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

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Date Occasion Location Music 3.8.92 Procession Prague, St. Vitus 7.8.92 Erbhuldigung Prague, St. Vitus 9.8.92 Coronation Prague, St. Vitus Hofmann: Missa in C (Missa S. Barbarae) 11.8.92 Coronation (queen) Prague, St. Vitus 19.8.92 Dankgottesdienst Vienna, St. Stephen 3.9.1808 Erbhuldigung Pressburg, St. Martin 7.9.1808 Coronation (queen) Pressburg, St. Martin Albrechtsberger: Missa in C (Schröder A.I.3) 231
der Musikfreunde in Vienna; see Figure 3.27. 264 The manuscript comes from Graz Cathedral, and informs us that the work is by Mozart, “Vienæ Aulicæ Capellæ Magistro”, and was performed in “Francofurti Anno 1792.” 265 It can hardly be doubted that the performance in Frankfurt took place during Leopold’s coronation. Unfortunately, the manuscript as Pfannhauser found it consisted only of the wrapper: the parts themselves are no longer extant, so we are unable to assess the source further. If the coronation celebrations in Frankfurt featured this offertory by Mozart, perhaps Salieri saw fit to introduce K. 337 as well. Misericordias domini was likely circulating in Vienna during Mozart’s lifetime. As we shall see in the final chapter, the Michaelerkirche obtained a “motet” by Mozart in May 1791 that was probably this work. We know that Mozart himself possessed a set of parts for K. 222 in Vienna, which Constanze sent to Andre along with the rest of the Nachlass in 1800. These parts survives today in Fulda; see Figure 3.28. 266 The set, which consists of single copies of Canto, Alto, Tenore, Basso, Violino Primo, Violino Secondo and Organo, is entirely in the hand of a Salzburg copyist who seems to have worked for Leopold Mozart after Wolfgang’s departure from the city. 267 We do not know when Wolfgang acquired the set, but it is conceivable that it was associated with the van Swieten concerts of the early 1780s or with the transfer of Mozart’s remaining scores from Salzburg after the death of Leopold. The parts present a “clean” appearance suggesting they were little used, but they 264 A-Wgm, I 70120 P. I am grateful to Otto Biba for clarifying the location of this manuscript. 265 Again, it seems that the work was performed from local sources, since the Hofkapelle sources for K. 222 all appear to date from the nineteenth-century; A-Wn, HK 3040-41. Landon incorrectly describes the Graz Cathedral manuscript as “a copy in the Imperial chapel”; Landon, 1791: Mozart's Last Year, 104. 266 D-FUl, M 299b. See MVC, 1075, 1089 and Wolfgang Plath, "Mozartiana in Fulda und Frankfurt," in Mozart-Schriften: Ausgewählte Aufsätze, ed. Marianne Danckwardt (Kassel: Bärenreiter, 1991), 141-42. 267 See Cliff Eisen, "The Mozarts' Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style, and Performance Practice," in Mozart Studies, ed. Cliff Eisen (Oxford: Clarendon Press, 1991), 295. I am grateful to Eisen for the initial identification and for providing me with additional information about this copyist. The watermarks in the manuscript include three moons over REAL | FC and a crescent moon enclosed in a crowned crest (cf. Tyson 52). 232
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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
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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
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
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: Table 3.4. Performance calendar for
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
Page 257 and 258: dell’organo.” 5 If carried out,
Page 259 and 260: It is difficult to say whether the
Page 261 and 262: through local congregations and not
Page 263 and 264: independence from the ecclesiastica
Page 265 and 266: Cathedral to cave in, destroying mu
Page 267 and 268: Figure 4.3. Choirloft and organ at
Page 269 and 270: copied before Reutter became Kapell
Page 271 and 272: Maestro di Capella part for the off
Page 273 and 274: Figure 4.6. Harmonisation of chant
Page 275 and 276: Figure 4.7. Pope Pius VI celebrates
Page 277 and 278: to equate these necessarily with th
Page 279 and 280: Whether Burney communicated any of
Page 281 and 282: Gottesdienstordnung, the town counc
Page 283 and 284: Figure 4.9. Inventory of the St. St
Page 285 and 286: Name Position Table 4.1. Musicians
Page 287 and 288: Name Position Table 4.2. Music pers
Page 289 and 290: Name Position Payment (fl.xr) Comme
Page 291 and 292: 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
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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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