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

during the preparations for Die Zauberflöte, even if – according to a late report – it was
Süssmayr who turned the pages for the composer at the opera’s premiere. 206 Henneberg’s
father, Andreas (c. 1731-91) was organist at the Schottenstift, and the young composer and
conductor succeeded his father in the post and may have been deputising for him when
Andreas died on 23 June 1791. 207 Henneberg retained the position until at least 1799, and
must have been on close terms with Joseph Eybler, who served as regens chori at the
Schottenstift from 1794. 208 Two manuscripts still in the Stift’s music archive show that
Henneberg was active as a composer of sacred works at this time, in addition to his
responsibilities at the Theater auf der Wieden. 209 A set of parts for an offertory, Ad te domine
levavi, is mostly on paper with a watermark that closely resembles Tyson 66, found with
various staff rulings in Mozart autographs from 1783-89. These parts are in the hand of a
copyist, but the trumpet and timpani parts are in the hand of Henneberg himself; see Figure
5.21. 210 The autograph parts are, unusually, in oblong format, and are on paper with
watermarks resembling Tyson 106 and Duda G/RA, found in a Mozart score from 1791 and
Collaborative Singspiels at Emanuel Schikaneder's Theater Auf der Wieden,” in Mozart-Jahrbuch 2000 (Kassel:
Bärenreiter, 2001), 91-125. On the authentication of the attributions, see MVC, Chapter Ten. The autograph
of the incomplete aria Schon lacht der holde Frühling Fr 1789h/K. 580 has the name “Henneberg” written in
pencil on the opening page, perhaps added in the 1790s as an indication of who might be suitable to complete
the work.
206 David Buch, “Three Posthumous Reports Concerning Mozart in His Late Viennese Years,” Eighteenth-
Century Music 2 (2005): 129.
207 Andreas’ Sperrsrelation (A-Wsa, Mag. ZG 2-1752/1791) describes him as “Organist und Kapellmeister.” He
was also treasurer of the Tonkünstlersocietät. Given Johann Baptist’s relative youth, lack of a previous post as
organist, and succession to his father’s position, it is possible that he was already active in the Schottenstift’s
music during Andreas’ lifetime.
208 The earliest reference known at present to Henneberg’s position at the Schottenstift is the record of his
marriage to Marie Petit (c. 1769-1814) at the monastery church on 29 October 1792, in which he is described
as “Organist bey hiesiger Pfarrkirche und Kapellmeister.” This information was provided by Michael Lorenz, to
whom I am very grateful.
209 A-Ws, B3/169 and C3/29. The Schottenstift possesses parts for several additional works by Henneberg, but
they appear to date from the second decade of the nineteenth century or later.
210 Samples of Henneberg’s handwriting may be seen, inter alia, in the autograph of a duet, “Schau Mädl jetzt
war halt die hübscheste Zeit,” in A-Wn, Mus. Hs. 19145, and in the autograph of a Tantum ergo, D-B, Mus.
ms. autogr. Henneberg 1.
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