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

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The somewhat unsavoury implications of Perinet’s account were presented in more explicit form by the actor Johann Friedel, with whom Schikaneder’s wife Eleonore had lived for a time before she was reconciled with her husband in 1789. Speaking of a typical Viennese service, Friedel writes: Ist nun die Messe oder der Segen zu Ende, so versammeln sich die jungen Herrchens vor dem Kirchthore, und passen, bis für sie ein Bissen kömmt, wornach sie schappen können. Solch eine volkreiche Kirche von Mädchens vom besten Willen ist die Michaeliskirche. – Vormittag um zwölf Uhr in der letzten Messe kannst Du Dir eine aussuchen, aufssuchen, und dann sie Abends im Seegen abholen, Dich mit ihr tete à tete besprechen, sie beschenken, sie lieben, oder wieder laufen lassen, was Dir beliebt. 125 In 1788, Joseph II issued a Hofordnung condemning the liturgical “abuses” occurring at the Michaelerkirche and ordering the church to conform to the new Gottesdienstordnung. Among the instructions was a requirement that the priest keep all prayer stools to the side, except during “Exequien, oder in der Charwoche zur Anbethung des Hochwürdigsten.” 126 St. Michael’s possessed a proud musical tradition: it boasted a famous organ by Johann David Sieber, still extant today, and it sometimes poached vocal and instrumental talent from the nearby Burgtheater. 127 On 25 July 1782, for example, St. Michael’s engaged Johann Valentin Adamberger to sing a motet, a week after Adamberger had created the role of Belmonte in Mozart’s Entführung aus dem Serail. 128 Until 1782, the St. Nicolai Bruderschaft, a musicians’ brotherhood of great antiquity, had its seat at the church. 129 Another musical 125 [Johann Friedl], Galanterien Wiens, auf eine Reise gesammelt, und in Briefen geschildert ([Vienna: Hörling], 1784), i.44-45. 126 Quoted in KBZ, vi.137-8. 127 On the history of music at St. Michael’s, see Karl Schütz, Musikpflege an St. Michael in Wien (Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1980), Otto Biba, “Die Kirchenmusik,” in Sankt Michael: Stadtpfarrkirche und Künstlerpfarre von Wien 1288-1988, ed. Karl Albrecht-Weinberger (Vienna: Eigenverlag, 1988), 55-65. 128 Biba1783, 57. 129 Schönfeld, Jahrbuch der Tonkunst, 99-100, Geraldine Rohling, “Exequial and Votive Practices of the Viennese Bruderschaften: A Study of Music and Liturgical Piety” (PhD diss., Catholic University of America, 1996), 149-78. 381
otherhood, the St. Cecilia Bruderschaft, was initially founded at St. Michael’s in 1725 but soon moved to St. Stephen’s Cathedral due to the brotherhood’s size and importance. 130 The association of the St. Cecilia Bruderschaft with St. Michael’s has generated some confusion in the literature concerning the memorial service for Mozart. Brauneis, discussing the location of the service, seems to suggest a connection between Mozart, a court musician since 1787, and the St. Cecilia Bruderschaft, which was composed primarily but not exclusively from court musicians. At first sight, this is an attractive idea: the Brotherhood’s statutes do indeed prescribe a “gesungenes Seelen-Amt” for deceased members. 131 Christoph Wolff, in his book on Mozart’s Requiem, even asserts that Mozart was actually a member of the brotherhood by virtue of his status as a court musician. 132 Mozart and his father belonged to the Kreuzbruderschaft in Salzburg, and both Wolfgang and Nannerl were inducted into the Skapulierbruderschaft when they were still infants. 133 There are, however, two fundamental problems with the “St. Cecilia” theory. Firstly, the brotherhood was based at the Cathedral, not St. Michael’s, for almost all of its existence, and was consistently referred to in those terms. 134 In Mozart’s time, only the most elderly musicians would have remembered the brotherhood’s connection with St. Michael’s. Secondly, the brotherhood was shut down in 1783 along with the rest of Vienna’s Brüderschaften, and in 1784, the Tonkünstlersocietat successfully petitioned the Emperor to 130 Rohling, “Bruderschaften”, 182. 131 Anon., Articulen und Puncten oder So Genannte Statuta der Musicalischen Congregation Welche...Allhier in Wien Aufgerichtet Worden (Vienna: Ghelen, 1725), 4-8. 132 Wolff, Mozart's Requiem, 4. 133 Eisen, Neue Dokumente, 29; Peter Keller and Armin Kircher, eds., Zwischen Himmel und Erde: Mozarts Geistliche Musik (Salzburg: Dommuseum, 2006), 132. 134 See, for example, Joseph Ogesser, Beschreibung der Metropolitankirche zu St. Stephan in Wien (Vienna: Ghelen, 1779), 293. The documents dealing with the brotherhood’s closure refer to it as the “Music Congregation der H. J. M. Caecilia bey St. Stephan zu Wienn” (see below). See also Rohling, “Bruderschaften”, 180-82. 382
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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
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following letter to Constanze, Moza
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months. 170 For our purposes, the p
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Figure 4.15. Opening of Mozart’s
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Figure 4.17. Verso of Mozart’s (
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Perhaps the shared key of the mass
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Es dürfte wahrscheinlich nur wenig
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then Hofbibliothek in Vienna, where
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example, sets of parts used in Bade
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Figure 4.18. Title wrapper of a set
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evival of Die Entführung aus dem S
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paper dimensions, watermarks, the s
Page 341 and 342: Figure 4.19. Canto part for Ave, ve
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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 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: Taken as a group, the four reports
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
Page 421 and 422: organist in Vienna. 200 Benedikt Sc
Page 423 and 424: Figure 5.21. Autograph Clarino Imo
Page 425 and 426: company entered these parts into Mo
Page 427 and 428: 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
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Howe, Timothy E. “Developing a Hi
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Klueting, Harm, ed. Der Josephinism
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———. “Mozart fälschlich zu
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Manal, Josef. “Die Einführung de
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Murray, Sterling E. “A Requiem fo
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———. “Aus Herbecks Leben, W
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Rice, John A. “Adding Birds to Mo
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Scheib, Wilfried. “Die Entwicklun
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Schwerdling, Johann. Practische Anw
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Strebel, Harald. “Mozart und sein
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Wallner, Viktor. Wolfgang Amadeus M
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———. “Mozarts c-Moll-Messe
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