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

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Constanze’s association. Particularly interesting is the quasi-biblical language Mozart adopted for the final sentence in the August letter, of the God who orders all things never forsaking the devout betrothed couple. This statement of belief may be seen as an attempt by Mozart to portray his marriage as a divinely ordained and sanctioned event, ultimately outside the control of Leopold. Given the vicissitudes leading up to the marriage, Mozart himself may have found it congenial to view the occasion in a similar light. What role did Constanze really play in the religious life of her husband? In view of the central importance Mozart evidently attached to her in the composition of C minor Mass, this is an important but almost unanswerable question. The nature of Constanze’s religious background is entirely unknown, although her probable upbringing at the Notre Dame College in Mannheim would have provided a standard Catholic education. 97 Much later in life, she was to request a Catholic funeral for her Protestant second husband and later masses for his soul, but by then the circumstances of her life were radically different. 98 One of the very few insights we have into Constanze’s religious life in the early 1780s is an entry that Mozart made in her prayerbook: Derjenige, welcher in diesem Büchel all die Bildchen umgewandt und auf jedes was darauf geschrieben hat, ist ein – – – – – – nicht wahr Constanz? – Nur ein einziges hat er verschont, weil er gesehen, daß sie es doppelt hat – und er sich daher Hoffnung macht, dasselbe zum Andenken zu bekommen; wer schmeichelt sich dieses? – – – – Der Trazom – und von wem hofft er es zu erhalten? Von der Znatsnoc. 97 See Erich Valentin, “Das Testament der Constanze Nissen: mit biographischen Notizen über Constanze und Georg Nikolaus Nissen”, Neues Mozart-Jahrbuch 2 (1942): 138. Constanze’s father, Fridolin Weber, copied out the text of a Latin hymn that may have been of his own composition. Still extant in A-Sm, the autograph leaf with a note of authenticity by Constanze is discussed in Rudolf Lewicki, “Aus dem Mozarteums-Archiv”, Mozarteums Mitteilungen 2 (1920): 124-25. 98 See Peter Unkelbach, “Constanze Nissen Und Salzburgs Fürsterzbischof Augustin Gruber: Eine Kontroverse Aus Dem Jahre 1826 Zu Katholischen Begrabnisfeierlichkeiten Fur Den Evangelischen Danischen Legationsrat Georg Nikolaus Nissen,” Mitteilungen der Internationalen Stiftung Mozarteum 43, no. 3-4 (1995): 78-80; Franz Martin, “Beiträge über Mozarts Witwe”, Neue Mozart-Jahrbuch 3 (1943): 113-16; Rudolph Angermüller, “Eine (kleine) Stiftung von Constanze Nissen (1836)”, Mitteilungen der Internationalen Stiftung Mozarteum 44, no. 3- 4 (1996): 69-76. Angermüller was apparently unaware of Martin’s earlier publication of the relevant documents. 45
Seyn Sie nicht gar zu andächtig, gute Nacht. 99 The explanation for this rather obscure riddle appears to be the following: illustrative engravings were often not bound into books, but were simply interleaved at the appropriate points. Mozart disturbed the order of the devotional pictures, wrote something on each of them, but then noticed that there were two copies of a particular engraving, and wished to keep one as a souvenir. The names at the end are, of course, “Mozart” and “Constanz” in reverse, another example of Mozart’s well-known love of wordplay. Unfortunately, the prayerbook is no longer extant, and the above quotation is only known from Nottebohm’s Mozartiana, which was based on documents in the Breitkopf und Härtel archives that are themselves presently unavailable. 100 Thus the form in which Breitkopf received the quotation is also uncertain. 101 The book may have been one of the numerous printed anthologies produced in the seventeenth and eighteenth centuries for private devotion, or it may have been handwritten, like Leopold Mozart’s surviving prayerbook. 102 The question of where and when Constanze received the book is presently impossible to answer. For Mozart’s entry, Nottebohm gave the date “Wien <strong>1781</strong>,” which was adopted without comment in MBA, yet one suspects this is merely a guess based on the 99 MBA, iii.189. 100 Gustav Nottebohm, Mozartiana. Von Mozart herrührende und ihn betreffende, zum grossen Theil noch nicht veröffentlichte Schriftstücke (Leipzig: Breitkopf & Härtel, 1880), 3. On the fate of the Breitkopf & Härtel archive, see Rudolf Elvers, “Breitkopf und Härtels Verlagsarchiv,” Fontes Artis Musicae 17 (1970): 24-8. Despite the roundabout transmission, the reliability of the other documents in Mozartiana suggests the note is authentic. 101 There is no mention of any prayerbook in the printed materials section of Mozart’s Verlassenschaft; see Ulrich Konrad and Martin Staehelin, allzeit ein buch: Die Bibliothek Wolfgang Amadeus Mozarts (Weinheim: VCH, 19<strong>91</strong>). Constanze’s Verlassenschaft, transcribed in Valentin, “Testament der Konstanze Nissen,” 141-5, does not mention books at all. There has been remarkably little study of Mozart and Constanze’s libraries and the fate of non-musical items after their owners’ deaths. A number of items from Mozart’s library do survive in A-Wn and D-W. 102 In A-Sm; reproduction of one page in Otto Erich Deutsch, Mozart und seine Welt in zeitgenössischen Bildern (Kassel: Bärenreiter, 1961), 341. 46
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MOZART AND THE PRACTICE OF SACRED M
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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: Mozart was concerned with reassurin
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 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
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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
Page 377 and 378:
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
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than 1795, and in a score of Don Gi
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Figure 5.19. Entry by Freystädtler
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minor. 186 It may be doubted, howev
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Discovering the true identity of th
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organist in Vienna. 200 Benedikt Sc
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Figure 5.21. Autograph Clarino Imo
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company entered these parts into Mo
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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 and 464:
Wallner, Viktor. Wolfgang Amadeus M
Page 465 and 466:
———. “Mozarts c-Moll-Messe
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