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

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certainly could have acted as models for the kind of copies obtained by the Michaelerkirche in 1791. Johann Traeg had Misericordias domini by 1796, and a Viennese score copy from the 1790s in the hand of Peter Rampl survives today in Graz. 268 The presence of Misericordias at the Frankfurt celebrations is a reminder that such services featured not only mass settings but graduals, offertories and other pieces as well. With a few exceptions, we do not know what these additional works were. In Budapest, the all-Albrechtsberger coronation service on 6 June 1792 featured the gradual Beatus vir (B.I.6), the sequence Veni sancte spiritus (J.25) and the offertory Veritas mea (C.I.3) in addition to the Coronation Mass (A.I.3), as far as we can tell from the original materials. 269 A Te Deum was required on many occasions, and it is likely that Salieri’s “Coronation” setting featured in some of them. As the original wrapper to the parts is no longer extant, however, we do not know the exact performance dates. 270 According to Niemetschek, writing in 1798, “Man macht hier in Prag auf mehreren Kirchen-Chören einige Motetten von seiner [Mozarts] Komposition voll Erhabenheit und Feyerlichkeit.” 271 This was taken by Pfannhauser as an indication that one or more of the sacred contrafacta K. Anh. 121-23 arranged from the incidental music to Thamos were heard at the Bohemian coronations. 272 Pfannhauser singled out Splendente te, deus K. Anh. 121, a contrafactum of Thamos’ first chorus “Schon weichet dir, Sonne” as a particular possibility, since its text seems especially appropriate to a coronation service. 273 The origin of the Thamos contrafacta is a complex question that cannot 268 MVC, 1173, 1179-80. 269 What appear to be the original scores are bound in H-Bb, 1037; see Dorothea Schröder, Die Geistlichen Vokalkompositionen Johann Georg Albrechtsbergers, 2 vols. (Hamburg: Verlag der Musikalienhandlung K.D. Wagner, 1987), ii.9. The mass was reused for the coronation of Franz’s third wife in 1808; Ibid., i.40. 270 A-Wn, HK 491. 271 Niemetschek, Lebensbeschreibung, 117. 272 On these motets, see Neal Zaslaw, "Mozart's Incidental Music to 'Lanassa' and His 'Thamos' Motets," in Music, Libraries and the Academy: Essays in Honor of Lenore Coral, ed. James P. Cassaro (Middleton, WI: A-R Editions, 2007), 55-63. I am grateful to Zaslaw for providing me with a copy of this article. 273 Pfannhauser, "Mozarts 'Krönungsmesse'," 9. 235
e pursued in detail here, and the earliest sources have yet to be systematically examined. 274 Contrafacta of three Thamos choruses appear in the Andre-Gleissner catalogues of Mozart’s Nachlass, 275 but as Edge has demonstrated, a number of items in that collection do not stem from the “estate” as it stood in 1791 but are later additions by Constanze. 276 In any case, the scores from the “estate” do not appear to survive. The earliest source I have seen for any of the contrafacta is a score copy of K. Anh. 21 deriving from the archive of Breitkopf & Härtel and signed at the end “Eseguito nel Mese d’ Ottobre 1794”; see Figure 3.29. 277 Part of Thamos was performed in Leipzig as early as 1788, 278 and Breitkopf brought out an edition of the contrafactum in 1803, so this manuscript will be of particular interest to future research. 279 There is however no direct evidence at this stage that the contrafacta were performed at any of the coronations, and neither the Hofkapelle archive nor the St. Vitus archive contain early copies of the motets. Niemetschek’s “einige Motetten” may just as likely refer to “original” works like Misericordias domini. Given that K. 317, the mass we now call the Krönungsmesse, was not performed by the Hofkapelle until later in the 1790s, how did it acquire its name? Table 3.5 shows a number of significant early copies of K. 317 and K. 337, most of which were unknown to the NMA. The Hofkapelle first made reference to a Krönungsmesse by Mozart in January 274 Jochen Reutter argues on internal grounds for the primacy of the Latin contrafacta over the German, but does not investigate the early history of the sources; Jochen Reutter, “Die Lateinischen Kontrafakta der Drei Chöre aus Mozarts Schauspielmusik zu Thamos, König in Ägypten: Aspekte Eines Parodieverfahrens,” in Studien zur Musikgeschichte: Eine Festschrift Fur Ludwig Finscher (Kassel: Bärenreiter, 1995), 328-33. 275 See, for example, D-F, Mus. Hs. 778/2, 23. 276 MVC, Chapter 8 passim, especially 1289-90. 277 A-Wn, Mus. Hs. 5047. The manuscript’s provenance is given on the ÖNB’s card as “Archiv Breitkopf.” 278 Harald Strebel, “Mozart und sein Leipziger Freund und 'Ächte Bruder' Carl Immanuel Engel,” Mitteilungen der Internationalen Stiftung Mozarteum 40 (1992): 98. 279 A score copy of K. Anh. 22 in D-B, Mus. ms. 15144/10 derives from Nietmetschek himself: the title page reads “Del Sig. W.A. Mozart / Chor aus dem [deleted: Oper] Schauspiele/König Thamos von Aegypten,” but the original text was not entered. The Latin text was however entered in pencil, opening with “Deus rex tremendae” instead of the usual “Jesu rex tremendae.” Traeg advertised K. Anh. 21 in 1798 with the text “Gottheit über alles”; MVC, 859. 236
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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
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eference to the Thomaskantor in Moz
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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
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: Figure 3.28. Violino Primo in a set
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
Page 293 and 294: comparatively small remaining amoun
Page 295 and 296: 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
Page 423 and 424:
Figure 5.21. Autograph Clarino Imo
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company entered these parts into Mo
Page 427 and 428:
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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