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

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however, the autograph of Ave, verum corpus was in the possession of Stoll at Mozart’s death, and passed to Joseph Schellhammer in 1805. There is currently no known evidence that André ever gained access to the autograph, or indeed knew of its whereabouts in early 1800. Furthermore, André’s own catalogues of the Nachlass – the “Gleissner” catalogue, the manuscript catalogue of 1833 and the printed catalogue of 1841 – make no mention of any source for the motet. Yet André must have possessed or gained access to a copy of Ave, verum corpus, since his firm was responsible for its first publication in 1808. 220 If indeed Constanze did send André a copy of the motet as part of her delivery of the Nachlass, what form did this source take? One possibility is that Mozart, having given the autograph to Stoll, prepared a set of parts or perhaps even a new autograph score of Ave, verum corpus for his own use in Vienna. This manuscript, now lost, could have been sent to André in 1800, although the theory is of course weakened by the absence of any reference to such a source in the publisher’s subsequent catalogues. The 1808 print does display a number of minor variants that could conceivably indicate its derivation from an “authentic” source other than Stoll’s autograph, but they could equally have arisen in an intermediary copy of the surviving score. 221 For the moment, the question of what kind of source André had for Ave, verum corpus must remain unanswered. One further manuscript that may be connected with Mozart and Baden has yet to be mentioned. In 1965, Hellmut Federhofer recovered part of the estate of Ferdinand Bischoff (1826-1915), a legal scholar based in Graz. The collection, which Federhofer acquired for himself, contained several autograph sources by Mozart, in addition to copies by Aloys Fuchs 220 The publication was announced in the Intelligenz-Blatt to the AMZ in January 1808 (col. 19). 221 At least three editions of the print seem to have appeared. The earliest (exemplar: US-CA, Mus 745.1.581 BMEO) notates the upper vocal parts in soprano, alto and tenor clefs. Two further editions (Ibid., 745.1.581 Merritt Room and 745.1.581 PHI) employ “modern” treble and bass clefs, and one advertises the existence of printed parts (not included in the Harvard exemplar). A copy of the motet by Maximilian Stadler (A-Wn, Mus. Hs. 37879) has no textual significance. 331
and other material. 222 Among the non-autograph sources was a late eighteenth-century score of the gradual Sancta Maria, Mater Dei K. 273. The score, on Italian paper, bears the remark “pro me/Giuseppe Schellhammer mpria/Organist zu Leoben.” 223 Bischoff himself later added: “Aus dem Nachlaß Stoll’s in Baden” and “Schellhammer Stoll’s Gehilf hat dieses u. andere Mss. von Stoll überkommen.” If Bischoff’s remarks are correct, it is conceivable that Mozart had something to do with Stoll’s possession of a score for K. 273. 224 The question of the precise provenance of this manuscript awaits further investigation. V. “MIT EINER KERZE IN DER HAND” On Sunday, 25 June 1791, Mozart wrote to Constanze, “Morgen werde ich mit einer kerze in der Hand in der Joseph Stadt mit der Proceßion gehen!” 225 This observance, which began and ended at the church of Maria Treu, was in honour of Corpus Christi, a feast that fell the previous Thursday. On his 1772 visit to Vienna, Burney was informed by an Italian that “the Austrians were extremely addicted to processions,” and he himself noted that “not a day passed while I remained in this city, without one or more to some church or convent.” 226 Processions were curtailed and regulated under the 1783 Gottesdienstordnung, but even here the designers of the order retained them on Corpus Christi and its octave. 227 Every year on 222 Hellmut Federhofer, “Mozartiana im Musikaliennachlass von Ferdinand Bischoff,” in Mozart-Jahrbuch 1965/66 (Salzburg: 1967), 15-38. Federhofer subsequently disposed of a number of the autographs; the early trio for three unnamed instruments K. deest, for example, is now in A-Wn, Mus. Hs. 41986. I do not know if the manuscript discussed here is still in Federhofer’s possession. 223 Ibid., 33. Federhofer lists the watermarks as “drei Halbmonden,” which is almost certainly an incomplete description. 224 No source for K. 273 is found in the Baden collection at A-Wn. 225 MBA, iv.142. 226 Burney, An Eighteenth-Century Musical Tour in Central Europe and the Netherlands, 105. 227 The Gottesdienstordnung reads: “In den Vorstädtpfarren aber wird am Sonntag innerhalb der Fronleichnams Oktav Vormittag die Fronleichnamsprozession nach folgender Eintheilung geführt:...Von der Pfarr der Piaristen in der Josephstadt, mit welcher die Pfarr der Trinitarier zu gehen hat.” RGZJ, 553. The revised order for Niederösterreich of 1786 included a general prohibition on Corpus Christi processions outside the feastday 332
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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
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Whether Burney communicated any of
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Gottesdienstordnung, the town counc
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Figure 4.9. Inventory of the St. St
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Name Position Table 4.1. Musicians
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Name Position Table 4.2. Music pers
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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
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: Figure 4.19. Canto part for Ave, ve
Page 345 and 346: suggests that Mozart took part in t
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
Page 381 and 382: Figure 5.8. Autograph title page of
Page 383 and 384: comparisons between Mozart and Süs
Page 385 and 386: Süssmayr’s relations with Salier
Page 387 and 388: Musikfreunde, was witnessed by Sali
Page 389 and 390: The earliest report, completed in P
Page 391 and 392: 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
Page 427 and 428:
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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