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

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

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Salzburg service at just the right moment to avoid the similar decline now beginning in the<br />

aftermath of Colloredo’s 1782 pastoral letter.<br />

The introduction of the Gottesdienstordnung, as initially disruptive as it was, came as<br />

the last step in a logical progression of letters, directives, drafts and proclamations stretching<br />

back to the first months of Joseph’s sole rule. Perhaps the most striking detail to emerge from<br />

these documents is the extraordinary consistency of the Emperor’s vision, and the skill of the<br />

administrative machine in bringing it to fruition. As intractable as the Emperor could be in<br />

the face of criticism, the sense of moral righteousness one sees in his writings and actions was<br />

entirely genuine, spurred on by the “voice” that he described to Pius VI. What did prove<br />

problematic in the longer term for Joseph was his tendency to micro-manage trivial details<br />

and his belief that the issuance of a proclamation would immediately correct what he saw as<br />

errors.<br />

For Joseph, ultimately, musical expenses in church were an “excess,” the needless<br />

expenditure of financial resources on a fleeting aural experience that obscured the religious<br />

message and diverted funds away from more useful causes. The one area of church music<br />

that Joseph did approve was the singing of hymns, since their accompaniment required only<br />

a small expenditure, and the entire congregation became involved in singing. The Emperor<br />

seems not to have been concerned about the human impact of his reforms, for no<br />

consideration was given to potential loss of income in the documents associated with the new<br />

order of service. Joseph cannot fail to have been unaware of the consequences, since he<br />

designed the original structure of the order in September 1782, but if he gave the matter any<br />

thought he may have convinced himself that the musicians would find other employment. It<br />

should be noted, however, that the Emperor ultimately rejected the most radical proposals of<br />

the Landesregierung and his own Hofkanzlei, which had advocated the complete removal of<br />

51

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