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

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There seems no way of identifying the date of this performance and the identity of the mass performed, or determining if it relates to the two known performances documented by Mozart’s letters. 188 Because Mozart is said to have taken a week to teach Antonie her part, one might think that some solo work was involved, but both leading candidates, K. 275 and K. 317, include solo arias for soprano so it is impossible to eliminate either of them. 189 Girls and women were regular salaried members of parish choirs in Vienna, so Antonie’s gender and age were certainly no barrier to participation. If the “renommirte Sängerin” did indeed exist, one wonders who it might have been – perhaps one of the sopranos from Figaro, Così fan Tutte or Die Zauberflöte in their 1790-91 productions. 190 In sum, the above sources document the performance of two Mozart masses in Baden: an unidentified mass performed on 13 June 1790, and a performance of the Missa in B flat K. 275 on 10 July 1791 with Mozart’s involvement. In addition, Stoll possessed a set of parts for the Missa in C K. 317, making it likely but not certain that the Krönungsmesse received a performance in Baden in 1789-91. At Mozart’s death, Stoll actually possessed many more autographs of the composer’s sacred music: the Missa in C, K. 337, the Missa Brevis in D K. 194, the Dixit et Magnificat K. 193, the double-choir motet Venite, populi K. 260 and the famous Ave, verum corpus K. 618. When Stoll died in 1805, the autographs were inherited by his wife Anna, who gave them to Joseph Schellhammer, a teacher at the Baden school and later organist in Leoben. Schellhammer’s son, also called Joseph, inherited the manuscripts but was forced to sell them on financial grounds to Ludwig von Köchel in 1868. Köchel had a magnificent blue case made for the autographs, and bequeathed them to the 188 There is no basis for Deutsch’s supposition in Dokumente, 349 that the report refers to the July 1791 performance. 189 In K. 275, the Benedictus is cast as a soprano aria, while K. 317 has the famous Agnus Dei. 190 Anna Gottlieb, the first Pamina, had already created the role of Barbarina in Figaro at the age of twelve. 319
then Hofbibliothek in Vienna, where they remain today. 191 The fate of the autograph of K. 275 is less certain: there is no clear indication that Schellhammer ever possessed it, and it is lost today. Stoll may have possessed one other autograph of a rather surprising kind, as Constanze explained to Johann André on 31 May 1800: Eine Originalsynfonie von Mozart (ob just diese, weiss ich nicht) soll Hr. Stoll, Regens chori Chor=Rector in Baden – unweit Wien, haben. 192 The source of Constanze’s information is unknown, and it is equally unclear which of Mozart’s symphonies Stoll might have possessed and how he might have obtained it. We have no direct evidence that Mozart himself gave the autographs to Stoll, but a copy of K. 337 based on the autograph bears a note supporting this supposition (see below), and it is difficult to see how else the Stoll could have acquired them. Exactly when Stoll received the scores, and whether they were delivered as a group or in a more piecemeal fashion, we do not know. Given the care with which Mozart guarded his manuscripts, it is unlikely that the composer gave the autographs to Stoll with no expectation of ever receiving them back, the elaborate apology for K. 275 notwithstanding. It is a self-evident but important point that Mozart had every expectation of living beyond 1791 until the very last days of his illness, so in no sense could this gesture be construed as a valedictory gift. The mostly likely explanation, then, for Mozart’s delivery of the autographs to Stoll was to 191 See Federhofer, “Mozart-Autographe.” In addition to the items from Schellhammer’s Nachlass listed by Federhofer in A-Gmi, A-Wn preserves two items associated with Schellhammer. Mus. Hs. 3363 is a manuscript copy of the Haydn lieder collections published by Artaria, to which Mozart’s song Der Frühling K. 597 was later added. The title reads, “26 Lieder auf das Pianoforte. Dal Sig. Haydn. Ex rebus Giuseppe Schellhammer, provisorischer Regens-Chori und Organist in Baden. 1803.” The fact that Schellhammer was “provisional” regens chori in Baden seems to be previously unknown. According to Willander, Schellhammer’s hand appears in a set of parts from the Baden collection for Haydn’s Grosse Orgelmesse (A-Wn, Fonds 4 Baden 146); Alfred Willander, “Das Kirchenmusikarchiv der Stadtpfarrkirche St. Stephan zu Baden mit Beiträgen zu Einer Musikgeschichte der Stadt Baden” (PhD Diss., Universität Wien, 1972), xii. A-Wn, MS 23645 is a copy of the first edition of Beethoven’s sonata op. 27 no. 1 with the note, “Ex rebus Joseph Schellhammer.” A similar note appears on the autograph of K. 618 and the autograph of Süssmayr’s Ave verum corpus SmWV 121, now H-Bn, Ms. Mus. 3000. 192 MBA, iv.355. 320
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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
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Cathedral to cave in, destroying mu
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Figure 4.3. Choirloft and organ at
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copied before Reutter became Kapell
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Maestro di Capella part for the off
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Figure 4.6. Harmonisation of chant
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Figure 4.7. Pope Pius VI celebrates
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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
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: Es dürfte wahrscheinlich nur wenig
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
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
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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
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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