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

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Bryan, Paul. Johann Wanhal, Viennese Symphonist: His Life and His Musical Environment. Vol. 23, Thematic Catalogues. Stuyvesant, NY: Pendragon Press, 1997. Buch, David. “Der Stein der Weisen, Mozart, and Collaborative Singspiels at Emanuel Schikaneder's Theater auf der Wieden.” In Mozart-Jahrbuch 2000, 91-125. Kassel: Bärenreiter, 2001. ———. “Mozart and the Theater auf der Wieden: New Attributions and Perspectives.” Cambridge Opera Journal 9 (1997): 195-232. ———. “Three Posthumous Reports Concerning Mozart in His Late Viennese Years.” Eighteenth-Century Music 2 (2005): 125-29. Buff, Adolf. “Mozarts Augsburger Vorfahren.” Zeitschrift des historischen Vereins für Schwaben 18 (1891): 1-36. Burney, Charles. An Eighteenth-Century Musical Tour in Central Europe and the Netherlands. Edited by Percy Scholes. London: Oxford University Press, 1959. ———. The Present State of Music in Germany, the Netherlands, and United Provinces. 2 vols. London: T. Becket et al., 1773. Cadieux, Daniel. “Linzer Schmerzensmann. De la Grande Messe en ut mineur KV 427 Au Fatasme 'Ein Kind wird geschlagen'.” In Mozart-Jahrbuch 2002, 37-86. Kassel: Bärenreiter, 2003. Chadwick, Owen. The Popes und European Revolution. Oxford: Clarendon Press, 1981. 423 Chen, Jen-Yen. “Church Music, 'Classical' Style, and the Dialectic of Old and New in Late- Eighteenth-Century Musical Culture.” In Music in Eighteenth-Century Life: Cities, Courts, Churches, edited by Mara E. Parker: Steglein Publishing, 2006. ———. “The Tradition and Ideal of the Stile Antico in Viennese Sacred Music, 1740-1800.” PhD diss., Harvard University, 2000. Churgin, Bathia. “Beethoven and Mozart's Requiem: A New Connection.” Journal of Musicology 5 (1987): 457-77. Clark, Caryl. “Reading and Listening: Viennese Frauenzimmer Journals and the Sociocultural Context of Mozartean Opera Buffa.” Musical Quarterly 87 (2004): 140-75. Croll, Gerhard. “Die Mozarts, Johann Michael Haydn und das Stift St. Peter.” In St. Peter in Salzburg: das älteste Kloster im deutschen Sprachraum, edited by Heinz Dopsch and Roswitha Juffinger, 149-52. Salzburg: Salzburger Landesregierung, 1982.
———. “Eine zweite, fast vergessene Selbstbiographie von Abbé Stadler.” In Mozart- Jahrbuch 1964, 172-84. Salzburg, 1965. ———. “Zwei Mozart-Messen in der Stiftskirche St. Peter.” In Das Benediktinerstift St. Peter in Salzburg zur Zeit Mozarts, edited by Petrus Eder and Gerhard Walterskirchen, 135-39. Salzburg: Verlag St. Peter, 1991. Czeike, Felix, ed. Historisches Lexikon Wien. 5 vols. Vienna: Kremayr & Scheriau, 1997. da Ponte, Lorenzo. Alla Santita Di Pio VI. Pontefice Massimo Nella Sua Venuta a Vienna. Vienna: Schönfeld, 1782. de Groat, James. “Leben und Singspiele des Ignaz Umlauf.” PhD diss., Universität Wien, 1984. de Luca, Ignaz. Topographie von Wien. 2 vols. Vienna: Thad. Edlen von Schmidbauer und Komp., 1794. dell'Orto, Umberto. La Nunziatura a Vienna Di Giuseppe Garampi, 1776-1785. Vol. 39, Collectanea Archivi Vaticani. Vatican City: Archivio Vaticano, 1995. Dent, Edward J. “The Forerunners of Mozart's Requiem.” Monthly Musical Record 37 (1907): 124-26, 48-50. Deutsch, Otto Erich. “Der Graue Bote.” Mitteilungen der Internationalen Stiftung Mozarteum 11, no. 3/4 (1963): 1-3. ———. Mozart und seine Welt in Zeitgenössichen Bildern. Kassel: Bärenreiter, 1961. ———. “Zur Geschichte von Mozarts Requiem.” Österreichische Musikzeitschrift 19 (1964): 49-60. ———, ed. Mozart: die Dokumente seines Lebens, Neue Ausgabe sämtlicher Werke, Ser. X, Supplement, Werkgruppe 34. Kassel: Bärenreiter, 1961. Directorium Romano-Viennense, Seu Ordo Missas Celebrandi et Horas Canonicas Recitandi...Pro Anno Domini MDCCXCIV. Vienna: Ghelen, 1794. Duda, Erich. Das musikalische Werk Franz Xaver Süssmayrs: Thematisches Werkverzeichnis. Vol. 12, Schriftenreihe der Internationalen Stiftung Mozarteum Salzburg. Kassel: Bärenreiter, 2000. ———. “Franz Xaver Süßmayr - eine Erinnerung.” Wiener Geschichtsblätter 60, no. 2 (2005): 30-8. 424
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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
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eplacement for the usual clarinet p
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Bauman, it is “unworthy of Mozart
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Whatever attitudes Mozart may have
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several works for the German liturg
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service in the orchestra, and it ma
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Figure 5.7. Autograph opening of S
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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 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: ———. “Mozarts Anstellung am
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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