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

More documents

Recommendations

Info

Rieger, Franz. Von W.A. Mozart und Josef Haydn zu dem k .k. Hofsängerknaben Roland Philipp, einem neu aufgehenden Sternlein am Himmel klassischer Musik. Vienna: Georg Eichinger, 1913. Ringer, Alexander. “Mozart and the Josephinian Era: Some Socio-Economic Notes on Musical Change.” Current Musicology 9 (1969): 158-65. Rituale Viennense ad Usum Romanum Accomodatum, Authoritate et Jussu...Cardinalis...Christophori e Comitibus Migazzi... Vienna: Ghelen, 1774. Rochlitz, Friedrich. “Leipzig. Uebersicht: Neujahr bis Ostern.” Allgemeine Musikalische Zeitung 20 (1818): 246-50. Rohling, Geraldine. “Exequial and Votive Practices of the Viennese Bruderschaften: A Study of Music and Liturgical Piety.” PhD diss., Catholic University of America, 1996. Rollett, Hermann. “Mozart in Baden.” Mozarteums Mitteilungen 2 (1920): 109-12. Rouland, Carl. Katalog des Musik-Archives der St. Peterskirche in Wien. Vienna: A. Böhm, 1908. Rückward, Fritz. “Die Große Messe in c-Moll von Mozart.” Mitteilungen für die Mozart- Gemeinde in Berlin, no. 40 (1922): 71-4. ———. “Zur Kritik der Großen c-Moll-Messe Mozarts.” Mitteilungen für die Mozart- Gemeinde in Berlin 4 (1913): 123-50. Rumph, Stephen. “Mozart's Archaic Endings: A Linguistic Critique.” Journal of the Royal Musical Association 130 (2005): 159-96. Rybaric, Richard. “Hudba Bratislavskych Korunovácií.” Musicologica Slovaca, no. 15 (1990): 11-36. ———. “Viedenská Cisárska Kapela V Bratislave.” Bratislavsky hudobny barok (1988): 29- 35. Sadie, Stanley. Mozart: The Early Years, 1756-1781. Oxford: Oxford University Press, 2006. Salvadori, Giovanni. La Congregazione Della Chiesa Nazionale Italiana in Vienna. Vienna: Drescher & Comp., 1891. Sas, Agnes. “Chronology of Georg Druschetzki's Works Preserved in His Estate.” Studia Musicologica Academiae Scientiarum Hungaricae 31 (1989): 161-215. 445
Scheib, Wilfried. “Die Entwicklung der Musikberichterstattung im Wienerischen Diarium von 1703-1780 mit besonderer Berücksichtigung der Wiener Oper.” PhD diss., Universität Wien, 1950. Schenk, Erich. “Der Langaus.” Studia Musicologica Academiae Scientiarum Hungaricae 3 (1962): 301-16. Schenk, Karlheinz. Die Wiener Hofmusikkapelle in der ersten Hälfte des 20. Jahrhunderts (1900 bis 1955). Edited by Günter Brosche. Vol. 26, Publikationen des Instituts für Österreichische Musikdokumentation. Tutzing: Schneider, 2001. Schienerl, Alfred. “Die kirchlichen Kompositionen des Giuseppe Bonno.” PhD diss., Universität Wien, 1925. Schildkret, David. “Ave or Vale to Colloredo? The Date of Mozart's Mass in B-Flat Major, K. 275.” Newsletter of the Mozart Society of America 6, no. 2 (2002): 10-11. Schimek, Martin. Musikpolitik in der Salzburger Aufklarüng: Musik, Musikpolitik und deren Rezeption am Hof des Salzburger Fürsterzbischofs Hieronymus Graf Colloredo. Vol. 151, Europäische Hochschulschriften. Frankfurt am Main: P. Lang, 1995. Schlitter, Hans. Die Reise des Papstes Pius VI. nach Wien und sein Aufenthalt daselbst: Ein Beitrag zur Geschichte der Beziehungen Josefs II. zur Römischen Kurie. Vienna: F. Tempsky, 1892. Schmid, Ernst Fritz. “Mozart und das Geistliche Augsburg.” In Augsburger Mozartbuch, 40- 202. Augsburg: J. A. Schlosser, 1943. Schmid, Manfred Hermann. “Bildintentionen in Mozarts c-Moll-Messe.” Acta mozartiana 42 (1995): 1-12. ———. “Das "Lacrimosa" in Mozarts Requiem.” In Mozart Studien 7, edited by Manfred Hermann Schmid, 115-41. Tutzing: Schneider, 1997. ———. “Das