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

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late date and general unreliability of Rochlitz’s anecdotes – not to mention the implausibility of Mozart addressing a colleague as “Papa” – call the veracity of this report into serious question. Nevertheless, it is conceivable that Mozart encountered Gassmann’s Requiem through its numerous performances by the Hofkapelle in the last years of the composer’s life. It is also possible that Mozart encountered the work at St. Stephen’s: the Cathedral did possess a set of parts for Gassmann’s Requiem, but unfortunately they were among those sold as wastepaper in 1889. 33 For the first anniversary of Joseph II’s death on 20 February 1791, Salieri selected another Viennese Requiem: a setting in C minor by Leopold Hofmann. 34 In contrast to the settings by Reutter and Gassmann, the Hofmann Requiem appears to have been newly prepared for this performance by Viennese Mozart-Copyist 3 and four other copyists. That the Hofkapelle would acquire Hofmann’s Requiem at this late stage of the composer’s career is an interesting confirmation of the Domkapellmeister’s continuing prominence in Viennese church music. There seems no way of determining when Hofmann wrote the work, but St. Stephen’s did possess two copies of it, and is possible that Salieri acquired the piece directly from the composer. 35 33 “Musikalien-Katalog” (A-Wda, s.s.), 109; Kosch, “Florian Leopold Gassmann”, 46. As is well known, the Gassmann Requiem is incomplete, lacking all sections from the Offertorium onwards. It is unclear how the Hofkapelle coped with this situation in the eighteenth century. At Stift Kremsmünster, Maximilian Stadler wrote concluding sections for the work in 1790 while he was Kommendatarabt of the monastery. These survive in the hand of Bonifaz Schweigert, the monastery’s regens chori (A-KR, D 40/3a-c). See Karl Pfannhauser, “Auf den Spuren der Mozart-Überlieferung in Oberösterreich,” in Zu Mozarts 200. Geburtstag. Festschrift des Linzer Landestheaters (Linz: Verlag des Landestheaters Linz, 1956), 24-5. In the first half of the ninteenth century, the Hofkapelle supplemented Gassmann’s setting with portions of works by Reutter (HK 793), Krottendorfer (HK 1208), Michael Haydn (HK 2054, HK 2209) and Kaintz (HK 1244); Karl Pfannhauser, “Epilegomena Mozartiana,” in Mozart-Jahrbuch 1971/72 (Salzburg: 1973), 292, Richard Steurer, Das Repertoire der Wiener Hofmusikkapelle im Neunzehnten Jahrhundert, vol. 22, Publikationen des Instituts für Österreichische Musikdokumentation (Tutzing: H. Schneider, 1998), 93-4. 34 A-Wn, HK 478. The principal watermark in the parts is Tyson 96; others include Duda GF-3 and Duda A/GF/C-2. 355
II. THE COMMISSIONING OF THE REQUIEM Given his limited public exposure as a composer for the church, Mozart was not the obvious choice for Count Wallsegg’s Requiem commission. 36 With the performances in Baden and his appointment at St. Stephen’s, Mozart had taken tentative steps towards achieving a greater prominence in this area, and it possible that Wallsegg had encountered the composer’s sacred works at some stage. Michael Puchberg has also been suggested as an intermediary, as he and his wife Anna rented an apartment at Hoher Markt 522, a house owned by Wallsegg until the end of 1791. Constanze and Carl stayed with the Puchbergs during Mozart’s tour of northern Germany in 1789, and two of the composer’s letters to Constanze contain his only known references to Wallsegg’s name. 37 Interestingly enough, Wallsegg’s library contained several Mozart prints dating from after 1793, showing that the Count continued to take an interest in the composer’s music even after the delivery of the Requiem. 38 Occasional suggestions that Mozart began work on the Requiem at his own initiative before the commission arrived are probably to be rejected. 39 At any rate, the paper-types on which Mozart wrote the surviving autograph material are not known to have been employed 35 “Musikalien-Catalog” (A-Wda, s.s.), 110. The entry bears an “NB” sign indicating the work was no longer in use, but it is crossed out. 36 For the historical background to the commission, see Andrea Worlitz-Wellspacher, “Der Bote des Requiembestellers,” Wiener Geschichtsblätter 45 (1990): 197-219. 37 Mozart’s letters of 16 April and 23 May 1789 are addressed to Constanze, “auf dem hohen Markt im Walseckischen Hause bei Hrn v Puchberg.” MBA iv.82, 88. See also Walther Brauneis, “'Dies Irae, Dies Illa' - 'Tag des Zornes, Tag der Klage': Auftrag, Entstehung und Vollendung von Mozarts 'Requiem'.” Jahrbuch des Vereins für Geschichte der Stadt Wien 47-8 (1991-92): 39. 38 See Walther Brauneis, “Franz Graf Wallsegg: Mozarts Auftraggeber für das Requiem. Neue Forschungsergebnisse zur Musikpflege Auf Schloß Stuppach,” in Musik Mitteleuropas in der 2. Hälfte des 18. Jahrhunderts, Historia Musicae Europae Centralis (Bratislava: Institut für Musikwissenschaft der Slowakischen Akademie der Wissenschaften, 1993), 211-21. 39 Stadler claimed that Mozart had written sketches for the Introit and Kyrie prior to the commission; see Wolff, Mozart's Requiem, 78-80. Mozart had certainly explored a similar idea to the Kyrie in the string quartet fragment Fr 1785c/K. Anh. 76 (417c), a piece also cast as a double fugue in D minor with a diminishedseventh leap in the bass. 356
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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
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comparatively small remaining amoun
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intention of departing Vienna in th
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were present at St. Stephen’s on
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Whatever the background, Mozart eve
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Als Hr: kapellmeister Hofmann krank
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292 Figure 4.12. Deleted rejection
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information, for the mention of the
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and the newly-written Ave, verum co
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Figure 4.14. Autograph petition by
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Question. Whether he occasionally a
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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
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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
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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: part is marked “Trani” in the I
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
Page 395 and 396: Fortunately, a number of Johann Geo
Page 397 and 398: Figure 5.11. “Singers’ graffiti
Page 399 and 400: detailed account of payments and a
Page 401 and 402: Majus 1791 [...] 1: 40: p[ro] descr
Page 403 and 404: SmWV 226. Both operas are undated,
Page 405 and 406: Figure 5.14. Entry in the St. Micha
Page 407 and 408: Seelenamt 6.-- Ornat beym Seelenamt
Page 409 and 410: Figure 5.15. Receipt by Spangler da
Page 411 and 412: the rhythm of the Cum sanctis. 172
Page 413 and 414: than 1795, and in a score of Don Gi
Page 415 and 416: 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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