), 74, 81. 183 A-LA, M 1356. 184 The copy, in F-Pn, breaks off after seven pages. 185 A-Ssp, Hay 1220.1; A-LA, M 1442. 186 The inventory of Mozart’s estate lists “Litaniae de Venerabili Sacramento di S. Hayden,” but the identity of this item is not clear; see Konrad and Staehelin, Allzeit Ein Buch: die Bibliothek Wolfgang Amadeus Mozarts, 89. According to K6 , the entry for the G minor Pignus in Andre’s printed catalogue of 1841 mentions a contemporary set of “ausgeschriebenen Stimmen” for the movement. These parts, conceivably associated with the van Swieten circle, are unfortunately no longer extant. The sketch Sk 1785r somewhat resembles the theme of Haydn’s fugue. 123
The three sketchleaves mentioned above contain primarily sketches for L’oca del Cairo, but the verso of Skb 1783ζ contains further sketches, including two for a Dona nobis pacem Sk 1783b. As Tyson 69 is probably a post-Salzburg paper-type, and Mozart is not known to have been working on any other mass at this time, the sketches are probably to be identified with an intention to resume work on the C minor mass in the months immediately following the premiere. The attempt did not proceed far, and the fugue subject and countersubject are not exactly compelling, producing repeated unisons between alto and tenor and some awkward harmonies at the entry of the bass. Mozart’s dissatisfaction with some aspect of the sketches is evident from his deletion of the words “dona nobis pacem” in the soprano, perhaps prompted by the realisation that the faulty accentuation “do-na,” with its accent on the second syllable, pervaded the entire sketch. Faced with such difficulties, it is not surprising that Mozart took this projected movement no further. After Davide penitente, it seems that Mozart’s final engagement with material derived from the C minor Mass was the exercise in invertible counterpoint Sk 1785n, the first-species voice of which follows the contour of the Cum sancto subject. The paper-type of the sketch-leaf is Tyson 82-I, found primarily in works of 1786-87 but appearing as late as 1791. 187 Why did Mozart begin this ambitious work, and why did he not finish it? When he arrived in Vienna in 1781, Mozart’s primary aim was to establish himself as a performer and composer in overwhelmingly secular genres. The fact that he invested a substantial amount of time and effort in a sacred work that had little practical or especially financial benefit is an indication of the personal significance the project possessed. Attempts to quantify that significance have usually ascribed it to a single event – Constanze’s recovery from illness, the couple’s marriage, the birth of their first child, or the visit to Salzburg. There is no need, 187 MVC, 427. 124
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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);
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Page 83 and 84: 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 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 and 130: not square. 166 Both the organ part
Page 131 and 132: form, but K. 427 itself seems to ha
Page 133: Figure 2.10. Violino 2 do from an u
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
Page 181 and 182: Figure 3.9. Opening of Mozart’s c
Page 183 and 184: 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
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———. “Mozarts Wiener Kirche
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———. “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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