Kyrie der c-Moll-Messe KV 427. Textdarstellung und Form in Mozarts Vertonungen des ersten Messensatzes.” In Mozart Studien 2, edited by Manfred Hermann Schmid, 181-230. Tutzing: Schneider, 1993. ———. “Das Requiem von Niccolo Jommelli im Württembergischen Hofzeremoniell 1756.” Musik in Baden-Württemberg 4 (1997): 11-30. ———. “Introitus und Communio im Requiem. Zum Formkonzept von Mozart und Süsssmayr.” In Mozart Studien 7, 11-55. Tutzing: Schneider, 1997. ———. Mozart und die Salzburger Tradition. Vol. 24, Münchner Veröffentlichungen zur Musikgeschichte. Tutzing: H. Schneider, 1976. 446
Page 1 and 2:
MOZART AND THE PRACTICE OF SACRED M
Page 3 and 4:
Prof. Christoph Wolff, advisor Davi
Page 5 and 6:
In Omnibus Glorificetur Deus M pia
Page 7 and 8:
Acknowledgements A study of this ki
Page 9 and 10:
Neal Zaslaw. Dexter Edge was an ess
Page 11 and 12:
KBZ Tschink, Kajetan, ed. Kritische
Page 13 and 14:
surprising that the ceremony was an
Page 15 and 16:
on Jews. Church music was, so far,
Page 17 and 18:
fidelium animi ad spiritualium reru
Page 19 and 20:
liturgical calendar enjoyed the sup
Page 21 and 22:
Figure 1.1. The Consistorium’s pr
Page 23 and 24:
appeared somewhat disingenuous, for
Page 25 and 26:
“military music” were heard in
Page 27 and 28:
Figure 1.2. First page of signature
Page 29 and 30:
Vorfallenheiten und Feierlichkeiten
Page 31 and 32:
mentioned by Leopold Mozart. 43 Bot
Page 33 and 34:
could cite not only Muratori for ph
Page 35 and 36:
medical care, the housing of orphan
Page 37 and 38:
esponsible priests. 60 Joseph himse
Page 39 and 40:
Lent, the number of parishes in Vie
Page 41 and 42:
Figure 1.4. Migazzi’s petition to
Page 43 and 44:
outset; see Figure 1.5. One excepti
Page 45 and 46:
the restrictions was the natural ou
Page 47 and 48:
Cistercian, Dominican and other con
Page 49 and 50:
music in some form, and experienced
Page 51 and 52:
een written by Wolfgang to his fath
Page 53 and 54:
Zeit lediger allzeit mitsammen so w
Page 55 and 56:
Mozart was concerned with reassurin
Page 57 and 58:
Seyn Sie nicht gar zu andächtig, g
Page 59 and 60:
Daß die ohnöthigen bildereyen in
Page 61 and 62:
Unterdessen will ich ihnen benachri
Page 63 and 64:
instrumentally accompanied music fr
Page 65 and 66:
dolorosa von Haydn - aber hatte mir
Page 67 and 68:
performance of the mass ordinary an
Page 69 and 70:
Figure 2.1. Opening of Frieberth’
Page 71 and 72:
provided obsequies for Mozart and a
Page 73 and 74:
More celebrated than Richter’s te
Page 75 and 76:
conditions of employment differed s
Page 77 and 78:
Work Catalogue Principal Source(s);
Page 79 and 80:
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
composer’s maturity. The C minor
Page 87 and 88:
The recovery of several autographs
Page 89 and 90:
status of the church. Albrechtsberg
Page 91 and 92:
autograph but appears consistent wi
Page 93 and 94:
“Mottett” in 1789. 53 The autog
Page 95 and 96:
performance has been exaggerated. I
Page 97 and 98:
Determining the identity of the wor
Page 99 and 100:
There is no sure way of identifying
Page 101 and 102:
erhielt ich in Partitur-Abschrift;
Page 103 and 104:
Mozart’s “lieblingsfach,” the
Page 105 and 106:
Figure 2.6. Score of Davide, signed
Page 107 and 108:
often accompanied her (Madame Mozar
Page 109 and 110:
A number of commentators have specu
Page 111 and 112:
Example 2.1. Jesu Rex patriarcharum
Page 113 and 114:
Example 2.2. Opening of the final f
Page 115 and 116:
Figure 2.7. Title page of the Vienn
Page 117 and 118:
that city. This would seem to imply
