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

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inherit its monetary and physical assets. 135 This means, of course, that Mozart could not have been a member of the brotherhood, and obsequies for deceased members were no longer being conducted in 17<strong>91</strong>. Given the Tonkünstlersocietät’s inheritance, it could be argued that the society emerges as a potential candidate for the sponsoring of Mozart’s obsequies – after all, they had provided just such a service for Gluck in 1788. That service, however, was clearly unusual, in that it required the involvement of the Emperor to take place, and the society’s statutes make no mention of a memorial service taking place for deceased members, unlike those of its predecessor. In any case, when Constanze enquired to the Tonkünstlersocietät whether she might be eligible for a pension, the answer was negative, 136 and there is no evidence from the society’s minutes that it considered holding a service for Mozart. There is little doubt, then, that it was St. Michael’s own ensemble that provided the music for the obsequies on 10 December 17<strong>91</strong>. The regens chori of St. Michael’s during Mozart’s time was Johann Michael Spangler (c. 1721-94), who was born in Hafnerbach but moved to Vienna some time before 1749. He began his career as a tenor and Choralist at St. Michael’s, and succeeded to the directorship in 1775. With his wife Maria Theresia (c. 1724-87), Spangler had at least six children, a number of whom were active as musicians. The most important was Spangler’s son Johann Georg (1752-1802), who was a tenor at St. Michael’s and the Minoritenkirche. 137 Unlike his father, Johann Georg was active in composition, and he wrote a number of works for the Michaelerkirche even before he succeeded his father as regens chori there in 1794. 135 Rohling, “Bruderschaften”, 201. The funds transferred to the Tonkünstersocietät amounted to 7450fl. The documents dealing with the transfer are in A-Wsa, Haydn-Verein, A 1/2d. A copy of the brotherhood’s original statutes from 1725 is in A 1/1. 136 Deutsch, Dokumente, 385, 525. 137 Johann Michael’s Verlassenschaftsabhandlung is in A-Wsa, Mag. ZG 2-1946/1794. Johann Georg’s is in Mag. ZG 2-4518/1802. 383
Fortunately, a number of Johann Georg Spangler’s works survive in autograph, all apparently deriving from the collection of Aloys Fuchs. At least two of these works date from the 1780s, and others survive in copies from this time. The largest in scale is a Vesperae de Confessore dated 1786, scored for choir and continuo; see Figure 5.10. 138 This work is of particular interest as the only setting of vespers known at present to have been written in Josephinian Vienna. The Gottesdienstordnung had effectively rendered most settings invalid by permitting only unaccompanied or organ-accompanied works, without Instrumentalmusik. 139 The framers of the document may have envisaged organ accompaniment as implying either accompanied chant or stile antico settings. In this light, Spangler’s setting effects a clever compromise by respecting the instrumental restrictions of the time but employing a “modern” style with a fully independent continuo part. An unusual feature of Spangler’s autograph score is the presence on the last page of an anonymous two-part piece headed “Su Su Caciatori”. This is in fact an arrangement of the opening section in the Act II finale of Martin y Soler’s tremendously popular opera Una cosa rara, which premiered in the same year as Spangler’s vespers were written. What are almost certainly the original parts for the Vesperae are held today in the Michaelerkirche’s archive. 140 They consist of single copies of the soprano and alto parts, double copies of the tenor and bass parts, a violone part, and organo. 141 The back of the alto part contains an interesting example of “players’ graffiti”; see Figure 5.11. Among other 138 D-B, Mus. ms. autogr. G. Spangler 2. The watermark is Tyson 36, and the papertype may be equivalent to Tyson 36-II. The other Spangler autograph in D-B, Mus. ms. autogr. G. Spangler 1 bears a note by Fuchs stating that he had received the manuscript from Spangler’s son. 139 “In jenen Kirchen, wo ordentlicher Chor ist, wird die Vesper täglich choraliter, in feyerlicheren Festtagen auch mit der Orgel, ohne Instrumentalmusik gehalten...” Anon., Künftige Gottesdiensts- und Andachtsordnung für Wien in und vor der Stadt mit Anfang des Ostersonntages 1783 (Vienna: Ghelen, 1783), 1-8. 140 A-Wstm, 231. Watermarks include Tyson 66, 83 and 101. 141 In addition, there are parts for two trumpets and timpani in the Dixit and Magnificat only. These additional parts are however on lower-quality paper and it is uncertain whether they are contemporaneous with the other material. 384
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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
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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
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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 and 392: Taken as a group, the four reports
Page 393: otherhood, the St. Cecilia Brudersc
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
Page 443 and 444: Howe, Timothy E. “Developing a Hi
Page 445 and 446:
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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