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

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when, as in this case, the autographs were created more than three decades apart. Curiously enough, Nowak seems to have been unaware of the “Freystädtler-Studien”, the most extensive example of Freystädtler’s handwriting contemporary to the Requiem, despite the fact that Wolfgang Plath had identified the hand more than a decade before. 189 Even if one accepts Nowak’s case for the distinctiveness of the “hook” on the natural sign, this shows only that Freystädtler and the unknown scribe in the Requiem share one characteristic – not the multiple concordances of clefs, time signatures, accidentals and the like that are necessary for a credible identification. 190 Nowak rather bizarrely attempts to bolster his case for the distinctiveness of the hook by providing examples from autographs by Bruckner and his student Karl Aigner. Such examples are at best anachronistic, and reveal more of Nowak’s own experience in Bruckner scholarship than anything to do with Freystädtler. Nowak further ignores the many inconsistencies – some observable in the facsimiles he provides – between Freystädtler’s handwriting and that found in the Kyrie. Most obviously, two of the lines in Freystädtler’s sharp sign consistently point upwards about 45 degrees from the horizontal, while those in the Kyrie are approximately straight. 191 In view of these weaknesses and the apparent caution implied by the “preliminary” status of the article, it is difficult to see how Nowak could ever consider it “wohl als sicher...daß in der Kyrie-Fuge des Mozart- Requiems die begleitenden Instrumente von Freystädtler...geschrieben worden sind.” 192 189 Wolfgang Plath, “Der Gegenwärtige Stand der Mozart-Forschung,” in Mozart-Schriften: Ausgewählte Aufsätze, ed. Marianne Danckwardt (Kassel: Bärenreiter, 1991), 69n3 and 83. The manuscripts were previously thought to be the result of Mozart’s own studies under his father. 190 See especially MVC, 229-30. 191 A good example of Freystädtler’s handwriting may be seen on “Seite 3” of the Studien (NMA X/30/2, 59). Freystädtler’s bass clef is entirely different to the bass clef written in the bassoon part at the start of the Kyrie, as the former curves right instead of left and has two vertical lines between the clef and the two dots. However, it is uncertain at this stage whether the same hand wrote both the clef and the subsequent notation in the Kyrie, and the possibility that Mozart was responsible for this bass clef cannot be entirely excluded. 192 Nowak, “Instrumentalstimmen,” 201. 407
Discovering the true identity of the hand will be a difficult task, as we have no unquestioned samples of many personally distinctive symbols such as time signatures and clefs. 193 Nowak’s case for Süssmayr’s authorship of the trumpet and timpani parts awaits further study, although in these instruments there are even fewer samples on which to base an identification. If the Requiem was indeed performed on 10 December, to what extent did the performance reflect the state of Mozart’s score? From the nineteenth-century inventory of the St. Michael’s music archive, we know that the church once possessed a copy of the Requiem, 194 but the source is unfortunately lost so we will never know if it was related to this service. 195 The incomplete state of the Sequence and Offertorium presumably meant that they were excluded, although it is remotely possible that the St. Michael’s organist Joseph Preindl contrived some kind of continuo-only accompaniment for these movements. Perhaps the service was supplemented by parts from another Requiem, such as the famous C minor setting by Michael Haydn that St. Michael’s had acquired in August 1791. 196 From the evidence of the 1787 budget and the Misericordias parts, we may posit a small choir of between 8 and 12 singers. This is not inconsistent with contemporary performance practice: a performance of the Requiem in Stockholm in 1802 employed a total of nine singers. 197 193 The bass clef in the bassoon part and the words “allo”, “adagio” “Cor 2do” and “unis” will require further study to determine their provenance. 194 Schütz, Musikpflege, 116. 195 A number of manuscripts from St. Michael’s appear to have been dispersed elsewhere. A set of parts for the mass K. 220 in A-Wa, 639 is marked “Ad chorum St: Michaelis,” as is a set of parts for the Haydn contrafactum O Jesu te invocamus in A-Wa, 401. The mass bears performance dates in 1800. A set of parts from the Hofkapelle for a mass by Dittersdorf bears the stamp “Hof- und Stadtpfarre St. Michael, Wien” (A-Wn, HK 3049). Two manuscripts in A-Wn, Mus. Hs. 39005 (from the Dite collection) and F 24 St. Peter D 204 bear similar markings. 196 Schütz, Musikpflege, 152. 197 See C.-G. Stellan Mörner, Johan Wikmanson und die Brüder Silverstolpe: Einige Stockholmer Persönlichkeiten im Musikleben des Gustavianischen Zeitlalters (Stockholm: 1952), 386. The 1783 budget for funerals and obsequies prepared for the Landesregierung lists eight singers, with the possibility of hiring four more as Extrani; see Chapter Two. 408
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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
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eceived a letter from her, “welch
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welche Wonne!” in Die Zauberflöt
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Like much else in Mozart’s short
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FIVE Mozart’s Obsequies 342 Die M
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leading up to the Exequien for Moza
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Leuthe, Lichtern, Kirchen apparaten
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The score of Gluck’s De Profundis
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the material derives from the Hofka
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Figure 5.3. Wrapper of parts for Ga
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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 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: minor. 186 It may be doubted, howev
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
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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