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

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Ebel, Beatrice. “Die Salzburger Requiemtradition im 18. Jahrhundert: Untersuchungen zu den Voraussetzungen von Mozarts Requiem.” PhD diss., Ludwig-Maximilians- Universität München, 1997. Eder, Petrus. “Der ‘Wahre Kirchenstyl’: Mozarts Kirchenmusik.” Musik und Kirche 75 (2005): 424-32. ———. “Die Sankt-Petrischen Musikanten.” In Das Benediktinerstift St. Peter in Salzburg zur Zeit Mozarts, edited by Petrus Eder and Gerhard Walterskirchen, 95-125. Salzburg: Verlag St. Peter, 1991. ———. “Johann Michael Haydns Angebliches Mittleres Requiem MH 559.” Kirchenmusikalisches Jahrbuch 83 (1999): 91-99. Eder, Petrus, and Gudrun Nöchel. “Sanktpetrische Organisten von 1743 bis 1815.” Mitteilungen der Internationalen Stiftung Mozarteum 49, no. 3/4 (2001): 53-66. Edge, Dexter. “Attributing Mozart (I): Three Accompanied Recitatives.” Cambridge Opera Journal 13 (2001): 197-237. ———. “Manuscript Parts as Evidence of Orchestral Size in the Eighteenth-Century Viennese Concerto.” In Mozart's Piano Concertos: Text, Context, Interpretation, edited by Neal Zaslaw, 427-60. Ann Arbor: University of Michigan Press, 1996. ———. “Mozart's Reception in Vienna, 1787-1791.” In Wolfgang Amade Mozart: Essays on His Life and His Music, 66-117. Oxford: Clarendon Press, 1996. ———. “Mozart's Viennese Copyists.” PhD diss., University of Southern California, 2001. ———. “Mozart's Viennese Orchestras.” Early Music 20 (1992): 64-88. ———. “Recent Discoveries in Viennese Copies of Mozart's Concertos.” In Mozart's Piano Concertos: Text, Context, Interpretation, edited by Neal Zaslaw, 51-65. Ann Arbor: University of Michigan Press, 1996. ———. Review Article of Concert Life in Haydn's Vienna by Mary Sue Morrow. Haydn Yearbook 17 (1992): 108-67. Eichenauer, Jürgen, ed. Johann Anton André (1775-1842) und der Mozart-Nachlass. Ein Notenschatz in Offenbach am Main. Vol. 1, Offenbacher Studien. Weimar: VDG, 2006. Eisen, Cliff. Mozart: Die Dokumente seines Lebens. Addenda, Neue Folge. Vol. X/31/2, Wolfgang Amadeus Mozart: Neue Ausgabe sämtlicher Werke. Kassel: Bärenreiter, 1997. ———. “New Light on Mozart's 'Linz' Symphony, K. 425.” Journal of the Royal Musical Association 113 (1988): 81-96. ———. “The Mozarts' Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style, and Performance Practice.” In Mozart Studies, edited by Cliff Eisen, 253-99. Oxford: Clarendon Press, 1991. 425
———. “The Mozarts' Salzburg Music Library.” In Mozart Studies 2, edited by Cliff Eisen, 85-138. Oxford: Clarendon Press, 1997. Elvers, Rudolf. “Breitkopf & Härtels Verlagsarchiv.” Fontes artis musicae 17 (1970): 24-28. Eschstruth, Hans Adolf. Musikalische Bibliothek. Marburg: Krieger, 1784-5. Reprint, Hildesheim: Georg Olms Verlag, 1977. Fast, Patricius. Katholischer Unterricht und Erörterung aller Zweifel, welche in den Beyträgen zur Schilderung Wiens aufgeworfen werden. Vienna: Erzbischöfliche Cur, 1781. Federhofer, Hellmut. “Georg Reutter d. J. als Mittler zwischen Johann Joseph Fux und Wolfgang Amadeus Mozart.” Österreichische Akademie der Wissenschaften. Anzeiger der phil.-hist. Klasse (1983): 51-8. ———. “Mozart-Autographe bei Anton Stoll und Joseph Schellhammer.” In Mozart Jahrbuch 1962/63, 24-31. Salzburg, 1964. ———. “Mozartiana im Musikaliennachlass von Ferdinand Bischoff.” In Mozart-Jahrbuch 1965/66, 15-38. Salzburg, 1967. Fellerer, Karl Gustav. Die Kirchenmusik W.A. Mozarts. Laaber: Laaber-Verlag, 1985. ———. “Liturgische Grundlagen der Kirchenmusik Mozarts.” In Festschrift Walter Senn zum 70. Geburtstag, edited by Ewald Fässler, 64-74. Munich: E. Katzbichler, 1975. ———. “Mozarts Kirchenmusik und ihre Liturgischen Voraussetzungen.” In Mozart- Jahrbuch 1978/79, 22-26. Kassel: Bärenreiter, 1979. ———. Soziologie der Kirchenmusik. Materialien zur Musik- und Religionssoziologie. Vol. 9, Kunst und Kommunikation. Cologne: Westdeutscher Verlag, 1963. Finscher, Ludwig. “Maximilian Stadler und Mozarts Nachlass.” In Mozart-Jahrbuch 1960/61, 168-72. Salzburg, 1961. Fisher, Stephen. “Haydn's Overtures and Their Adaptations as Concert Orchestral Works.” PhD diss., University of Pennsylvania, 1985. Floros, Constantin. “Mozart und die Österreichische Überlieferung der Kirchenmusik.” In Mozart-Studien I: Zu Mozarts Sinfonik, Opern- und Kirchenmusik, 131-50. Wiesbaden: Breitkopf und Härtel, 1979. Flotzinger, Rudolf, and Gernot Gruber. Musikgeschichte Österreichs. 2 ed. 3 vols. Wien: Böhlau, 1995. Forkel, Johann Nikolaus, ed. Musikalischer Almanach für Deutschland auf das Jahr 1784. Leipzig: Schwickert, 1783. Reprint, Hildesheim: Georg Olms Verlag, 1974. 426
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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
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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 and 434: ———. “Mozarts Anstellung am
Page 435: ———. “Eine zweite, fast ver
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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