Page 119 and 120:
combining: on 31 August 1782, the d
Page 121 and 122:
One of the chief documents supporti
Page 123 and 124:
Fischer’s copy of K. 321. 142 As
Page 125 and 126:
was not the usual disposition, eith
Page 127 and 128:
including the organ and woodwind, c
Page 129 and 130:
not square. 166 Both the organ part
Page 131 and 132:
form, but K. 427 itself seems to ha
Page 133 and 134:
Figure 2.10. Violino 2 do from an u
Page 135 and 136:
The three sketchleaves mentioned ab
Page 137 and 138:
educed to a one-to-one corresponden
Page 139 and 140:
might receive a pension from the To
Page 141 and 142:
services involving the court are do
Page 143 and 144:
withholding on the curious grounds
Page 145 and 146:
Signature Work Date(s) Comments 54
Page 147 and 148:
Signature Work Date(s) Comments 28
Page 149 and 150:
Figure 3.1. Title of the Hofkapelle
Page 151 and 152:
Ecce quomodo moritur justus by Jako
Page 153 and 154:
it seems that Wenzel Sukowaty, the
Page 155 and 156:
Figure 3.3. Violino Primo part in a
Page 157 and 158:
Two works by Salieri himself, a Mas
Page 159 and 160:
Salieri...geflochten hatte, öffnet
Page 161 and 162:
Figure 3.5. Autograph opening of Pa
Page 163 and 164:
parts taken by Catarina Cavalieri,
Page 165 and 166:
Cathedral preserves two sets of par
Page 167 and 168:
the 1780s do however set texts of a
Page 169 and 170:
The two “sacred songs” O Gottes
Page 171 and 172:
paper is ruled with 14 staves, a ch
Page 173 and 174:
A letter from Norbert Lehmann to Ni
Page 175 and 176:
Example 3.1. Jacquin: Wir werfen un
Page 177 and 178:
Example 3.1, continued. 166
Page 179 and 180:
of a sacred piece sitting on Mozart
Page 181 and 182:
Figure 3.9. Opening of Mozart’s c
Page 183 and 184:
handwriting in the two psalm settin
Page 185 and 186:
Nativity of the Virgin and St. Leop
Page 187 and 188:
Figure 3.12. Opening of the second
Page 189 and 190:
Mozart’s selection of two homopho
Page 191 and 192:
eference to the Thomaskantor in Moz
Page 193 and 194:
church sonatas of Fux and Caldara.
Page 195 and 196:
Figure 3.13. Title page to a set of
Page 197 and 198:
central and northern Germany, altho
Page 199 and 200:
violas and woodwind. The most disti
Page 201 and 202:
If Plath’s dating of Fr 1790a to
Page 203 and 204:
orchestrates the first few bars, th
Page 205 and 206:
Figure 3.15. Entries for the Kyrie
Page 207 and 208:
suggestion in the literature: a Vie
Page 209 and 210:
players at great expense, but it is
Page 211 and 212:
Figure 3.16. The musicians of the H
Page 213 and 214:
speaking, this is an attractive the
Page 215 and 216:
Figure 3.17. Last page of concertma
Page 217 and 218:
separated was high. 218 A further c
Page 219 and 220:
Figure 3.18. The hand of Joseph Hof
Page 221 and 222:
Joseph Hoffmann was at the centre o
Page 223 and 224:
Nurscher died of “Brustwassersuch
Page 225 and 226:
the composer. 238 In contrast, the
Page 227 and 228:
Figure 3.23a. First page of Salieri
Page 229 and 230:
now lost, so we will never know if
Page 231 and 232:
e Alma Dei creatoris MH 221, a copy
Page 233 and 234:
the “etwas kleinere” mass offer
Page 235 and 236:
Figure 3.25a. Works by Mozart in Sa
Page 237 and 238:
Mosel’s statement is only partial
Page 239 and 240:
a mass by Kozeluch himself has an a
Page 241 and 242:
Table 3.4. Performance calendar for
Page 243 and 244:
der Musikfreunde in Vienna; see Fig
Page 245 and 246:
Figure 3.28. Violino Primo in a set
Page 247 and 248:
e pursued in detail here, and the e
Page 249 and 250:
Table 3.5. Some early copies of K.
