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

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choir. 69 Although Pasterwitz had been writing sacred music since the 1750s, his Viennese works are eloquent testimony to the gradual recovery of the genre after the death of Joseph II. Although the vast majority of sacred music heard at the court was performed by the Hofkapelle, the singers of the Italian opera were occasionally called upon to provide religious music as well. Zinzendorf recorded in his diary the performance of a Miserere by Sarti at Laxenburg, the court’s summer residence, for Pentecost on 4 June 1786: Concert spirituel. Le miserere de Sarti chanté par 4 femmes, la Storace, la Laschi, la Cavalieri, la Molinelli et par 4 hommes, Mandini, Benucci, Mombelli, Calvesi, les choeurs avoient du Spirituel, le reste pas. 70 Most of the singers named by Zinzendorf had sung in Figaro the previous day. On 5 June, Joseph II himself wrote to his brother Leopold that he had ordered a performance in his room of the “Miserere de Sarti que nous avons entendu ensemble, dans un mauvais conservatoire a Millan.” 71 The performance was greatly to the liking of Princess Eleonore Liechtenstein, who wrote, “Gestern hörten wir ein sehr schönes Miserere von Sarti, ausgeführt von italienischen Sängern, acht Violinen und Blasinstrumenten. Die Musik war schön, besonders die Chöre.” 72 Like the “French nation” mentioned above, the “Italian congregation” in Vienna held liturgical celebrations, and these occasions gave the opera soloists many opportunities to display their talents outside the theatre. On 6 April 1781, for example, the congregation heard a performance of Pergolesi’s Stabat Mater in an arrangement by Friberth, with the solo 69 The dating follows Kellner, Musikgeschichte des Stiftes Kremsmünster, 510. The Hofkapelle’s parts are in A-Wn, HK 594. On the misattribution of this work to Michael Haydn, see the concluding chapter. 70 Dorothea Link, The National Court Theatre in Mozart's Vienna: Sources and Documents, 1783-1792 (Oxford: Clarendon Press, 1998), 274. The Miserere may have been the setting in F minor that survives in two sources from the Hofkapelle: A-Wn, Mus. Hs. 15910 and HK 521. 71 A-Whh, FA Sbde 8. I am grateful to Derek Beales for providing me with a transcription of this passage. 72 Quoted in Adam Wolf, Fürstin Eleonore Liechtenstein, 1745-1812. Nach Briefen und Memoiren Ihrer Zeit (Vienna: Gerold, 1875), 193. I am again grateful to Derek Beales for telling me of this passage. 151
parts taken by Catarina Cavalieri, Margarethe Spangler, Valentin Adamberger and Ludwig Fischer. Salieri directed, and Joseph II attended incognito. 73 The most ambitious celebrations mounted by the congregation took place with Joseph again present on Easter Sunday 1786, as the former Minoritenkirche was rededicated as the “Italienische Nationalkirche” after two years of renovation. 74 Eighty singers and instrumentalists were involved, and the church received special permission from Joseph to perform a musical setting of the litany, Regina Coeli and Te Deum. 75 The city’s Italian newspaper, the Foglietto di Vienna, reported: ...alle ore 11 poi dal Canonico e scolastico di questa Metropolitana, Conte d’Hengel, venne celebrato il solenne Servizio Divino con musica del celebre Maestro di Capella signor Naumann...Indi si cantarono le Litanie e l’Inno consueto similmente con scelta musica, di composizione del famoso signor Hasse; il tutto eseguito come la mattina da 80 persone tra Cantanti e Suonatori, sotto la direzione del Maestro di Cappella signor Carlo Frubert [sic]; ed avendovi cantato la signora Storacce [sic], li signori Benucci, Calvesi, Bussani, Mandini, O. Kelly, Salvesi ed altri virtuosi, con universale gradimento del numeroso popolo, che vi concorse in quel giorno. Alla sera dei 19, ultimo giorno delle 40 ore, si cantarono le Litanie, l’Inno e dopo il Te Deum in musica del prelodato signor Hasse... 76 A report of the celebrations in the Wienerische Kirchenzeitung contains a previously unknown reference to Nancy Storace, after mentioning the lack of a sermon: “Allein man hörte da um so mehr Musik, und als Madame Storace zu singen anfieng, kehrete Jedermann der Monstranze den Rücken, um die Künstlerinn zu schauen.” 77 The congregation’s interest in Storace suggests that the famous engraving in the Bildergalerie Katholischer Misbräuche of a singer admired by onlookers had its basis in reality. This event took place on 19 April 1786, less than two weeks before the premiere of Le Nozze di Figaro, so we may presume that 73 Walther Brauneis, “Die Italienische Congregation in Wien: Geschichte und Zielsetzungen Einer Nationalen Interessensvertretung im Wien der Mozart-Zeit,” Mitteilungen der Internationalen Stiftung Mozarteum 47, no. 3/4 (1999): 34-5. See also Angermüller, Dokumente, i.167-69. 74 A rebuilt organ by Franz Xaver Christoph was installed, together with a striking neo-Gothic case, still extant; Lade, Orgeln in Wien, 82-5. 75 AVA, A-Kultus 311, 427/1786. 76 Quoted in Giovanni Salvadori, La Congregazione Della Chiesa Nazionale Italiana in Vienna (Vienna: Drescher & Comp., 1891), 126-27. 77 WK, 1786:581. 152
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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
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The recovery of several autographs
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status of the church. Albrechtsberg
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autograph but appears consistent wi
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“Mottett” in 1789. 53 The autog
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performance has been exaggerated. I
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Determining the identity of the wor
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There is no sure way of identifying
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erhielt ich in Partitur-Abschrift;
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Mozart’s “lieblingsfach,” the
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Figure 2.6. Score of Davide, signed
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often accompanied her (Madame Mozar
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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 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: Figure 3.5. Autograph opening of Pa
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
Page 189 and 190: Mozart’s selection of two homopho
Page 191 and 192: eference to the Thomaskantor in Moz
Page 193 and 194: church sonatas of Fux and Caldara.
Page 195 and 196: Figure 3.13. Title page to a set of
Page 197 and 198: central and northern Germany, altho
Page 199 and 200: violas and woodwind. The most disti
Page 201 and 202: If Plath’s dating of Fr 1790a to
Page 203 and 204: orchestrates the first few bars, th
Page 205 and 206: Figure 3.15. Entries for the Kyrie
Page 207 and 208: suggestion in the literature: a Vie
Page 209 and 210: players at great expense, but it is
Page 211 and 212: 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
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
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Rice, John A. “Adding Birds to Mo
Page 457 and 458:
Scheib, Wilfried. “Die Entwicklun
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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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