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

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application is the only evidence we have for it. 106 It is possible that Mozart had begun exploring the possibility of a Cathedral appointment somewhat earlier: around 1788, he had begun copying out sacred music by Hofmann’s predecessor, Reutter, and, as I have suggested, it is not impossible that these copies were based on exemplars from the Cathedral’s music archive. Mozart was personally acquainted with many members of the St. Stephen’s Kapelle through professional or family association, and any one may have provided the composer with the necessary inside information. Fifteen of the musicians, for example, were simultaneously employed at the court theatre, and thus played in some or all of Die Entführung, Figaro, the Viennese Don Giovanni and Così under Mozart’s direction. Franz Hofer, called “Roska=Pumpa” by Mozart, had been employed at St. Stephen’s as a violinist since 1780, and accompanied the composer on his first trip to Prague in 1787 and to the coronation in Frankfurt in 1790. 107 Late in Mozart’s time as adjunct Kapellmeister, the composer seems to have been particularly close to Hofer, having lunch with him on several occasions, and driving out with him to meet Carl in Perchtoldsdorf. 108 According to the unreliable obituary of Benedikt Schack, Hofer took the tenor part in the famous death-bed rehearsal of the Requiem. 109 As I have already speculated, the proclamation of Leopold II’s Generale on 17 March, relaxing some of the restrictions of the Gottesdienstordnung, may have provided the composer with further encouragement. Otto Biba, “Beispiele für die Besetzungsverhältnisse Bei Aufführungen von Haydns Oratorien in Wien Zwischen 1784 und 1808,” Haydn-Studien 4, no. 2 (1978): 100. 106 A long-standing illness may be implied by the Council’s response to Hofmann’s 1788 complaint about the Kapellhaus: “...wenn aber gedachter Kapellmeister einmal stirbt, oder mit ihm sonst eine Veränderung geschieht, so stünde alsdann dem Magistrat frey, von der Wohnung des künftigen Kapellmeisters...den entbehrlichen Theil zum besten der Stephanskirche zu verwenden.” Prohászka, “Leopold Hoffmann,” IV/11. Hofmann’s eventual cause of death was “Leberverhärtung.” Ibid., VII/1. A few months after his death, six musicians at St. Stephen’s signed a document mentioning that because of his illness, Hofmann had not been able to fulfil his duties entirely effectively; A-Wsa, HR A 17/5, 2/1793 (not in Prohászka.) 107 MBA, iv.11. The 1787 accountbook for St. Stephen’s displays no evidence that Hofer received a reduction in pay for his absence. 108 MBA, iv.160-62. 109 Deutsch, Dokumente, 460. 287
Whatever the background, Mozart eventually sat down towards the end of April 17<strong>91</strong> to draft a letter of application to the Vienna City Council, or Magistrat. Even by the standards of eighteenth-century supplicatory documents, the letter is a rather awkward construction; this is no doubt due to Mozart’s difficulty in stressing his own suitability for the position while avoiding the appearance of delighting in the illness of a professional colleague. The application survives in an autograph fair copy (see Figure 4.11), but Mozart apparently commissioned an unidentified professional copyist to produce a presentation version for submission to the Council. 110 In this later version, ignored by MBA, not even the signature is in Mozart’s hand. For the following transcription, the autograph has served as the principal text, with the variations in the presentation copy listed in the footnotes. Stadt Magistrat! 111 unterthäniges Bitten Wolfgang Amadè Mozarts k: k: Hofkompositors Um dem hiesigen Hr: kapell= Meister an der St: Stephans Domkirche adjungirt zu werden. Hochlöblich Hochweiser Wienerischer Stadt Magistrat Gnädige Herrn! 110 According to a later account by Joseph Hüttenbrenner, Mozart employed a Staatsbuchhaltungsbeamter called “Blach” as his copyist; see MVC, 29 n58. This “Blach” has never been identified. 111 Stadt Magistrat! ] An / den Hochlöb. Wienerischen / Stadt=Magistrat 288
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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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the “etwas kleinere” mass offer
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Figure 3.25a. Works by Mozart in Sa
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Mosel’s statement is only partial
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a mass by Kozeluch himself has an a
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Table 3.4. Performance calendar for
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der Musikfreunde in Vienna; see Fig
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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
Page 293 and 294: comparatively small remaining amoun
Page 295 and 296: intention of departing Vienna in th
Page 297: were present at St. Stephen’s on
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
Page 335 and 336: Figure 4.18. Title wrapper of a set
Page 337 and 338: evival of Die Entführung aus dem S
Page 339 and 340: paper dimensions, watermarks, the s
Page 341 and 342: Figure 4.19. Canto part for Ave, ve
Page 343 and 344: and other material. 222 Among the n
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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
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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
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———. “Mozarts c-Moll-Messe
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