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

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orchestra a letter of thanks, attributing the success of his music in Prague to their efforts. 90 On 6 December 1787, the Prager Oberpostamtszeitung reported, St. Nicholas celebrated its patronal festival with an unidentified mass by Mozart: Den 6ten, als am St. Niklasfeste wurde in der kleinseitner Niklaskirche eine von dem hier so beliebten Tonsetzer, Herrn Mozart, verfertigter musikalische Messe gegeben, und alles gestand, dass er auch in dieser besonderen Komposizionsart ganz Meister sey. 91 Mozart had left Prague about three weeks before the service took place, but given the Strobach connection one naturally wonders if the composer had something to do with this performance. Despite many advances, the study of Bohemian sources of Mozart’s music is still in its early stages, and we do not know how widely the composer’s sacred music was distributed in Prague prior to 1791. 92 According to Tomislav Volek, “we have extant documents proving that Mozart had visited Strobach [at St. Nicholas] and his masses had been performed in the church long before his first visit to Prague.” 93 Unfortunately, Volek does not specify what these documents are. St. Vitus’ Cathedral did however have K. 259 by 1796, 94 and Niemetschek wrote in 1798 that “alle, die wir hier in Prag gehört haben, tragen den Stempel seines Genies.” 95 90 MBA, vi.340. 91 Quoted in Berkovec, Musicalia V Pražském Periodickém Tisku 18. Století: Výběr Aktuálních Zpráv O Hudbě, 68. The edition in Deutsch, Dokumente, 270 is inaccurate, and Deutsch’s suggestion that the mass could have been K. 427 is most unlikely (see Eibl, Neue Dokumente, 55.) 92 Many Czech archives preserve Mozart sources from the last two decades of the eighteenth century. From the hospital at Kuks, for example, are early sets of parts for K. 259 (CZ-Pnm, XLIX F 23), K. 317 (XLIX F 24), and K. 194 (XLIX F 22); see Michaela Freemanová-Kopecká, Collectio Fratrum Misericordiae Kukussiensis, 2 vols., Catalogus Artis Musicae in Bohemia et Moravia Cultae (Prague: [Národní knihovna ČR], 1998), ii.369-71. On early Moravian sources, see Jiří Senhal, “Quellen zu Mozarts Kirchenwerken in Mähren,” in Mozart- Jahrbuch 1986 (Kassel: Bärenreiter, 1987), 29-31. 93 Tomislav Volek and Ivan Bittner, The Mozartiana of Czech and Moravian Archives (Prague: Archives Dept. of the Czech Ministry of Interior, 1991), 9. 94 CZ-Pak, 895. 95 Franz Xaver Niemetschek, Lebensbeschreibung des K. K. Kapellmeisters Wolfgang Amadeus Mozart, aus Originalquellen, Second ed. (Prague: Herrlischen Buchhandlung, 1808; reprint, Leipzig: VEB Deutscher Verlag für Musik, 1978), 117. 157
The two “sacred songs” O Gottes Lamm and Als aus Ægypten K. 343 have come to be associated with Prague and St. Nicholas, although they have a surprisingly complex history for such modest pieces. The unsigned and undated autograph was in the possession of Johann August André during the time of Köchel, but subsequently disappeared. The loss of the autograph forced Ernst Ballin, who edited the songs for the NMA in 1963, to rely on a copy of it made for Otto Jahn. Ballin had however discovered that versions of both songs appear in the fifth edition of a Prague hymn collection, Lieder zur öffentlichen und häuslichen Andacht, dating from 1805. 96 The preface to the collection stated that “ein Mozart” had provided melodies for Seelenmesse texts at the initiative of Strobach and a priest at St. Nicholas, Emmanuel Stiepanowsky. The songs did not appear in the first edition of the hymnbook from 1783, and despite an extensive search Ballin could not locate copies of the second, third, or fourth editions. 97 Thanks to the researches of RISM, however, three copies of the second edition of 1788 were subsequently identified in the Sammlung Wernigerode in Berlin, Stift Schlägl in Austria and Pannonhalma Abbey in Hungary. 98 Sure enough, the 1788 edition includes Mozart’s melodies to the two hymns, although it makes no mention of their provenance. 99 Finally, after being lost for more than a century, Mozart’s autograph turned up at a Paris auction in 1999; see Figure 3.8. 100 It bears a “Nissen number” and the speculative but ultimately correct dating of Johann Anton André, “178_”. Unusually, the 96 The hymnbook was edited “auf Veranlassung der k. k. Normalschuldirektion.” The responsible editors were Franz Steinsky (1752-1816) and Ferdinand Kindermann von Schulstein (1740-1801). 97 Ballin, NMA KB III/8, 116-17. 98 Konrad Ameln, Markus Jenny, and Walther Lipphardt, eds., Das Deutsche Kirchenlied: Verzeichnis der Drucke von den Anfängen bis 1800, 2 vols., Rism B/Viii (Kassel: Bärenreiter, 1975-80), i.682. 99 The melodies are printed together at the back of the book in a highly compressed format, and the two in question are attributed to “W. A. Mozart.” An “Anmerkung” includes the instruction: “Die Melodien, welche hier der Wohlfeilkeit des Werkes wegen so klein gestochen sind, müssen in ein besonderes Choralbuch abgeschrieben...” 100 Laurin–Guilloux–Buffetaud, Paris, 24 November 1999. The autograph appears to have remnants of blue felt around its edges, suggesting it was once mounted. It bears a note of authenticity from Julius André dated 22 July 1863. The present owner of the manuscript is unknown. 158
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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
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Example 2.2. Opening of the final f
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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 and 164: parts taken by Catarina Cavalieri,
Page 165 and 166: Cathedral preserves two sets of par
Page 167: the 1780s do however set texts of a
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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Page 215 and 216: Figure 3.17. Last page of concertma
Page 217 and 218: 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
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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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