Page 251 and 252:
Krönungsfeyer S r . M. / Franz. I
Page 253 and 254:
Figure 3.31. Title page of a set of
Page 255 and 256:
FOUR A Kapellmeister at St. Stephen
Page 257 and 258:
dell’organo.” 5 If carried out,
Page 259 and 260:
It is difficult to say whether the
Page 261 and 262:
through local congregations and not
Page 263 and 264:
independence from the ecclesiastica
Page 265 and 266:
Cathedral to cave in, destroying mu
Page 267 and 268:
Figure 4.3. Choirloft and organ at
Page 269 and 270:
copied before Reutter became Kapell
Page 271 and 272:
Maestro di Capella part for the off
Page 273 and 274:
Figure 4.6. Harmonisation of chant
Page 275 and 276:
Figure 4.7. Pope Pius VI celebrates
Page 277 and 278:
to equate these necessarily with th
Page 279 and 280:
Whether Burney communicated any of
Page 281 and 282:
Gottesdienstordnung, the town counc
Page 283 and 284:
Figure 4.9. Inventory of the St. St
Page 285 and 286:
Name Position Table 4.1. Musicians
Page 287 and 288:
Name Position Table 4.2. Music pers
Page 289 and 290:
Name Position Payment (fl.xr) Comme
Page 291 and 292:
Year Essential Gnadenbild (fl.xr) C
Page 293 and 294:
comparatively small remaining amoun
Page 295 and 296:
intention of departing Vienna in th
Page 297 and 298:
were present at St. Stephen’s on
Page 299 and 300:
Whatever the background, Mozart eve
Page 301 and 302:
Als Hr: kapellmeister Hofmann krank
Page 303 and 304:
292 Figure 4.12. Deleted rejection
Page 305 and 306:
information, for the mention of the
Page 307 and 308:
and the newly-written Ave, verum co
Page 309 and 310:
Figure 4.14. Autograph petition by
Page 311 and 312:
Question. Whether he occasionally a
Page 313 and 314:
IV. MUSIC AT THE BADEN PFARRKIRCHE
Page 315 and 316:
most renowned of the composer’s s
Page 317 and 318:
elations with Stoll after the death
Page 319 and 320:
following letter to Constanze, Moza
Page 321 and 322:
months. 170 For our purposes, the p
Page 323 and 324:
Figure 4.15. Opening of Mozart’s
Page 325 and 326:
Figure 4.17. Verso of Mozart’s (
Page 327 and 328:
Perhaps the shared key of the mass
Page 329 and 330:
Es dürfte wahrscheinlich nur wenig
Page 331 and 332:
then Hofbibliothek in Vienna, where
Page 333 and 334:
example, sets of parts used in Bade
Page 335 and 336:
Figure 4.18. Title wrapper of a set
Page 337 and 338:
evival of Die Entführung aus dem S
Page 339 and 340:
paper dimensions, watermarks, the s
Page 341 and 342:
Figure 4.19. Canto part for Ave, ve
Page 343 and 344:
and other material. 222 Among the n
Page 345 and 346:
suggests that Mozart took part in t
Page 347 and 348:
eceived a letter from her, “welch
Page 349 and 350:
welche Wonne!” in Die Zauberflöt
Page 351 and 352:
Like much else in Mozart’s short
Page 353 and 354:
FIVE Mozart’s Obsequies 342 Die M
Page 355 and 356:
leading up to the Exequien for Moza
Page 357 and 358:
Leuthe, Lichtern, Kirchen apparaten
Page 359 and 360:
The score of Gluck’s De Profundis
Page 361 and 362:
the material derives from the Hofka
Page 363 and 364:
Figure 5.3. Wrapper of parts for Ga
Page 365 and 366:
part is marked “Trani” in the I
Page 367 and 368:
II. THE COMMISSIONING OF THE REQUIE
Page 369 and 370:
eplacement for the usual clarinet p
Page 371 and 372:
Bauman, it is “unworthy of Mozart
Page 373 and 374:
Whatever attitudes Mozart may have
Page 375 and 376:
several works for the German liturg
Page 377 and 378:
service in the orchestra, and it ma
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
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 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: Rice, John A. “Adding Birds to Mo
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?