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

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envisaged. It may be that eighteenth-century readers had the same difficulties with the interpretation of the decrees as their more recent counterparts, and music directors may have exploited the ambiguity of Imperial intention in order to maximize the timbral possibilities available. Perhaps the most convincing testimony for the continued use of “military instruments” in Viennese sacred music during this period is found in the numerous newly- composed masses and other works that call for trumpets and timpani. Although the dating of mid-century repertoire is highly problematic, due to a lack of surviving autographs and other documentation, it is possible in a number of cases to determine the provenance of a particular composition. Georg Reutter, who simultaneously held the posts of first Kapellmeister at court and Kapellmeister at St. Stephen’s Cathedral, produced at least five masses between 1756 and 1766 that include trumpet and timpani parts. 26 In addition, three psalm settings and two Te Deums involving those instruments apparently originated in the same decade. 27 Marianne von Martínez (1744-1812), who wrote four masses in the early 1760s, scored for trumpets and timpani in all but one of those works. 28 Dates on the original performance parts and contemporary reports show that works by both composers involving 26 See the thematic catalogue in Norbert Hofer, “Die Beiden Reutter Als Kirchenkomponisten,” (PhD diss., Universität Wien, 1<strong>91</strong>5). Those masses said by Hofer to date from 1756-66 are: 53a (St. Theresia, 1756), 61 (St. Michael, c. 1759), 56 (Missa in C, 1762), 67 (St. Thekla, c. 1762), 46 (St. Petrus und Paulus, c. 1764), 72 (St. Ludovici, 1766). Albrechtsberger wrote several sacred works during this period that call for trumpets and timpani (A.I.1, A.I.2, A.II.3, C.II.15, F.I.1, G.I.1, H.I.10, J.25), but as he was in Melk, the ban might not have been enforced; see Dorothea Schröder, Die Geistlichen Vokalkompositionen Johann Georg Albrechtsbergers, 2 vols. (Hamburg: Verlag der Musikalienhandlung K.D. Wagner, 1987). 27 Hofer Psalmen 26 (1760), 30 (1762), 100 (c. 1765), Hymnen 30 (1756), 31 (1765). 28 The autographs of all four masses survive in A-Wgm: an untitled Mass in C that is evidently her first (I/1618, undated but before August 1760), Seconda Messa (I/1638, dated 1 August 1760), Terza Messa (I/1639, dated 10 August 1761) and Quarta Messa (I/1640, dated July 1765). No satisfactory study of Martínez’s life and work exists, but see the rather idiosyncratic accounts in Irving Godt, “Marianna in Italy: The International Reputation of Marianna Martines (1744-1812),” Journal of Musicology 13 (1995): 538-61 and Godt, “Marianna in Vienna: A Martines Chronology,” Journal of Musicology 16 (1998): 136-58. 13
“military music” were heard in the Hofkapelle while the ban was in force. 29 An order of service compiled for the Hofkapelle in 1745, which contains sporadic entries through 1756, makes no mention of any change in instrumental forces. 30 Maria Theresia continued to implement musical reforms throughout the 1750s. A few months after the “military instrument” ban took effect in January 1754, the Empress proposed to her Kapellmeister, Georg von Reutter, a still more restrictive regime, in which the court church music would be regularly performed “alla romana,” following the unaccompanied practice of the Sistine Chapel. 31 Reutter, understandably concerned for the welfare of his musicians, requested that instrumental doubling of the vocal parts be allowed, and to this Maria Theresia agreed. In practice, the Hofkapelle seems to have maintained this restriction for an even shorter period than the trumpet ban, although a number of contemporary works by Reutter do seem tailored to the Imperial request. 32 Of greater long- term import were Maria Theresia’s efforts in 1755-56 to introduce a German-language hymn into the liturgy, especially in those churches with modest musical ambitions. 33 While hymnbooks had been printed in Vienna since the mid-seventeenth century, it was only with the creation of a favourable Imperial environment for their use that a steady increase in production occurred, eventually resulting in the official Katholisches Gesangbuch produced at Maria Theresia’s request during the last decade of her rule. 29 For Reutter, all but Hofer 56 are found in contemporary performance parts from the Hofkapelle (now in A- Wn). For details of performance dates on these parts, see Hofer, “Die Beiden Reutter”. The original parts for one of Martínez’s masses is in A-Wstm. 30 A-Wn, Inv. I/Hofmusikkapelle 15. The entries for 1754-56, found scattered throughout the book, concern minor liturgical details such as the omission of the gradual (f. 30r) during the celebration of Corpus Christi. 31 A-Whh, OMeA Prot. 23, f. 323, 353. 32 These works include a Miserere in B flat for double choir “all’ uso Romana” and a Miserere à 4 voci in A minor. 33 AVA, A-Cultus 11 Gen. 59/1756; for further references see RGZJ, 472. 14
