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

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types in the manuscript through the vertical lines ruled on both sides of the staves. In addition to the Requiem, this paper is found in the autograph of Die Zauberflöte, the masonic cantata K. 623 and the infamous sketchleaf Skb 1791a. The second type, Tyson 102, was used for the last page of the Kyrie and from the second page of the Recordare to the end of the manuscript. 51 The earliest known use of this paper-type was in the bass aria Per questa della mano K. 612, dated 8 March 1791. In addition, it appears in the autographs of the string quintet K. 614, the mechanical organ Andante K. 616, the first movement of the horn concerto K. 412+514, Die Zauberflöte, the masonic cantata, and a number of fragments. The use of this type – almost two quires in total – in works from both early and late 1791 led Edge to suggest that Mozart might have made more than one acquisition of it. 52 Apart from establishing a terminus post quem of 18 September 1791, paper studies can contribute little to determining the chronology of the Requiem’s composition. The anomaly of the Kyrie’s last page, written on a paper-type that is otherwise not found until the Recordare, may be due to Mozart leaving the fugue unfinished until a later stage of the process, or simply the result of a mixed batch of paper. From the order of sketches on Skb 1791a, it seems that the notorious Amen sketch was conceived after the composition of the Zauberflöte overture was begun, but before the Rex tremendae was completed. 53 Critical evaluations of this most famous of Mozart’s sketches vary considerably. For Thomas 51 Folios 9-10, 79-100. 52 MVC, 435. Unfortunately, the illustrations of the Requiem’s watermarks in the 1990 facsimile edition are highly inaccurate. The introduction to the edition reproduces Alfred Schnerich’s stylised and unreliable watermark tracings from 1913 unchanged, despite the fact that they completely omit the word REAL found under the three moons. 53 Konrad has pointed out the resemblance between the unidentified Sk 1791a and the Recordare; Ulrich Konrad, Mozarts Schaffensweise: Studien zu den Werkautographen, Skizzen und Entwürfen, Abhandlungen der Akademie der Wissenschaften in Göttingen, Philologisch-Historische Klasse (Göttingen: Vandenhoeck & Ruprecht, 1992), 280. 359
Bauman, it is “unworthy of Mozart,” enacting a “constricted crisscrossing of the voices as they slowly slide in a huddled clump from one plodding dotted half note to the next...”. 54 Levin turns this weakness into a virtue, in which the voice crossings are prescriptive of an “intricate, ‘difficult’ counterpoint”. 55 However one considers the sketch, the awkward diminished-fifth leap in b. 7 and Mozart’s evident difficulty in devising a soprano part that would fit the already crowded texture in b. 14-16 reveal this to be a fugue at the most preliminary, even exploratory stage of composition. 56 Given the confidence and fluency of Mozart’s autograph notation, it is practically impossible on diplomatic evidence alone to determine when the composer was forced to give up work on the Requiem. The matter of Mozart’s final days is mostly beyond the scope of this study, but is worth considering the question of his religious beliefs at this most fundamental of junctures. According to Sophie Haibel’s celebrated account, ...die arme Schwester [Constanze] ging mir nach und bat mich um Gottes willen zu denen geistlichen bey St. Peter zu gehen, und Geistlichen zu bitten, Er mögte komen so wie Von Ungefehr, dis dat ich auch allein |: Sant peters wollte ich schreiben :| Selbe weigerten sich Lange, und ich hätte Vile Mihe einen solgen Geistligen Unmenschen dazu zubewegen... 57 Mozart’s residence was in fact part of the parish of St. Stephen’s Cathedral, so it is not clear why Constanze wanted her sister to visit St. Peter. Sophie had originally written “zu denen Michaeler zu gehen” in place of “zu denen geistlichen bey St. Peter zu gehen”, requiring her 54 Thomas Bauman, “Requiem, but No Piece,” 19th Century Music 15 (1991): 160. 55 Robert Levin, ed., Wolfgang Amadeus Mozart: Requiem KV 626...Ergänzt und Herausgegeben von Robert D. Levin (Stuttgart: Carus, 2004), xxv. 56 Unlike Plath, who was unable to decipher the soprano in b. 14-16, Konrad provides a conjectural transcription of this part in the NMA. Levin replaces it with the less-than-convincing sequence d1-e1-a in b. 16; Maunder has the soprano fall silent. Levin’s curious assertion that “18th century Amen fugues remain in the same key” (Requiem, xx) is contradicted by Krottendorfer’s C minor Requiem of 1793 (see above); the Amen fugue in this work contains complete or partial entries in E-flat major, B-flat major and F minor. 57 MBA, iv.464. 360
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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
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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 (
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Page 331 and 332: then Hofbibliothek in Vienna, where
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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 and 366: part is marked “Trani” in the I
Page 367 and 368: II. THE COMMISSIONING OF THE REQUIE
Page 369: eplacement for the usual clarinet p
Page 373 and 374: Whatever attitudes Mozart may have
Page 375 and 376: several works for the German liturg
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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
Page 419 and 420: 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:
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Armstrong, James. “'Litaniae Laur
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———. “Mozarts Wiener Kirche
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———. “Mozarts Anstellung am
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———. “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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