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

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Basset horns and clarinets were not yet found in Viennese church orchestras, so some special arrangement must have been made if they did indeed form part of the ensemble on 10 December 17<strong>91</strong>. It is here that the possible role of Schikaneder and Bauernfeld should receive more attention than it has previously received, as two of the four newspaper reports state that the obsequies were performed under the auspices of one or both theatre directors. According to the usual interpretation of these passages, Schikaneder and Bauernfeld paid the funeral expenses, while the musicians of St. Michael’s gave their services gratis out of respect for the famous composer. Yet it is difficult to see why the “brave” and “erkenntlich” directors would be mentioned if all they had done was pay the small amount of 12 fl 9 kr. This raises the possibility that Schikaneder and Bauernfeld were the driving force behind the service, perhaps recruiting a few singers and instrumentalists from the Theater auf der Wieden to augment the St. Michael’s musicians. 198 The theatre musicians had every reason to be grateful to Mozart through the sensational success of Die Zauberflöte, an opera that does indeed call for basset horns. Many members of the company did indeed combine their theatrical duties with service to sacred institutions. Felix Stadler, a contrabass player, was active at many Viennese churches, including St. Michael’s and the Hofkapelle, and was a member of the orchestra at the Theater auf der Wieden from at least 1796. 199 Franz Xaver Gerl (1764-1827), the first Sarastro, was a boy chorister in Salzburg under the Mozarts, and later allegedly worked as an 198 There is of course the famous story of the deathbed rehearsal of the Requiem with Benedikt Schack taking the soprano, Mozart the alto, Franz Hofer the tenor and Franz Xaver Gerl the bass (Deutsch, Dokumente, 460). This story derives from an anonymous and highly unreliable obituary for Schack printed three and a half decades after the supposed event, which cannot pass unchallenged. 199 Stadler often signed his name at the end of the manuscript from which he was playing. These signatures appear, inter alia, in the St. Michael’s parts for Spangler’s Vesperae (A-Wstm, 231) and in Hofkapelle parts for works by Reutter, Gassmann, Hofmann, Salieri and J. Kozeluch (A-Wn, HK 31, 313, 478, 484, and 765.) Stadler is listed as a member of the “Orchester beim schickanederschen Theater, auf der Wieden” in Schönfeld, Jahrbuch der Tonkunst, 96. 409
organist in Vienna. 200 Benedikt Schack (1758-1826), the first Tamino, had been a chorister at St. Vitus Cathedral in Prague, and was later unwittingly co-opted by Vincent Novello as the author of a mass “with additions by Mozart.” 201 Jakob Haibl (1762-1826), who later married Constanze’s sister Sophie, was a tenor at the theatre from about 1789 and achieved tremendous success with his opera Der Tiroler Wastel in 1796. From 1806 until his death he served as regens chori at St. Peter’s Cathedral in Djakovar. 202 Johann Georg Lickl (1769- 1843) composed music for the Theater auf der Wieden from at least 1793. From about 1785, Lickl was organist at the Italian National Church (Minoritenkirche), and was later organist at the Carmelite church under Joseph Eybler. 203 Lickl was a prolific composer of sacred works, but no church music by him from the 1780s has yet been identified. 204 Johann Baptist Henneberg (1768-1822) has come to attention as the principal contributor to Der Stein der Weisen, the collaborative opera with which Mozart was also probably involved. 205 As music director for the company, Henneberg was on close terms with Mozart 200 See Alfred Orel, “Sarastro...Hr. Gerl/Ein Altes Weib...Mad. Gerl,” in Mozart-Jahrbuch 1955 (Salzburg: 1956), 68 n16. 201 Schack wrote a considerable quantity of church music, but the earliest work known at present is a “pastoral” offertory, Wir lagen schaudernd, extant in a partially autograph set of parts dated 1796 (D-Mf [in D-FS], 1234); Monika Holl and Robert Machold, Die Musikhandschriften aus dem Dom zu Unserer Lieben Frau in München: Thematischer Katalog, vol. 8, Kataloge Bayerischer Musiksammlungen (Munich: G. Henle, 1987), 327. See also Robert Münster, “Mozarts Kirchenmusik in München im 18. und Beginnenden 19. Jahrhundert,” in Festschrift Erich Valentin zum 70. Geburtstag, ed. Günther Weiss (Regensburg: G. Bosse, 1976), 144. 202 See Zdravko Blažeković and Ennio Stipčević, “Johann Petrus Jakob Haibel (1762–1826) and His Sixteen Newly-Discovered Masses from Djakovo (Croatia),” in Musical Culture and The "Kleinmeister" Of Central Europe, 1750-1820, ed. Vjera Katalinić (Zagreb: Hrvatsko muzikološko društvo, 1995), 67-75. 203 Péter Szkladányi, “Lickl György, a Pécsi Székesegyház Zeneszerzője És Karnagya,” in Baranyai Helytőrténetírás, ed. László Szita (Pécs: A baranya megyei levéltár évkőnyve, 1979), 95. 204 A set of performance material for a Missa in C by Lickl, A-Wn, Mus. Hs. 42534 has a wrapper signed “JB/1797” but most of the parts also bear the notation “G.L: den 4ten Maÿ 1783.” The watermarks, which include Tyson 62 and 64, are consistent with this earlier date. Whether “G.L.” equates to Georg Lickl, who was 14 in 1783, remains to be established. Another mass by Lickl, transmitted as a work of Mozart in a manuscript from the Waisenhauskirche (A-Wmag, s.s.) was erroneously thought to be the Waisenhausmesse written by Mozart in 1768; see Karl Pfannhauser, “Zu Mozarts Kirchenwerken von 1768,” in Mozart-Jahrbuch 1954 (Salzburg: 1955), 156-58, Hans Zwölfer, “Wie die Messe in C von Georg Lickl Gefunden Wurde,” in Mozart und die Landstrasse (Vienna: n.p., [1968]), 21-22. 205 See, fundamentally, David Buch, “Mozart and the Theater Auf der Wieden: New Attributions and Perspectives,” Cambridge Opera Journal 9 (1997): 195-232, David Buch, “Der Stein der Weisen, Mozart, and 410
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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
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II. THE COMMISSIONING OF THE REQUIE
Page 369 and 370: eplacement for the usual clarinet p
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Page 373 and 374: Whatever attitudes Mozart may have
Page 375 and 376: several works for the German liturg
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Page 379 and 380: Figure 5.7. Autograph opening of S
Page 381 and 382: Figure 5.8. Autograph title page of
Page 383 and 384: comparisons between Mozart and Süs
Page 385 and 386: Süssmayr’s relations with Salier
Page 387 and 388: Musikfreunde, was witnessed by Sali
Page 389 and 390: The earliest report, completed in P
Page 391 and 392: Taken as a group, the four reports
Page 393 and 394: otherhood, the St. Cecilia Brudersc
Page 395 and 396: Fortunately, a number of Johann Geo
Page 397 and 398: Figure 5.11. “Singers’ graffiti
Page 399 and 400: detailed account of payments and a
Page 401 and 402: Majus 1791 [...] 1: 40: p[ro] descr
Page 403 and 404: SmWV 226. Both operas are undated,
Page 405 and 406: Figure 5.14. Entry in the St. Micha
Page 407 and 408: Seelenamt 6.-- Ornat beym Seelenamt
Page 409 and 410: Figure 5.15. Receipt by Spangler da
Page 411 and 412: the rhythm of the Cum sanctis. 172
Page 413 and 414: than 1795, and in a score of Don Gi
Page 415 and 416: Figure 5.19. Entry by Freystädtler
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Page 419: Discovering the true identity of th
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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