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

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y the composer before March 1791 (see below). K. 626 may be the first Requiem written in Vienna for a number of years, as I have been unable to identify any other setting dating from 1781-91. 40 A number of requiem settings did however appear soon after: a setting in C minor by Krottendorfer dated 1793, a D minor setting by Albrechtsberger (Schröder A.I.15), also from 1793, and a setting by Pasterwitz (Kaas Messen 11) from the early 1790s. 41 It is conceivable that Mozart envisaged eventual performances of the Requiem at St. Stephen’s or the Hofkapelle, as both institutions had constant need of missae pro defunctis. With the scoring of the work for basset horns, however, Mozart set an obstacle in the way of anyone wishing to perform the Requiem in Vienna – let alone Wiener Neustadt. Basset horns were practically unknown in Viennese church music, and even clarinets were rare until the later 1790s. As we have seen, Joseph II explicitly banned clarinets from the Hofkapelle in 1788. 42 Perhaps Leopold could have been more amenable, but there is no clear sign that clarinets were used in the Hofkapelle until the time of Haydn’s late masses. Church orchestras in other parts of the empire were more progressive: Druschetsky’s gradual In coeli favore, dated 24 August 1791, includes an elaborate solo for clarinet. 43 According to RISM, a set of parts in Budapest for Spangler’s Requiem includes a basset horn part, perhaps as a 40 Pasterwitz did however write a set of Vesperae pro defunctis (Kaas Vespern 12) in 1791. For an overview of Viennese Requiem settings, see Christian Wurzwallner, “Requiem-Vertonungen in Wien Zwischen 1750 und 1820” (Diplomarbeit, Universität Wien, 1990). 41 The autograph of Krottendorfer’s Requiem, deriving from the collection of Archduke Rudolph, is in A- Wgm, I 11573/A 446a. The autograph of Albrechtsberger’s setting is in H-Bn, Ms. Mus. 2599. The earliest source for the Pasterwitz Requiem is a set of parts in A-Wn, HK 594, which bears several performance dates beginning with 18 December 1793. A partially autograph score and parts of later provenance is in A-KR, Part. Schr. and A-KR, D 45/40. An incomplete copy of the Pasterwitz Requiem was made by Michael Haydn (H- Bn, Ms. Mus. II. 3). Unfortunately, the editors of the Michael Haydn catalogue did not recognise the origin of this score and attributed the work to Haydn himself; see Petrus Eder, “Johann Michael Haydns Angebliches Mittleres Requiem MH 559,” Kirchenmusikalisches Jahrbuch 83 (1999): 91-9. The misattribution was compounded by a German music journalist, Olaf Krone, who announced to the world his “discovery” of this “unknown” Haydn Requiem and had Pasterwitz’s Requiem recorded under Haydn’s name (Capriccio 71084, 2006). 42 “Clarinetti...sind in Hinkunpft bei Kirchen Diensten gänzlich wegzulassen.” Quoted in Link, “Mozart's Appointment,” 177. 43 H-Bn, Ms. Mus. 1590. 357
eplacement for the usual clarinet parts associated with this work. 44 Johann Simon Mayr (1763-1845) scored for the basset horn in a Requiem dating from the early nineteenth century. 45 Franz Novotny (c. 1749-1806) in Pécs and Vincent Maschek (1755-1831) in Prague both called for it in their masses. 46 Mozart had started a D minor piece involving basset horns before: the quickly abandoned piano concerto movement Fr 1786k/K. Anh. 61. As with much of Mozart’s music, there is little concrete evidence of the external circumstances under which the Requiem was written. The anonymous obituary for Schack claimed that the “grössten Theil seines Requiem schrieb er [Mozart] auf der Laimgrube in dem Trattnerschen Garten.” However, as Deutsch pointed out, Trattner’s residence, printing works and substantial garden were located in Altlerchenfeld, not in the Laimgrube, so something is amiss here. 47 Mozart’s clavichord, now in the Mozarteum, bears a note in the hand of Constanze: “Auf diesem Clavier hatte mein seeliger Gatte Mozart componirt die Zauberflöte, La Clemenza di Tito, das Requiem und eine neue Freimaurer-Cantate in zeit von 5 Monate.” 48 The surviving portions of Mozart’s disrupted autograph score are written on two paper-types. The first, Tyson 62-V, was used for the Introit, all but the last page of the Kyrie, and the Sequence from the opening of the Dies irae to the first page of the Recordare inclusive. 49 In total, Mozart purchased more than a quire of this paper sometime after his return to Vienna on 18 September, 50 and it is easily distinguishable from the other paper- 44 H-Bb, 47,131. 45 Autograph in I-BGc, 306.6. 46 H-P, N 29; CZ-ND, I/97. An anonymous Missa in D in A-Wbb, 7, copied by the schoolteacher Johann Niklas Weber in “Didershausen” and dated 30 July 1786 has parts in the Et incarnatus and Benedictus for two “Clarinetti d’amore.” The use of unusually “low” instruments was not unprecedented: Bonno’s E-flat Requiem employs two cor anglais, and Eybler’s setting of 1803 was to use the same instrument. 47 Deutsch, Dokumente, 459-60. 48 MBA, vi.647. Upon receiving it, Constanze had written: “wie sehr froh ich darüber bin, bin ich nicht im stande zu beschreiben. Mozart hatte dies Clav. so lieb, und deßwegen habe ich es doppel lieb.” MBA, iv.505. 49 Folios 1-8, 65-76 in the red foliation. 50 MVC, 437. 358
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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
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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 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: II. THE COMMISSIONING OF THE REQUIE
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
Page 417 and 418: 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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