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

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Unfortunately, the account books for the years 1788 to 1791 have been lost, precisely the years in which such sources would be of the greatest interest, not least for information on the St. Stephen’s Kapelle as Mozart knew it. 73 A copy of the account book for 1792 does however survive in the Stadt- und Landesarchiv, recording Hofmann’s last complete year as Kapellmeister. 74 Given this gap of four years, I present first a summary of all the musicians paid at the Cathedral from 1781-87, followed by a more detailed account of the 1792 accounts; see Tables 4.1 and 4.2. 75 Even in comparison to other Viennese church ensembles, the composition of the St. Stephen’s Kapelle is very little known to music scholarship, since the Cathedral was not included in the 1783 census. 76 Many of the musicians are however well attested through their membership of the Hofkapelle or the opera orchestras, and I have indicated such individuals when they are known to have participated in the court ensembles at any time from 1781-91. A few aspects of the accounts should be mentioned. The six choirboys are not listed because a payment for their upkeep was given to Hofmann directly, and Hofmann also provided two of the three altos. One of the tenors, first Michael Assmann then the Hofkapelle 73 Some information on the trombone players in these years is recoverable from applications made to the Council in 1788-89 by Leopold Sengner, Clemens Messerer and Joseph Hoffmann, to which the Kapellmeister added a letter of support; A-Wsa, HR A 17/4, 1/1789 (not in Prohászka.) On the violinists in 1791, see below. 74 The equivalent in the Diözesanarchiv is lost. A receipt signed by Hofmann for the provision of music at the “Managetische Quartalrequiem,” dated 31 December 1792, is described in 850 Jahre St. Stephan: Symbol und Mitte in Wien 1147-1997, 281-82. 75 According to the St. Stephen’s catalogue, Georg Summer served as adjunct organist at the Cathedral from 1782; Jahn, Die Musikhandschriften, 50. As Summer’s name does not appear in the accounts, his service was presumably unpaid. A number of clergy at St. Stephen’s were responsible for the singing of chant, including the cantor Karl Graf Henkel, Freiherr v. Donnersmark and the Vorsanger Valentin Messesenu; Irmbert Fried, “Das Metropolitankapitel zu St. Stephan in Wien in seiner Personellen Zusammensetzung in der Zeit von 1722- 1900” (PhD diss., Universität Wien, 1952), 77, Schneider, Der Niedere Klerus, 138. 76 “Das daselbst angestellte Musick Personale wird von dem allhiesigen Löblichen Stadts Magistrat bestritten, dahero kömmt hierorts auszuweisen Nichts.” Biba1783, 24. No distinction is made in Table 6.1 between musicians belonging to the Essential- and Gnadenbildkapelle before the latter’s closure in 1784. For a transcription of the Gnadenbild accounts in 1783, see Hochradner and Vörösmarty, “Maria Pötsch,” 154-55. 273
Name Position Table 4.1. Musicians at St. Stephen’s Cathedral, 1781-87. Matthias Mittermeier Organist 1781 1787 Anton Pacher Altist 1781 1787 Joseph Krottendorfer Tenorist, Subcantor 1781 1787 Lorenz Grassl Tenorist, Sängermeister 1781 1787 Leopold Ponschab Tenorist 1781 1787 Ferdinand Hofmann Tenorist 1781 1783 Michael Assmann Subcantor 1781 1786 Anton Ponschab Subcantor 1781 1783 Tobias Gsur Bassist 1781 1787 Cyrillus Haberda Bassist 1781 1787 Johann Höller Bassist 1781 1787 Ferdinand Schalfuss Bassist 1781 1783 Franz Müller Choralist 1785 1787 Anton Karl Choralist 1786 1787 Wenzel Krist Posaunist 1781 1787 Johann Adlmann Posaunist 1781 1787 Joseph Hofmann Trombone 1781 1787 Klemens Messerer Trombone 1781 1787 Leopold Christian Trombone 1781 1785 Franz Steiner Bassoon 1781 1787 Jakob Peyer Bassoon 1781 1784 Joseph Gainsbacher Cornetto 1781 1787 Jakob Nurscher Kopist, Cornetto, “Musikus” 1781 1787 Matthias Hofer Violinist 1781 1787 Markus Hofer Violinist 1781 1787 Michael Hofer Violinist 1781 1787 Franz Hofer Violinist 1781 1787 Anton Hofmann Violinist 1781 1787 Nikolaus Reinhard Violinist 1781 1787 Otto Ponheimer Violinist 1781 1787 Anton Porghi Violinist 1781 1787 Johann Klemp Violinist 1781 1787 Joseph Scheidl Violinist 1781 1787 Leopold Gräbner Violinist 1781 1787 Joseph Adam Violinist 1781 1787 Fridrich Mechtl Violinist 1781 1787 274
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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
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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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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 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: Figure 4.9. Inventory of the St. St
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
Page 319 and 320: following letter to Constanze, Moza
Page 321 and 322: months. 170 For our purposes, the p
Page 323 and 324: Figure 4.15. Opening of Mozart’s
Page 325 and 326: Figure 4.17. Verso of Mozart’s (
Page 327 and 328: Perhaps the shared key of the mass
Page 329 and 330: Es dürfte wahrscheinlich nur wenig
Page 331 and 332: 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
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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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