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

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Werner, Richard Maria, ed. Aus dem Josephinischen Wien: Geblers und Nicolais Briefwechsel während der Jahre 1771-1786. Berlin: W. Hertz, 1888. Wernigg, Ferdinand. Bibliographie Österreichischer Drucke Während der 'Erweiterten Preßfreiheit' (<strong>1781</strong>-1795). 2 vols. Vienna and Munich: Jugend und Volk, 1973-9. Willander, Alfred. “Das Kirchenmusikarchiv der Stadtpfarrkirche St. Stephan zu Baden mit Beiträgen zu einer Musikgeschichte der Stadt Baden.” PhD Diss., Universität Wien, 1972. Wimmer, Constanze. “Die Hofmusikkapelle in Wien unter der Leitung von Antonio Salieri (1788-1824).” Studien zur Musikwissenschaft 47 (1999): 129-214. Winterberger, Johann. “Franz Xaver Süßmayr. Die Stationen seines Lebens.” Oberösterreische Heimatblätter 20 (1966): 3-11. ———. Franz Xaver Süssmayr: Leben, Umwelt und Gestalt. Frankfurt am Main: Opus Verlag, 1999. Wittola, Marc Anton, ed. Neuste Beiträge zur Religionslehre und Kirchengeschichte. 3 vols. Vienna: Trattner, 1790-92. ———, ed. Wienerische Kirchenzeitung. 6 vols. Vienna: Joseph Edlen von Kurzbek, 1784- 89. Wlcek, Walter. Franz Xaver Süssmayr als Kirchenkomponist. Vol. 11, Wiener Veröffentlichungen zur Musikwissenschaft. Tutzing: Schneider, 1978. Wolf, Adam. Fürstin Eleonore Liechtenstein, 1745-1812. Nach Briefen und Memoiren Ihrer Zeit. Vienna: Gerold, 1875. Wolf, Eugene K. “The Music Collection of the Hessische Landesbibliothek Fulda and Its Relationship with Collections in Frankfurt, Washington, and Elsewhere.” In Von der Klosterbibliothek zur Landesbibliothek. Beiträge zum Zweihundertjährigen Bestehen der Hessischen Landesbibliothek Fulda, edited by Artur Brall, 361-70. Stuttgart: Anton Hiersemann, 1978. Wolf, Peter Philipp. Geschichte der Veränderungen in dem Religiösen, Kirchlichen und Wissenschaftlichen Zustande der Österreichischen Staaten unter der Regierung Josephs II. “Germanien”: n. p., 1795. Wolff, Christoph. Mozart's Requiem: Historical and Analytical Studies, Documents, Score. Oxford: Clarendon Press, 1994. 453
———. “Mozarts c-Moll-Messe und 'der Höhere Pathetische Stil der Kirchenmusik'.” In Intermedialität: Studien zur Wechselwirkung zwischen den Künsten, edited by Günter Schnitzler, 159-66. Freiburg im Breisgau: Rombach Verlag, 2004. Wolfsgruber, Zölestin. Christoph Anton Kardinal Migazzi, Fürsterzbischof von Wien. 2nd ed. Ravensburg: H. Kitz, 1897. ———. Die Hofkirche zu S. Augustin in Wien. Augsburg: M. Huttler, 1888. ———. Die k. u. k. Hofburgkapelle und die k. u. k. Geistliche Hofkapelle. Vienna: Mayer & Comp., 1905. Worlitz-Wellspacher, Andrea. “Der Bote des Requiembestellers.” Wiener Geschichtsblätter 45 (1990): 197-219. Wörsching, Joseph. “Wolfgang Amadeus Mozart und die Orgel.” In Augsburger Mozartbuch, 452-87. Augsburg: J. A. Schlosser, 1943. Wright, Craig. “Dufay at Cambrai: Discoveries and Revisions.” Journal of the American Musicological Society 28 (1975): 175-229. Wurzwallner, Christian. “Requiem-Vertonungen in Wien zwischen 1750 und 1820.” Diplomarbeit, Universität Wien, 1990. Zaslaw, Neal. “Bearding Ritter von Köchel in His Lair.” In Words About Mozart: Essays in Honour of Stanley Sadie, edited by Dorothea Link and Judith Nagley, 139-52. Woodbridge, Suffolk: Boydell Press, 2005. ———. “Mozart's Incidental Music to 'Lanassa' and His 'Thamos' Motets.” In Music, Libraries and the Academy: Essays in Honor of Lenore Coral, edited by James P. Cassaro, 55-63. Middleton, WI: A-R Editions, 2007. ———. “Mozart's Salzburg Sacred Music and His Mass in C Minor, K. 427.” In Mozartiana. The Festschrift for the Seventieth Birthday of Professor Ebisawa Bin, edited by Yoshiko Tokumaru, 571-88. Tokyo: Tokyo Shoseki, 2001. ———. Mozart's Symphonies: Context, Performance Practice, Reception. Oxford: Clarendon Press, 1989. ———. “Mozart, Haydn and the Sinfonia Da Chiesa.” Journal of Musicology 1 (1982): 95- 124. Ziffer, Agnes. Kleinmeister zur Zeit der Wiener Klassik. Vol. 10, Publikationen des Instituts für Österriechische Musikdokumentation. Tutzing: Hans Schneider, 1984. Zlabinger, E. “L. A. Muratori und Österreich.” In La Fortuna Di L. A. Muratori, 109-42. Florence: Olshki, 1975. 454
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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
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Fortunately, a number of Johann Geo
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Figure 5.11. “Singers’ graffiti
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detailed account of payments and a
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Majus 1791 [...] 1: 40: p[ro] descr
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SmWV 226. Both operas are undated,
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Figure 5.14. Entry in the St. Micha
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Seelenamt 6.-- Ornat beym Seelenamt
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Figure 5.15. Receipt by Spangler da
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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 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: Wallner, Viktor. Wolfgang Amadeus M
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