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

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I. MUSIC IN THE COURT CHAPEL THREE The Hofkapelle 127 [Mozart]...kam oft zu Salieri mit den Worten: Lieber Papa, geben sie mir einige alte Partituren aus der Hofbibliothek; ich will sie bey Ihnen durchblättern; wobey er manchmal das Mittagsbrot versäumte. Anselm Hüttenbrenner 1 Nun die Krone seiner Messen, Und so ist und bleibt sie doppelt: Unsres Mozarts Krönungsmesse. Franz Rieger, k. u. k. Feldmarschalleutnant 2 The Hofkapelle, properly the Hofmusikkapelle, was the Emperor’s “own” ensemble, and as such offers an opportunity to observe Joseph II’s aspirations for sacred music in a particularly direct way. Times had certainly changed since the “golden age” of Charles VI, and the Kapelle faced various attempts to restrict its performances and reduce its membership even in Maria Theresia’s time, as we have seen in Chapter One. A few months into his sole reign, Joseph seems to have decided that the Kapelle as a salaried body of musicians should gradually disappear, presumably to be replaced with a group hired on a per-service basis. In December 1781, the Hofkapelle’s violin-maker Joseph Stadlmann died, and his cousin Michael petitioned to succeed him. Although the petition was supported by the Obersthofmeister Prince Schwarzenberg, Joseph refused to appoint Stadlmann to a salaried position, “da die Eingehung der gesammten Hofkapelle bestimmt ist...” When it was suggested that Joseph might appoint Stadlmann to an unpaid position so that his family 1 Eisen, Neue Dokumente, 89. 2 Franz Rieger, Von W.A. Mozart und Josef Haydn zu dem k.u.k. Hofsängerknaben Roland Philipp (Vienna: Georg Eichinger, 1913), 22.
might receive a pension from the Tonkünstlersocietät, the Emperor replied, “Wegen der Witwen Societät kann nicht ein Bruch in den Satz gemacht werden, die Hofmusik nicht mehr zu ersetzen. Es kann also von der Resolution nicht abgegangen werden.” 3 Joseph’s plan of attrition for the Hofkapelle continued throughout the 1780s, and the Emperor put in place further reforms to rationalise its practices and reduce costs. In August 1782, the responsibility for the Hofkapelle’s choirboys was transferred from Karl Friberth to Ignaz Umlauf, the newly appointed Kapellmeister of the Singspiel at the Burgtheater, with the expectation that the choirboys would sing in the opera chorus. 4 In June 1783, in response to an application by the singer Leopold Ponschab to advance to the position of first tenor, Joseph ordered that no hirings or promotions were to take place within the Hofkapelle until further notice. 5 When the Imperial organ builder Johann Fridrich Ferstl died in May 1785, Joseph refused to appoint a replacement and restated his intention to close the Kapelle: “Da bei der Hof Kapelle keine Plätze ersetzt werden und man diese Kapelle ganz eingehen lässt, so ist auch diese Stelle unbesetzt zu lassen.” 6 In February 1788, Joseph consolidated the Hofkapelle and the theatre under the same management, and hired additional musicians on a contract basis that did not entitle them to a pension. 7 3 Quoted in Zölestin Wolfsgruber, Die k. u. k. Hofburgkapelle und die k. u. k. Geistliche Hofkapelle (Vienna: Mayer & Comp., 1905), 308. See also James de Groat, “Leben und Singspiele des Ignaz Umlauf” (PhD diss., Universität Wien, 1984), Anhang A. From this date, Stadlmann was employed on a piecemeal basis, receiving 2fl every time he tuned the instruments; see Joseph’s instruction of 1788 in Dorothea Link, “Mozart's Appointment to the Viennese Court,” in Words About Mozart: Essays in Honour of Stanley Sadie, ed. Dorothea Link and Judith Nagley (Woodbridge, Suffolk: Boydell Press, 2005), 176-77. 4 See de Groat, “Ignaz Umlauf”, 19-56. See also Franz Grobauer, Die Nachtigallen aus der Wiener Burgkapelle. Chronik der k. und k. Hofsängerknaben (Horn: F. Berger, 1954), 67-76, Otto Biba, “Die Ausbildung der Wiener Hofsängerknaben,” in Alte Musik und Musikpädagogik, ed. Hartmut Krones, Wiener Schriften zur Stilkunde und Aufführungspraxis (Vienna: Böhlau, 1997), 177-84. 5 Link, “Mozart's Appointment,” 159. 6 Quoted in Wolfsgruber, Die k. u. k. Hofburgkapelle, 317. On Ferstl, see Karl Schütz, Der Wiener Orgelbau in der Zweiten Hälfte des 18. Jahrhunderts, vol. 35, Dissertationen der Universität Wien (Vienna: Verlag Notring, 1969), 11-12. 7 Link, “Mozart's Appointment,” 165-66. 128
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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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composer’s maturity. The C minor
Page 87 and 88: The recovery of several autographs
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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 and 134: Figure 2.10. Violino 2 do from an u
Page 135 and 136: The three sketchleaves mentioned ab
Page 137: educed to a one-to-one corresponden
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
Page 185 and 186: Nativity of the Virgin and St. Leop
Page 187 and 188: 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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