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

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disposition of the orchestra meant the Kyrie could only have been written during the visit to Munich. The lavish orchestration is certainly unprecedented in Mozart’s church music, particularly the inclusion of clarinets and four horns. Jahn also raised the possibility that Mozart left the work as a fragment, although one would expect André to have mentioned that fact in the first edition if it were so, given his care over the editions of the Requiem and C minor Mass. Mozart does seem to have been interested in displaying his wares to the Munich Hofkapelle, for he wrote to Leopold on 13 November 1780: “haben Sie doch die güte und schicken mir die 2 sparten von den Messen die ich mithabe – und die Messe aus dem B auch. denn graf Seeau wird nächstens dem Churfürsten etwas davon sagen. – ich möchte daß man mich in diesem styl auch kennen lernte.” 201 The challenge to Jahn’s dating arrived in 1981 with Tyson’s article on the Salzburg fragments. Tyson considered that there was “little to be said in favor” of a Munich origin for the Kyrie, and suggested that, with the new knowledge that Mozart was working on sacred music in the last years of his life, a date between 1788 and 17<strong>91</strong> was more likely. Tyson expressed the same opinion in more moderate form two years later, 202 but did not, as far as I am aware, ever mount a detailed challenge to Jahn’s case for a Munich origin. As matters stood, in other words, a Viennese date had emerged as a possibility solely on the knowledge that Mozart had started several sacred works at that time. Purely on the basis of contemporaneous activity in sacred music, however, one could mount an equally convincing case for Munich, with Mozart’s known desire to impress the Elector and the instrumental characteristics of the Kyrie coming into play. The crucial point is that no detailed case was ever presented against Jahn’s dating, nor was there an explanation of why a Viennese origin was more likely. It has been surprising, then, to observe the quick acceptance of Tyson’s 201 MBA, ii.19. 202 Tyson, “The Mozart Fragments,” 342n34, 27. See also Tyson, “Proposed New Dates,” 216. 195
suggestion in the literature: a Viennese origin is now considered “obvious,” 203 and carries the imprimatur of the NMA in its edition of the Kyrie. The explanation may lie in the entirely justified reputation of Tyson’s work, and a hope that forensic analysis of the kind Tyson pioneered may provide answers to problems of Mozart research even in the absence of the autographs and contemporary copies on which such analyses rely. In 1995 Daniel Heartz mounted a spirited defence of the traditional dating, pointing out similarities of motivic handling and rhythmic profile in the Kyrie and Idomeneo. 204 The extent to which Mozart’s usage of such elements is shared among closely contemporary works or circumscribed by chronological period is a complex question, made more difficult in the case of sacred music due to its naturally retrospective stylistic profile. At present it is probably too much to say that stylistic resemblances between Idomeneo and K. 341 neccessarily make the earlier date for the Kyrie more likely, but research on the contemporary sacred music of Holzbauer, Richter, Vogler and their contemporaries might establish a context for K. 341 in Munich. 205 The real objection to a later dating for the Kyrie is its scoring, which is entirely uncharacteristic of sacred music in Vienna during Mozart’s time. Neither the Hofkapelle nor the ensemble at St. Stephen’s featured clarinetists, flautists or horn players, and all three instruments are almost entirely unknown in Viennese sacred music before the later 1790s. As we have seen, Joseph II banned clarinets and horns from the 203 Wolff, Mozart's Requiem, 36n96. 204 Heartz, Haydn, Mozart, and the Viennese School, 670-74. One element of Heartz’s argument is significantly weaker than the rest: his decision to “call on the testimony of an author whose knowledge of Mozart’s sacred music was second to none.” This author is Karl Gustav Fellerer, from whom Heartz quotes a descriptive passage about K. 341 that mounts no particular argument in favour of the Munich dating and was certainly written before Tyson’s suggestions appeared. Despite this, Heartz believes that “this expert’s confidence in the traditional assignment of the Kyrie in d to Munich in <strong>1781</strong> deserves consideration.” (673) Fellerer expresses no such confidence, and Heartz’s attempt to strengthen the case for a Munich date based on “expertise” rather than the substance of his own argument is unconvincing. 205 On the reception of Mozart’s sacred music in Munich, see Robert Münster, “Mozarts Kirchenmusik in München im 18. und Beginnenden 19. Jahrhundert,” in Festschrift Erich Valentin zum 70. Geburtstag, ed. Günther Weiss (Regensburg: G. Bosse, 1976), 143-53. 196
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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
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that city. This would seem to imply
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combining: on 31 August 1782, the d
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One of the chief documents supporti
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Fischer’s copy of K. 321. 142 As
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was not the usual disposition, eith
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including the organ and woodwind, c
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not square. 166 Both the organ part
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form, but K. 427 itself seems to ha
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Figure 2.10. Violino 2 do from an u
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The three sketchleaves mentioned ab
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educed to a one-to-one corresponden
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might receive a pension from the To
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services involving the court are do
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withholding on the curious grounds
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Signature Work Date(s) Comments 54
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Signature Work Date(s) Comments 28
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Figure 3.1. Title of the Hofkapelle
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Ecce quomodo moritur justus by Jako
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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
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: Figure 3.15. Entries for the Kyrie
Page 209 and 210: players at great expense, but it is
Page 211 and 212: Figure 3.16. The musicians of the H
Page 213 and 214: speaking, this is an attractive the
Page 215 and 216: Figure 3.17. Last page of concertma
Page 217 and 218: separated was high. 218 A further c
Page 219 and 220: Figure 3.18. The hand of Joseph Hof
Page 221 and 222: Joseph Hoffmann was at the centre o
Page 223 and 224: Nurscher died of “Brustwassersuch
Page 225 and 226: the composer. 238 In contrast, the
Page 227 and 228: Figure 3.23a. First page of Salieri
Page 229 and 230: now lost, so we will never know if
Page 231 and 232: e Alma Dei creatoris MH 221, a copy
Page 233 and 234: the “etwas kleinere” mass offer
Page 235 and 236: Figure 3.25a. Works by Mozart in Sa
Page 237 and 238: Mosel’s statement is only partial
Page 239 and 240: a mass by Kozeluch himself has an a
Page 241 and 242: Table 3.4. Performance calendar for
Page 243 and 244: der Musikfreunde in Vienna; see Fig
Page 245 and 246: Figure 3.28. Violino Primo in a set
Page 247 and 248: e pursued in detail here, and the e
Page 249 and 250: Table 3.5. Some early copies of K.
Page 251 and 252: Krönungsfeyer S r . M. / Franz. I
Page 253 and 254: Figure 3.31. Title page of a set of
Page 255 and 256: 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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