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

on 7 February 1781. 23 Peter Winter, Vice-Kapellmeister in Munich, wrote a Requiem for
Joseph II as, apparently, did Joseph Martin Kraus, hovkapellmästare in Stockholm. 24 For
obsequies in the Imperial capital, however, musicians seem to have relied on settings written
closer to home. From dates on the performance material, it seems that the Hofkapelle
performed at least two settings by Viennese composers during the mourning period for
Joseph II and Archduchess Elisabeth in early 1790: the Gassmann Requiem on 25 February
and 2 March, and a Requiem by Reutter (Hofer Requiem 4) on 3 March; see Figure 5.3.
The Reutter setting had already been performed on 6 November in 1788 and 1789, and was
used again for the Feast of All Souls in 1791. 25 Gassmann’s setting was also used by the
Hofkapelle for the anniversary of Maria Theresia’s death every year between 1788 and 1791;
see Figure 5.4. 26 Both a score and parts for the Gassmann survive, with the Introit and the
Dies Irae copied and gathered separately in the performance material. 27 The concertmaster’s
23 Campioni’s autograph is in A-Wn, Mus. Hs. 16449. There is no indication that the work was ever performed
by the Viennese Hofkapelle. Salvatore Pazzaglia’s Requiem for Maria Louisa, wife of Leopold II is in A-Wn,
Mus. Hs. 16666 and HK 513.
24 Both of Winter’s Requiem masses evidently achieved some popularity in Vienna, but the surviving parts for
Hofkapelle all date from around 1800 or later; A-Wn, HK 326, HK 1184, HK 1763, HK 1965. On the Kraus
setting, see Bertil H. van Boer, Joseph Martin Kraus (1756-1792): A Systematic-Thematic Catalogue of His
Musical Works and Source Study, vol. 26, Thematic Catalogues (Stuyvesant, NY: Pendragon Press, 1998), 4-5. A
Requiem attributed to Dittersdorf in PL-WRu, 60028 Muz. bears a note reading “Requiem Composto per
l'Esequie della defunta Augustissima Sovrana Maria Teresa di Carlo de Dittersdorf 1780.”
25 A-Wn, HK 793. If Bonno’s two settings were used, the performances were not noted on the wrappers; HK
99 bears no dates between 1776 and 1798, while HK 100-101 has no date after 10 March 1781. On the E-flat
work (Schienerl 31), see Sigrid Kleindienst, “Marginalien zu Giuseppe Bonnos Requiem,” in Musik Am Hof
Maria Theresias: in Memoriam Vera Schwarz, ed. R. V. Karpf (Munich: E. Katzbichler, 1984), 131-40.
26 The 1790 anniversary is not mentioned on the parts, but is confirmed by an entry in Zinzendorf’s diary; see
previous chapter.
27 A-Wn, HK 31/I (score) and 31/II (parts). Many of the parts are in the hand of Viennese Mozart-Copyist 3.
Both sources bear a number of cuts and annotations, some of which may be the work of Salieri; see Franz
Kosch, “Florian Leopold Gassmann als Kirchenkomponist” (PhD diss., Universität Wien, 1924), 45. Another
set of parts for the work, HK 245, takes the cuts into account and probably dates from the mid to late 1790s;
watermarks in this set include Duda BV/C-1, FC-3 and RGA-3.
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