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

Vorfallenheiten und Feierlichkeiten die diesfällige Erlaubnis ertheilen möge; jedoch wollen
allerhöchst Dieselbe allergnädigst, daß es in denen übrigen Fällen bei dem untern 8. Januar 1754
in Sachen ergangenen allerhöchsten Verbot sein Bewenden haben solle. 36
In view of Joseph’s later proclamations, it is something of an irony that his first venture into
the realm of church music effected a lessening in officially imposed restrictions. Whether his
actions, represent a carefully thought-out philosophy of sacred music or an impulsive
reaction to public demands is an uncertain question, as is Maria Theresia’s involvement in an
initiative bearing her name but clearly derived from her son. In his early years, Joseph had
received a wide-ranging education, including musical instruction from Reutter, 37 and
participated in the expected religious observances, both public and private. 38 Interestingly,
the young Archduke’s reading included “a part of the works of the learned Muratori,”
although it is not known which of the author’s voluminous writings are meant, or what
Joseph thought of them. 39 Later in life, the Emperor participated in liturgical and extra-
liturgical performances of sacred music together with other members of the family. 40 Yet if
36 Sammlung der Kaiserlich-Königlichen Landesfürstlichen Gesetze und Verordnungen in Publico-Ecclesiasticis
(Vienna: Johann Thomas von Trattner, 1782-9), i.2-3. This specification differs somewhat from Joseph’s
original opinion, written in the Emperor’s idiosyncratic French on the back of Count Chotek’s letter: “L’usage
des Trompetes et Tymbales est a accorder generalement pour tous les Tedeum, qu’on tiendra pour la guerison
de S:M: de meme qu’a l’avenir on en pourra faire usage dans toutes les processions et dans les eglises les
Regences ou Gouverno [sic] joint a l’ordinaire pourront dispenser dans les cas on Ceremonies de plus grande
fete ou publicité ce que l’on doit faire conaitre dans les pays que la defense reste et qu’on n’en accorde que
conjointement au temporell et eclesiastique la permission de dispenser dans des cas Majeures.” I am grateful to
Bruce Brown for his assistance in the transcription and interpretation of this document.
37 “A 6½ Reutter donnera sa leçon en musique les lundi et mercredi; mardi, jeudi et samedi cette heure est
destinée pour la danse. Il finit par quelques amusemens jusqu’à 8 heures.” Quoted in Arneth, Geschichte Maria
Theresias, iv.523. On Joseph’s musical education, see also Clemens Höslinger, ‘Zum Musikverständnis Josephs
II.’, Internationaler Musikwissenschaftlicher Kongreß zum Mozartjahr 1991, ed. Ingrid Fuchs (Tutzing: Hans
Schneider, 1993), i.33-42, here 35-6.
38 On Joseph’s education, see Beales, Joseph II, 43-68 passim.
39 Ibid., 47.
40 On 5 August 1762, Joseph took the organ part in a performance of Hasse’s Litania della BVM (Müller
173/3), with his mother and a number of his sisters singing the solo roles. See Leopold Kantner, “Hasses
Litanei Für Den Kaiserhof,” in Colloquium “Johann Adolf Hasse Und Die Musik Seiner Zeit,” Siena 1983, ed.
Friedrich Lippmann (Laaber: Laaber-Verlag, 1987), 419-28. In September 1772, Joseph, together with the
Duke of Braganza and Count Rosenberg “sang, or more accurately miaowed. They performed in the empress’s
presence [falsetto?] the Stabat of Pergolesi…then some grandes messes, some Misereres and no doubt a Dies irae
or two as well”; letter of Leopoldine Kaunitz to her sister Eleonore Liechtenstein, 27 Sep 1772, quoted in
18