Page 1 and 2: MOZART AND THE PRACTICE OF SACRED M
Page 3 and 4: Prof. Christoph Wolff, advisor Davi
Page 5 and 6: In Omnibus Glorificetur Deus M pia
Page 7 and 8: Acknowledgements A study of this ki
Page 9 and 10: Neal Zaslaw. Dexter Edge was an ess
Page 11 and 12: KBZ Tschink, Kajetan, ed. Kritische
Page 13 and 14: surprising that the ceremony was an
Page 15 and 16: on Jews. Church music was, so far,
Page 17 and 18: fidelium animi ad spiritualium reru
Page 19 and 20: liturgical calendar enjoyed the sup
Page 21 and 22: Figure 1.1. The Consistorium’s pr
Page 23: appeared somewhat disingenuous, for
Page 27 and 28: Figure 1.2. First page of signature
Page 29 and 30: Vorfallenheiten und Feierlichkeiten
Page 31 and 32: mentioned by Leopold Mozart. 43 Bot
Page 33 and 34: could cite not only Muratori for ph
Page 35 and 36: medical care, the housing of orphan
Page 37 and 38: esponsible priests. 60 Joseph himse
Page 39 and 40: Lent, the number of parishes in Vie
Page 41 and 42: Figure 1.4. Migazzi’s petition to
Page 43 and 44: outset; see Figure 1.5. One excepti
Page 45 and 46: the restrictions was the natural ou
Page 47 and 48: Cistercian, Dominican and other con
Page 49 and 50: music in some form, and experienced
Page 51 and 52: een written by Wolfgang to his fath
Page 53 and 54: Zeit lediger allzeit mitsammen so w
Page 55 and 56: Mozart was concerned with reassurin
Page 57 and 58: Seyn Sie nicht gar zu andächtig, g
Page 59 and 60: Daß die ohnöthigen bildereyen in
Page 61 and 62: Unterdessen will ich ihnen benachri
Page 63 and 64: instrumentally accompanied music fr
Page 65 and 66: dolorosa von Haydn - aber hatte mir
Page 67 and 68: performance of the mass ordinary an
Page 69 and 70: Figure 2.1. Opening of Frieberth’
Page 71 and 72: provided obsequies for Mozart and a
Page 73 and 74: 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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Page 81 and 82:
Page 83 and 84:
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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
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Figure 3.3. Violino Primo part in a
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Two works by Salieri himself, a Mas
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Salieri...geflochten hatte, öffnet
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Figure 3.5. Autograph opening of Pa
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parts taken by Catarina Cavalieri,
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Cathedral preserves two sets of par
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the 1780s do however set texts of a
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The two “sacred songs” O Gottes
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paper is ruled with 14 staves, a ch
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A letter from Norbert Lehmann to Ni
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Example 3.1. Jacquin: Wir werfen un
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Example 3.1, continued. 166
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of a sacred piece sitting on Mozart
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Figure 3.9. Opening of Mozart’s c
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handwriting in the two psalm settin
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Nativity of the Virgin and St. Leop
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Figure 3.12. Opening of the second
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Mozart’s selection of two homopho
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eference to the Thomaskantor in Moz
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church sonatas of Fux and Caldara.
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Figure 3.13. Title page to a set of
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central and northern Germany, altho
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violas and woodwind. The most disti
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If Plath’s dating of Fr 1790a to
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orchestrates the first few bars, th
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Figure 3.15. Entries for the Kyrie
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suggestion in the literature: a Vie
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players at great expense, but it is
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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
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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
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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