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

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Storace, Benucci, Mandini and Kelly were already involved in rehearsals for the opera when they sang on Easter Day. Not only did the members of the company sing for the Italian congregation, but a number also showed off their compositional talents. The inventory of the congregation’s music lists two items of particular interest: “Un Mottetto...della S[ignor]a Ferraresi” and “Un Mottetto, e Duetto...di Mon[sieur] e Mad[ame] Mombelli.” 78 Adriana Ferrarese, the first Fiordiligi in Cosi and Susanna in the 1789 revival of Figaro, was in Vienna between 1788 and early 17<strong>91</strong>, so this “motet” can presumably be dated to those years. Ferrarese is otherwise unattested as a composer, and her work seems not to survive. Domenico Mombelli was active in composition, but his wife, Luisa Laschi, the first Countess in Figaro and Zerlina in the Viennese Don Giovanni, was not previously known to have written music. It is unclear from this entry whether the “mottetto” was Mombelli’s and the “duetto” Laschi’s, or whether both were joint productions. The couple were married in late 1786, 79 and Mombelli married again in 17<strong>91</strong>, apparently as a widower, so the possible dates of composition are similar to those for the Ferrarese motet. The archive also contains an “offertorio” by the mysterious “M[aestr]o Cornetti,” presumably the same Cornetti who collaborated with Mozart and Salieri on the lost “italienisches Freudenlied” Per la ricuperata salute di Ophelia for Nancy Storace. 80 Salieri contributed two unidentified sacred arias in honour of St. Julius to the congregation in 1776, 81 and may have contributed more. The music archive of Passau 78 Brauneis, “Die Italienische Congregation in Wien,” 41. 79 MVC, 1746. 80 Deutsch, Dokumente, 222-23. Brauneis identifies “Maestro Cornetti” as Paolo Cornetti (fl. 1638), a maestro di capella in Ferrara, but given the obscurity of his work and the eighteenth-century character of the rest of the collection, this identification is most unlikely; Brauneis, “Die Italienische Congregation in Wien,” 43. One aria by Cornetti appears in the pasticcio Il convinto di Baldassare, premiered at the Burgtheater in February 1788; a string quartet arrangement copied the same year survives in A-Wn, Mus. Hs. 12548. 81 Ibid., 36. 153
Cathedral preserves two sets of parts for works allegedly by Salieri. One, for an offertory Timete Dominum, “pro octava Omnium Sanctorum vel De Apostolis, et Martyribus,” is signed “Auth re Del Sig re Salieri / den 9 tn Majï 1789. / 25 kr:” 82 This is a contrafactum of the trio Venite, o Donne from Salieri’s 1785 opera La grotta di Trofonio. The other set, for an offertory Mater Jesu in hora mortis, “pro Festis Septum Dolorum,” is signed “Auth re Del Sig re Salieri / den 19 7br: 1790. / 20 kr:”. 83 This work, a duet for soprano and alto, is currently unknown from any other source. As it happens, the feast of the seven sorrows of the Virgin was one of the rituals performed by the Italian congregation, and it was celebrated in September, a few days after the date given on the parts. 84 Both sets are, however, not autograph, and the precise significance of the dates is not clear. The presence of prices suggests these are commercial copies, but the general appearance of the parts is not at all professional: in the soprano part, the copyist wrote the incorrect text “dulcedo mentis” before crossing out the first attempt entirely and starting again on the other side; see Figure 3.6. 85 The paper is non-Italian, so it is not easily dated, and the peripheral transmission does not inspire confidence. Nevertheless, the possibility cannot be excluded that this is a genuine motet written by Salieri for the Italian congregation in 1790. 86 II. ‘ER PRODUZIERT JETZT KIRCHEN-MUSIK’ Following the partial performance of the C minor Mass, Mozart appears to have ceased composing liturgical church music for approximately four years. A number of works from 82 D-Po, Salieri 2. 83 D-Po, Salieri 1. 84 Brauneis, “Die Italienische Congregation in Wien,” 38. 85 The parts are all in the same hand with the exception of the viola. 86 The Hofkapelle celebrated the Seven Sorrows (see, for example, Bonno’s O Virgo Tristissima from 1775), but there is no sign of Mater Jesu in the chapel archives. 154
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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
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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 and 162: Figure 3.5. Autograph opening of Pa
Page 163: parts taken by Catarina Cavalieri,
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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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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