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

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the Cathedral’s music catalogue was kept separate from the collection and is still extant, allowing us some insight into the former content of the archive. 29 The catalogue actually consists of two distinct documents, now bound together. The first is a non-thematic inventory entitled “Inventarium / Uiber die der Domkirche St: Stephan angehörigen / Instrumente, Musikalien, und Mobilien in dem / Kapellhause, welche von denen am Ende Unter- / schriebenen am 6 ten December 1824 vorgefunden, und der Ordnung nach beschrieben worden sind.” The Musikalien are described only in summary: ordered initially by composer, the inventory lists the number of works in each genre and the number of those works in each key. Following this is a large grid summarising the information still further. At the end of the document are the signatures of Kapellmeister Johann Baptist Gänsbacher, who had only recently taken up the post, and a number of other officials. The second part, taking up the majority of the volume, is a thematic catalogue of the musical holdings entitled “Catalog / sämtlicher Musicalien / welche der Kapellmeister / der Dom Kirche S t Stephan / in Verwahrung hat. / verfasset / vom / Joan: Bapt: Gansbacher. / Dom= Kapellmeister / in den Jahren 1827 u: 1828. / abcopirt vom Jos: Perschl. Contrabassist / in der Dom: Kapelle 1837.” This catalogue was in use throughout the nineteenth century, and contains entries from as late as 1905. Arranged by genre and then by composer, the catalogue assigns a number to each piece, and provides a title, key, incipit, partial list of instrumentation and an indication of whether the work is for “Tutti” or “Solo” forces. Armed with this detailed information, it is possible to make reasonable inferences about the contents of the archive four decades earlier. One important body of sources that is not represented in the catalogue is the vast majority of manuscripts from St. Stephen’s 29 A-Wda, s.s. Some of the entries were copied into the late nineteenth-century catalogue of Viennese church archives kept by Cyril Wolf; A-Wgm, 24504/48. 257
copied before Reutter became Kapellmeister in 1738. Although these manuscripts, principally of works by Fux and Caldara, were still part of the collection in the 1780s, they were sold in the early nineteenth century and passed to the Gesellschaft der Musikfreunde, where they remain today. 30 A sadder fate awaited many works that are listed in the catalogue but are marked with a red “NB”. This notation indicated pieces that were no longer in active use and were stored in the Bartholomäuskapelle of the Cathedral. In 1889, the then Domkapellmeister, Gottfried Preyer sold them to a cheesemonger as scrap paper. 31 Accounts of the events in April 1945 usually describe the St. Stephen’s collection as entirely destroyed, 32 but this is not quite correct. A number of manuscripts in a room adjoining the main archive survived the fire, 33 and these are still held today by the Cathedral. 34 The surviving collection comprises some one hundred manuscripts dating from the mid-eighteenth through the late nineteenth-century, in addition to a large number of printed chant books. The eighteenth-century material consists mostly of works by Reutter, but there is also an offertory by “Kayser” probably copied around the same time, and a number of pieces by the Haydn brothers, Preindl and Vanhal from the first decade of the nineteenth century. The numerous Mozart sources will be discussed later in this chapter. As I have mentioned in the previous chapter, many of the sources from St. Stephen’s are in the hand of Edge’s Viennese Mozart-Copyist 3. Figure 4.4 shows the first page of the 30 Otto Biba, “Haydniana in den Sammlungen der Gesellschaft der Musikfreunde in Wien,” Österreichische Musikzeitschrift 37, no. 3-4 (1982): 178. Some more recent instrumental repertoire for the Cathedral may also have been transferred; see Neal Zaslaw, “Mozart, Haydn and the Sinfonia Da Chiesa,” Journal of Musicology 1 (1982): 103. I have not had the opportunity to examine these manuscripts, but given the small place such “old” music occupied in the repertoire of the Hofkapelle, their relevance for this study is likely limited. 31 Franz Kosch, “Florian Leopold Gassmann als Kirchenkomponist” (PhD diss., Universität Wien, 1924), 46. Neither of these sales is noted in Jahn, Die Musikhandschriften. 32 See, for example, Biba, “Haydniana in den Sammlungen der Gesellschaft der Musikfreunde in Wien.” 33 Karl Pfannhauser, “Epilegomena Mozartiana,” Mozart-Jahrbuch 1971/2 (Salzburg, 1973), 294. I have been unable to establish the exact circumstances of their survival, or the origin of Pfannhauser’s information. According to Michael Jahn, “Zwei Kästen von Noten blieben zu Kriegsende des Jahres 1945 aus unbekannten Gründen vom Feuer verschont.” Jahn, Die Musikhandschriften, 51. 34 For a catalogue, see Ibid., 58ff. 258
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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.
