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

abbess of the Royal Convent in Prague. All these services required music, and the process of
determining the precise identity of the works performed is complex and ongoing. 210
The coronations of Leopold and Franz generated a large number of commemorative
books and pamphlets, and these are occasionally of use in documenting the musical side of
the celebrations. A particularly elaborate publication was an anonymous description of the
Viennese Erbhuldigung on 6 April 1790 accompanied by a series of coloured engravings by
Hieronymus Löschenkohl, depicting scenes of celebration around the city. One of these
engravings shows the performance of a Te Deum in the court chapel, with the musicians
depicted in galleries to the extreme left and right of the scene; see Figure 3.16. 211 The left
side shows, from left to right, a trumpeter, a timpanist, an unidentified figure, two adult
singers apparently sharing a piece of music, two choirboys, the organist (perhaps Arbesser or
Albrechtsberger), the maestro di capella (presumably Salieri), a string player, the organ-
blower, a bass string player and another unidentified figure. To the right, the engraving
depicts a man with quill and paper, a woman, three string players with two unidentified
figures behind and beside them, a violonist, a figure possibly holding an instrument, a
timpanist, another unidentified figure, and a trumpeter. There is no indication of which Te
Deum they are playing, but it may be Salieri’s “Coronation” Te Deum, the autograph of
210 For an overview of music at Imperial coronations in the eighteenth century, see Friedrich Wilhelm Riedel,
“Krönungszeremoniell und Krönungsmusik im Barockzeitalter,” in Mitteleuropäische Kontexte der Barockmusik.
Bericht über die Internationale Musikwissenschaftliche Konferenz Bratislava, 23. bis 25. März 1994, Historia
Musicae Europae Centralis (Bratislava: Academic Electronic Press, 1997), 109-32. On the Pressburg
coronations, see Richard Rybaric, “Viedenská Cisárska Kapela V Bratislave,” Bratislavsky hudobny barok
(1988): 29-35, Richard Rybaric, “Hudba Bratislavskych Korunovácií,” Musicologica Slovaca, no. 15 (1990): 11-
36, Ladislav Kacic, “Musik zur Zeit der Presburger Kronungsfeierlichkeiten (1563-1830),” Slovenska hudba 2
(2003): 31-50.
211 Anon., Beschreibung der Huldigungsfeyerlichkeiten seiner...Majestät Leopolds II...Welche von den
Nieder=Oesterreichischen Landständen...Gehalten Worden (Vienna: Hieronymous Löschenkohl, 1790). See also
John A. Rice, Antonio Salieri and Viennese Opera (Chicago: University of Chicago Press, 1998), 30-31. The full
engraving is reproduced in John A. Rice, “Vienna under Joseph II and Leopold II,” in Man and Music: The
Classical Era, ed. Neal Zaslaw (London: Macmillan, 1989), 160. An engraving depicting the chapel as it was in
1788 is reproduced in Heartz, Haydn, Mozart, and the Viennese School, 9.
199