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

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five children before her death in July 1777. A year later, Stoll married Katharina Huber, with whom he had four more children and who was no doubt acquainted with Mozart and Constanze on their visits to Baden. Stoll also applied for membership of the Tonkünstlersocietät in 1778, at which time he had apparently taken part in their concerts. 157 In July 1797, Katharina Stoll died of “Abzehrung,” after which the choirmaster married yet again, this time to a widow, Anna Maria Krippel, in 1798. No children resulted from this marriage, but six of Stoll’s children from his previous marriages survived infancy. On 30 May 1805, Stoll died of “Brustwassersucht,” and, interestingly enough, Anna succeeded him as “regens chorin” at St. Stephen’s until the appointment of her successor, Leopold Maglo, in April 1806. Anton Stoll would likely occupy the same obscurity as other provincial choirmasters of the time if not for the warm relations he enjoyed with a number of Vienna’s most prominent composers. In addition to his association with Mozart, to be considered in detail here, Stoll was instrumental in arranging accommodation for Haydn’s estranged wife, Anna Maria, who rented rooms in Stoll’s house and died there on 20 March 1800. In her will, Anna Maria left a number of items to Stoll, his wife and their daughter Antonia, and Stoll served as witness at the proving of the will on 22 March. Süssmayr continued to have warm 157 Although the original documents are lost, the application and its response are mentioned in the Society’s Hauptbuch (A-Wsa, Haydn-Verein, B 2/1): “Stoll Ant: Regens Chori in der Lands: fürstl: Stadt Baaden sucht an als Mitglied in die Societaet aufgenohmen zu werden. Dieß Ansuchen findet bey Supplicanten als einem Auswärtigen bis dahin nicht statt, biß er sich bey der Societaet wird geltende Meriten erworben haben.” On 29 December 1778, the minutes reported, “Stoll Anton |: gebohren den 16 ten April 1747 :| Regens Chori in der Landsfürstl: Stadt Baaden, welcher schon einigmall bey der Musical: Societaets Academien erschienen, sucht abermall an als Mitglied in die Societaet aufgenohmen zu werden. Fiat, und hat der Supplicant die Statuten mässige Einlag, als ein Auswärtigen nebst dem JahrsNachtrag, und gewöhnlichen Büchelgeld zusam[m]en 486f: 10 Xr: den 15 ten Februarÿ [1]779. zu erlegen; Beynebens sich zu reversiren, daß er bey allen Societaets Academien sowohl, als den hievon nothwendigen Proben auf seine eigene Unkösten erschienen wolle.” Stoll’s name does not appear in the list of members (B 4/8). 305
elations with Stoll after the death of Mozart, writing his own setting of Ave verum corpus SmWV 121 for Baden in 1792, and addressing two letters to the choirmaster in 1802-3. 158 The vocal forces available to the choirmaster were modest and entirely characteristic of parish choirs at the time. In addition to the sexton and the assistant teacher, both of whom were expected to be musical, Stoll could call on two choirboys, an Altist and a Diskantist. The instrumental forces consisted of the town’s Türmer, 159 Franz Kicker (1734- 1805), and four apprentices. Stoll was responsible for the storage and maintenance of the instruments; in 1793 he acquired two violins at 6fl each and a higher-quality instrument at 9-10fl “auf das Chor der Pfarrkürchen.” The church’s organ was originally built in 1744 for the Augustinian monastery of St. Dorothea in Vienna by Johann Hencke (1698-1766). With the closure of the monastery, the organ was moved to Baden in 1787 and installed at St. Stephen’s by the Viennese builders Johann and Josef Wiest. The town council had originally commissioned an entirely new organ from Franz Xaver Chrismann in 1782, but the project was abandoned due to financial disputes. 160 The disposition is not known, but the original case and a number of the pipes are still extant. In return for his services, Stoll received an annual honorarium of 271 gulden and a four-room house at Schulgebäude Baden Nr. 3, today Pfarrgasse 16. In addition, Stoll received extra payments for the music he provided at the Pfarrkirche. In 1774, he was paid 41fl 12xr for a daily musical setting of the Litany, 34fl 48xr for Stiftsämter that were supplementary to the usual Sunday services, and 6fl for two processions on Corpus Christi 158 Originals in A-Wst; partially edited in Lorenz, “Süssmayr und die Lichterputzer.” 159 The term literally means someone who is responsible for spotting fires and giving advance warning of approaching enemies from a watchtower; by this time, however, the post was effectively equivalent to “town musician.” 160 Rudolf Maurer, Festschrift zur Orgelweihe: Pfarrkirche Baden St. Stephan (Baden: Pfarre St. Stephan, 1987), Karl Schütz, Der Wiener Orgelbau in der Zweiten Hälfte des 18. Jahrhunderts, vol. 35, Dissertationen der Universität Wien (Vienna: Verlag Notring, 1969), 8-9. 306
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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
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e pursued in detail here, and the e
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Table 3.5. Some early copies of K.
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Krönungsfeyer S r . M. / Franz. I
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Figure 3.31. Title page of a set of
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FOUR A Kapellmeister at St. Stephen
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dell’organo.” 5 If carried out,
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It is difficult to say whether the
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through local congregations and not
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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
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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: most renowned of the composer’s s
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
Page 349 and 350: welche Wonne!” in Die Zauberflöt
Page 351 and 352: Like much else in Mozart’s short
Page 353 and 354: FIVE Mozart’s Obsequies 342 Die M
Page 355 and 356: leading up to the Exequien for Moza
Page 357 and 358: 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
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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
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———. “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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