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

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the Fronleichnamsfest, Joseph II and the court processed from the Hofburg to St. Stephen’s, including the Hofmusik. 228 Processions also continued to take place on special occasions, such as the centennial anniversary of the Turkish defeat at the gates of Vienna on 14 September 1783. 229 No previous reference to the Corpus Christi procession or Maria Treu itself appears in Mozart’s letters, and from this letter alone it is not obvious why Mozart would travel from the family’s residence in the centre of town to attend a suburban event. 230 Perhaps the composer had attended in previous years, or had some engagement that is unknown to us. 231 The visit may have been connected with Mozart’s attempts to have his son Carl accepted into the Löwenburgisches Konvikt, the school operated by the Piarists. More than three months after the procession, Mozart wrote to Constanze: “um 10 uhr gehe ich zu den Pieristen ins amt, weil mir Leitgeb gesagt hat, daß ich dann mit dem Director Sprechen kann. – bleibe auch beym Speisen da.” 232 The following week in his last surviving letter, Mozart complained about the low standards at his son’s current school in Perchtoldsdorf, to which Carl would need to be returned, and added, “unterdessen kann die Geschichte wegen den Piaristen zu Stande kommen, woran wirklich gearbeitet wird.” 233 The commentary to MBA itself (Ibid., Beilage). Although in theory Vienna was affected by this order (Ibid., 152, 478), the city’s churches very likely continued to follow the local order from 1783 in cases where the two documents differed, as the present example demonstrates. Leopold’s Generale of 1791 modified the previous order only to grant bishops the power to allow additional Rogation processions; RGZJ, 559. 228 See, for example, the account of the 1786 procession in A-Whh, Zeremonialakten, Protokoll 37, f. 19. 229 The event was noted by Count Zinzendorf in his diary on that date: “Procession pour la centiême anniversaire de la levée du Siege de Vienne.”; quoted in Link, The National Court Theatre, 210. 230 For a sample list of processions associated with Corpus Christi prior to the reforms of Joseph II, see Janet K. Page, “Music and the Royal Procession in Maria Theresia's Vienna,” Early Music 27 (1999): 98. The commentary in MBA (vi.416) includes the strange comment, “Mozart nahm, obwohl er Freimaurer war, daran teil.” 231 Biba states that this procession was not permitted under Joseph II, and only took place again after Leopold relaxed the restrictions, but see above; Otto Biba, “Volkmar Braunbehrens: Mozart in Wien [Review],” in Mozart-Jahrbuch 1986 (Kassel: Bärenreiter, 1987), 213. 232 MBA, iv.160-61. 233 MBA, iv.162. 333
suggests that Mozart took part in the procession and mass in order to make a good impression with the school’s authorities. 234 The Piaristenkirche’s music, directed from 1791-94 by Pater Aloisius Vorsix (1752- 1817), 235 was among the most extensive of such programs in the suburban churches of Vienna, and Mozart no doubt heard it during his two visits. The most well-known musical event in the Piaristenkirche’s history was the performance on 26 December 1796 of a Haydn mass, possibly the Missa in tempore belli, under the direction of the composer. As Joseph Richter reported in the Eipeldauer-Briefe, the performance was to honour the first mass celebrated by a priest, Joseph Hoffmann: Hernach bin ich die Täg beyn Piristen in der Kirchn gwesen. Dort hat ein braver geistlicher Herr sein Priminz ghalten, und da hat der berühmte Haiden d’Musik dazu gmacht, und da hab ich aus bsondrer Gnad ein Antrebilliet aufn Chor kriegt; denn sonst hätten s’mich in der Kirchen erdruckt. Herr Vetter in keiner Predig ists noch so voll gwesen, aber es ist auch der Müh werth gwesen, Herr Vetter: denn so ein schöne Musik hab ich fast noch in kein Theater ghört. 236 Mozart’s motet Ave, verum corpus has become indelibly associated with Anton Stoll and the Baden Pfarrkirche. The autograph is dated “Baaden, li 17. di giunnio 1791”, although the Verzeichnüss dates it 18 June. There seems little doubt that it was intended for Corpus Christi given the proximity to the feast, although contemporary settings allowed for a wide range of uses. 237 But where was it performed? The usual assumption is that it was first heard in Baden on Corpus Christi, 23 June 1791. Mozart, in his letter to Stoll of late May 1791 had requested that the choirmaster find Constanze suitable lodgings for her forthcoming 234 MBA, vi.416. Till is surely incorrect in his statement that Mozart “often” visited the Piarists; Nicholas Till, Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (New York: Norton, 1993), 128. 235 Otto Biba, Der Piaristenorden in Osterreich. Seine Bedeutung für Bildende Kunst, Musik und Theater im 17. und 18. Jahrhundert, vol. 5, Jahrbuch für Österreichische Kulturgeschichte (Eisenstadt: Institut für österreichische Kulturgeschichte, 1975), 160. Vorsix’s birth and death dates are from the “Portheim-Katalog” in A-Wsa. 236 Quoted in Ibid., 128-9. 237 Other eighteenth-century settings designate Ave, verum corpus as an offertory or elevation motet, and strophic settings of it were sung during stations of the Corpus Christi procession. 334
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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
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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
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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 other material. 222 Among the n
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
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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
Page 393 and 394: 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
Page 465 and 466:
———. “Mozarts c-Moll-Messe
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