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

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dolorosa von Haydn – aber hatte mir viel, viel mehr erwartet. Die Exekution war<br />

mittelmässig.” 4<br />

How justified were Viennese church musicians in fearing for their future? The<br />

existing literature has depicted the effects of the reforms in a strongly negative light, and the<br />

erroneous notion that Joseph II “banned” instrumentally-accompanied sacred music is still<br />

found in recent studies. 5 Denis Arnold, for example, claims that “...Haydn and Mozart<br />

produced fine masses in the year before the abolition of elaborate church music by the<br />

Emperor Joseph II in 1783.” 6 Christoph Wolff writes, “The reforms initiated by<br />

Joseph...imposed painful restrictions on concertante Latin church music in Austria, causing<br />

it to be in effect banned from 1783 on. For a time scarcely any new church music was<br />

written in Vienna, but after 1790 it was once again an attractive field for composers.” 7 Less<br />

radical but equally incorrect accounts of the reforms have also appeared. Bruce MacIntyre<br />

claims that “from 1783 onwards instrumentally accompanied masses in Vienna were<br />

4 Irmgard Leux-Henschen, ed., Joseph Martin Kraus in Seinen Briefen (Stockholm: Svenskt Musikhistoriskt<br />

Arkiv, 1978), 110.<br />

5 Studies of the contemporary liturgical context and its relationship to Mozart include: Karl Gustav Fellerer,<br />

“Liturgische Grundlagen der Kirchenmusik Mozarts,” in Festschrift Walter Senn zum 70. Geburtstag, ed. Ewald<br />

Fässler (Munich: E. Katzbichler, 1975), 64-74, Karl Gustav Fellerer, Die Kirchenmusik W.A. Mozarts (Laaber:<br />

Laaber-Verlag, 1985), 31-46, Konrad Küster, Mozart: eine Musikalische Biographie (Stuttgart: Deutsche<br />

Verlags-Anstalt, 1990), 234-57, Andreas Lindner, “Die Auswirkungen der Josephinischen Reformen auf die<br />

Musikpflege in den Oberosterreichischen Stiften,” in Festschrift Leopold Kantner, Studien zur Musikwissenschaft<br />

(Tutzing: Schneider, 2002), 313-31, Bruce C. MacIntyre, The Viennese Concerted Mass of the Early Classic<br />

Period (Ann Arbor: UMI Research Press, 1986), 43-4, Reinhard G. Pauly, “The Reforms of Church Music<br />

under Joseph II,” Musical Quarterly 43 (1957): 372-82, Friedrich Wilhelm Riedel, “Katholische Kirchenmusik<br />

im Spannungsfeld Zwischen Gottesdienst und Kunst im Zeitalter der Französischen Revolution und des<br />

Vormärz,” in Bericht über den Internationalen Musikwissenschaftlichen Kongress Bayreuth 1981, ed. Christoph-<br />

Hellmut Mähling and Sigrid Wiesmann (Kassel: Bärenreiter, 1984), 234-41, Friedrich Wilhelm Riedel,<br />

“Mozarts Kirchenmusik. Musikalische Tradition - Liturgische Funktion - Religiöse Aussage,” in Mozarts<br />

Kirchenmusik, ed. Harald Schützeichel (Freiburg i. Br.: Katholische Akademie der Erzdiözese Freiburg, 1992),<br />

31-36, Walter Senn, “Das Angebliche Fugenverbot des Fürsterzbischofs von Salzburg Hieronimus Graf<br />

Coloredo,” Acta musicologica 48 (1976): 205-27.<br />

6 Denis Arnold and John Harper, “Mass (III),” Grove Music Online, ed. L. Macy (accessed 29 November 2006),<br />

.<br />

7 Christoph Wolff, Mozart's Requiem: Historical and Analytical Studies, Documents, Score (Oxford: Clarendon<br />

Press, 1994), 86-7.<br />

54

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