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

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things, there is a pencil note, “Schönbichler / Knoll / Griesler / 1 ter Altist [added: und ....] beÿ St: Michael. / 1787.” One wonders about the possible connection between this work and a report of the St. Blasius day celebrations at the Michaelerkirche on 3 February 1787: Durch eine k. k. Verordnung ist der feierliche Gottesdienst an Werktagen verbothen; allein in dieser Kirche wurde am Blasiustage vormittag das Choralamt auf eine ausserordentliche Weise mit Assistenz der Leviten und nachmittag eine sogenannte figurirte Vesper gehalten!!! 142 Another of Spangler’s works from the Josephinian period is the Christmas gradual Dies sanctificatus illuxit nobis, surviving in an autograph dated 1789. 143 This piece includes many of the “pastoral” elements associated with Christmas music, including pedal points, frequent passages in thirds or unison, and a lilting time signature. Finally, the Gesellschaft der Musikfreunde possesses a copyist’s score of a motet by Spangler, Salve numinis amator, probably copied in the late 1780s or early 1790s. While this manuscript can tell us little about when the motet was actually written, it does provide useful evidence of the dissemination of Spangler’s music. 144 Schönfeld provided an account of Spangler in 1796 testifying to his compositional and vocal abilities: Spangler, Regenschori bei den Michaelern, hat einen überaus angenehmen Styl und Satz in seiner Kirchenmusik, und weis den Gesang auf das beste zu führen. Als Sänger ist sein Tenor süß, molligt und biegsam, so, daß er durch seine sanften Töne und herrlichen Modulazionen die angenehmsten Empfindungen erweckt. 145 Although a detailed list of the St. Michael’s musicians was recorded in the 1783 census, 146 we do not have evidence at present of the ensemble’s makeup in 1791. We do, however, have a 142 KB, ii.221. See also WW, ix.259, 371-72, 435, WK, 1786:354. 143 A-Wgm, I 8252. A set of parts for this work, dated “c1790” by RISM, are in A-Wlic, 202. See also Otto Biba’s comments in Karl Albrecht-Weinberger, ed., Sankt Michael: Stadtpfarrkirche und Künstlerpfarre von Wien 1288-1988 (Vienna: Eigenverlag, 1988), 305. 144 A-Wgm, III 1459/Q 20857. One watermark is Tyson 102, the other is three moons over REAL | PS (double line) under a canopy. Further autographs by Spangler include two motets in honour of St. Aloysius: Adeste, cantate, dated 1779 (D-B, Mus. Ms. Mus. Ms. Autogr. G. Spangler 1) and Expectate rosas, dated 1780 (A-Wn, Mus. Hs. 16484, with at least one bifolio missing after the first gathering.) 145 Schönfeld, Jahrbuch der Tonkunst, 58. 146 Biba1783, 27-32; Schütz, Musikpflege, 43. 387
detailed account of payments and a partial list of names from July 1787, prepared as the musicians applied to the Niederösterreichische Regierung for a pay rise. 147 At this time, the ensemble consisted of the regens chori, organist, organ-blower, two each of trebles, altos, tenors and basses, two trombonists, four violinists and one violonist. By Viennese standards, this was a group of medium size, although the annual music expenditure in 1786-7 of 1917fl 55xr was only one quarter of the outlay at St. Stephen’s. In a proposed budget of July or August 1787, Johann Michael Spangler listed his son Johann Georg as first tenor, Ignaz Spangler as second tenor, the Hofkapelle’s music librarian Jacob Wraveci as first bass and Anton Schaarschmid as second bass. 148 From the “graffiti” in the parts we have studied above, we may posit “Schönbichler”, “Knoll” and “Griesler” as potential altos. The organist was Franz Xaver Flamm (1739-1811), who was married to Spangler’s daughter Maria Margaretha. After Margaretha’s death in 1788, Flamm married Barbara von Stögern, and Mozart encountered them both at a performance of Die Zauberflöte in October 1791: “ich gieng also in eine andere Loge, worinn sich flamm mit seiner frau befand; da hatte ich alles Vergnügen, und da blieb ich auch bis zu Ende.” 149 By this stage, however, Flamm was no longer the organist at St. Michael’s, having been replaced by Joseph Preindl from at least November 1787. 150 The contrabass virtuoso and copyist Friedrich Pischelberger, for whom Mozart wrote the obbligato in Per questa bella mano K. 612 was a member of the St. Michael’s orchestra in 1783 and was conceivably still there in 1791. 151 147 Vienna, St. Michael, Kollegarchiv (hereafter MiKA), XVI.191.1. 148 Schaarschmid worked at this time as a prompter at the Burgtheater, and was thus conceivably involved in the production of Le Nozze di Figaro. He was later a member of the Hofkapelle; Link, The National Court Theatre, 405ff, Constanze Wimmer, “Die Hofmusikkapelle in Wien unter der Leitung von Antonio Salieri (1788- 1824),” Studien zur Musikwissenschaft 47 (1999): 188. Spangler’s proposal mentions “4 Singerknaben.” 149 MBA, iv.160. 150 Schütz, Musikpflege, 152. 151 See Stephen Fisher, “Haydn's Overtures and Their Adaptations as Concert Orchestral Works” (PhD diss., University of Pennsylvania, 1985), 459-64. 388
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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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and other material. 222 Among the n
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suggests that Mozart took part in t
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 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: Figure 5.11. “Singers’ graffiti
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
Page 447 and 448: ———. “Mozart fälschlich zu
Page 449 and 450:
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
Page 465 and 466:
———. “Mozarts c-Moll-Messe
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