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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
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
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: Figure 4.3. Choirloft and organ at
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
Page 297 and 298: were present at St. Stephen’s on
Page 299 and 300: Whatever the background, Mozart eve
Page 301 and 302: Als Hr: kapellmeister Hofmann krank
Page 303 and 304: 292 Figure 4.12. Deleted rejection
Page 305 and 306: information, for the mention of the
Page 307 and 308: and the newly-written Ave, verum co
Page 309 and 310: Figure 4.14. Autograph petition by
Page 311 and 312: Question. Whether he occasionally a
Page 313 and 314: IV. MUSIC AT THE BADEN PFARRKIRCHE
Page 315 and 316: most renowned of the composer’s s
Page 317 and 318: 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
Page 323 and 324:
Figure 4.15. Opening of Mozart’s
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Figure 4.17. Verso of Mozart’s (
Page 327 and 328:
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
Page 333 and 334:
example, sets of parts used in Bade
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Figure 4.18. Title wrapper of a set
Page 337 and 338:
evival of Die Entführung aus dem S
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paper dimensions, watermarks, the s
Page 341 and 342:
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
Page 347 and 348:
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
Page 353 and 354:
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
Page 359 and 360:
The score of Gluck’s De Profundis
Page 361 and 362:
the material derives from the Hofka
Page 363 and 364:
Figure 5.3. Wrapper of parts for Ga
Page 365 and 366:
part is marked “Trani” in the I
Page 367 and 368:
II. THE COMMISSIONING OF THE REQUIE
Page 369 and 370:
eplacement for the usual clarinet p
Page 371 and 372:
Bauman, it is “unworthy of Mozart
Page 373 and 374:
Whatever attitudes Mozart may have
Page 375 and 376:
several works for the German liturg
Page 377 and 378:
service in the orchestra, and it ma
Page 379 and 380:
Figure 5.7. Autograph opening of S
Page 381 and 382:
Figure 5.8. Autograph title page of
Page 383 and 384:
comparisons between Mozart and Süs
Page 385 and 386:
Süssmayr’s relations with Salier
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Musikfreunde, was witnessed by Sali
Page 389 and 390:
The earliest report, completed in P
Page 391 and 392:
Taken as a group, the four reports
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otherhood, the St. Cecilia Brudersc
Page 395 and 396:
Fortunately, a number of Johann Geo
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Figure 5.11. “Singers’ graffiti
Page 399 and 400:
detailed account of payments and a
Page 401 and 402:
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
Page 407 and 408:
Seelenamt 6.-- Ornat beym Seelenamt
Page 409 and 410:
Figure 5.15. Receipt by Spangler da
Page 411 and 412:
the rhythm of the Cum sanctis. 172
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than 1795, and in a score of Don Gi
Page 415 and 416:
Figure 5.19. Entry by Freystädtler
Page 417 and 418:
minor. 186 It may be doubted, howev
Page 419 and 420:
Discovering the true identity of th
Page 421 and 422:
organist in Vienna. 200 Benedikt Sc
Page 423 and 424:
Figure 5.21. Autograph Clarino Imo
Page 425 and 426:
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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