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

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Kraus, Hedwig. “W. A. Mozart und die Familie Jacquin.” Zeitschrift für Musikwissenschaft 15 (1932-33): 155-63. Kraus, Ludwig. Die Pfarre und Kirche St. Laurenz im Schottenfelde. Vienna: Anton Strauß, 1826. Krombach, Gabriela. Die Vertonungen liturgischer Sonntagsoffertorien am Wiener Hof: Ein Beitrag zur Geschichte der katholischen Kirchenmusik im 18. und 19. Jahrhundert. Vol. 7, Studien zur Landes- und Sozialgeschichte der Musik. Munich: E. Katzbichler, 1986. Kropatschek, Joseph, ed. Kaiserl. Königl. Theresianisches Gesetzbuch, enthaltend die Gesetze von den Jahren 1740 bis 1780. 9 vols. Vienna: Johann Georg Mößle, 1789. Künftige Gottesdiensts- und Andachtsordnung für Wien in und vor der Stadt mit Anfang des Ostersonntages 1783. Vienna: Ghelen, 1783. Kunze, Stefan. “Die Arie KV 621 a von W. A. Mozart und Emilian Gottfried von Jacquin.” In Mozart-Jahrbuch 1967, 205-28. Salzburg, 1968. Küster, Konrad. Mozart: Eine Musikalische Biographie. Stuttgart: Deutsche Verlags-Anstalt, 1990. ———. “Zur Bedeutung früher Sekundärüberlieferung im Werk Mozarts. Beobachtungen an den Konzert- und Einlagearien.” In Musikalische Quellen - Quellen zur Musikgeschichte. Festschrift für Martin Staehelin zum 65. Geburtstag, edited by Ulrich Konrad, 315-28. Göttingen: Vandenhoeck & Ruprecht, 2002. Lade, Günter. Orgeln in Wien. Vienna: G. Lade, 1990. Landmann, Ortrun. “Die Dresdener Haydn-Quellen im Hinblick auf ihre Provenienzen.” In Joseph Haydn. Bericht über den Internationalen Joseph Haydn Kongress, edited by Eva Badura-Skoda, 519-25. Munich: G. Henle, 1986. Landon, H. C. Robbins. 1791: Mozart's Last Year. London: Thames and Hudson, 1988. ———. “Haydn's Newly Discovered 'Libera Me, Domine'.” In The Haydn Yearbook IV, 140-47. Vienna: Universal Edition, 1968. ———. “Mozart's Mass in C Minor, K. 427.” In Studies in Musical Sources and Style: Essays in Honor of Jan LaRue, edited by E. K. Wolf and E. H. Roesner, 419-23. Madison, WI: A-R Editions, 1990. ———. “Mozart's Requiem and the Viennese Classical Mass.” In Essays on the Viennese Classical Style: Gluck, Haydn, Mozart, Beethoven, 82-122. London: Barrie & Rockliff, 1970. ———. Mozart and Vienna. London: Thames and Hudson, 1991. 435
———. “Mozart fälschlich zugeschriebene Messen.” In Mozart-Jahrbuch 1957, 85-95. Salzburg, 1958. ———. Mozart: The Golden Years, 1781-91. London: Thames and Hudson, 1989. ———. “Sacred Vocal Works: Oratorios and Latin Church Music.” In The Mozart Essays, 161-90. London: Thames and Hudson, 1995. Lang, Gerda. “Zur Geschichte und Pflege der Musik in der Benediktiner-Abtei zu Lambach mit einem Katalog zu den Beständen des Musikarchives.” PhD diss., Universität Salzburg, 1978. Leopold, Silke. “Händels Geist in Mozarts Händen: Zum 'Qui Tollis' aus der c-Moll-Messe KV 427.” In Mozart-Jahrbuch 1994, 89-99. Kassel: Bärenreiter, 1995. Lettner, Gerda. Das Rückzugsgefecht der Aufklärung in Wien 1790-92. Frankfurt and New York: Campus Verlag, 1988. Leux-Henschen, Irmgard, ed. Joseph Martin Kraus in seinen Briefen. Stockholm: Svenskt Musikhistoriskt Arkiv, 1978. Levin, Robert. “A New Completion of Mozart's Mass in C Minor, K. 427/417 a .” In Mozart- Jahrbuch 2005, 239-44. Kassel: Bärenreiter, 2006. ———, ed. Wolfgang Amadeus Mozart: Requiem KV 626... ergänzt und herausgegeben von Robert D. Levin. Stuttgart: Carus, 2004. Lewicki, Rudolf. “Alois Schmitt.” Mitteilungen für die Mozart-Gemeinde in Berlin, no. 14 (1902): 147-48. ———. “Antonia Haradauer.” Mozarteums Mitteilungen 2 (1920): 106-08. ———. “Aus dem Mozarteums-Archiv.” Mozarteums Mitteilungen 2 (1920): 124-25. ———. “Aus Nissens Kollektaneen.” Mozarteums Mitteilungen 2 (1919): 28-30. ———. “Die Vervollständigung von Mozarts Grosser c-Moll Messe.” Die Musik 5 (1905/06): 3-12, 168-75. ———. “Über Mozarts Große c-Moll-Messe und die Endgestalt ihrer Ergänzung.” In Mozart-Jahrbuch 1923, 70-93. Munich: Drei Masken Verlag, 1923. ———. “Zur Frage der Vervollständigung des 'Credo' der Mozartschen c-Moll-Messe KV 427.” Mitteilungen der Internationalen Stiftung Mozarteum 45 (1997): 70-73. Lindner, Andreas. “Die Auswirkungen der Josephinischen Reformen auf die Musikpflege in den Oberösterreichischen Stiften.” In Festschrift Leopold Kantner, 313-31. Tutzing: Schneider, 2002. ———. Die Kaiserlichen Hoftrompeter und Hofpauker im 18. und 19. Jahrhundert. Vol. 36, Wiener Veröffentlichungen zur Musikwissenschaft. Tutzing: Schneider, 1999. 436
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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
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Süssmayr’s relations with Salier
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Musikfreunde, was witnessed by Sali
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The earliest report, completed in P
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Taken as a group, the four reports
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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 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: Klueting, Harm, ed. Der Josephinism
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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