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

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estricted to only the Hofkapelle and St Stephen’s Cathedral when the archbishop officiated.” 8 These misconceptions have their origins in an account by the Berlin critic Friedrich Nicolai of a visit to Vienna in 1781. Nicolai was not present in the city when the Gottesdienstordnung was introduced in 1783, and must have relied on second-hand reports when writing this passage: Bey der neuen Anordnung des Gottesdienstes im Jahre 1783 ist die figurirte und Instrumentalmusik aus den Kirchen zu Wien ganz verbannet worden. Nur bloß in der Kaiserl. Hofkapelle werden noch Messen in Musik aufgeführt; und bey St. Stephan wird, wenn der Kardinal-Erzbischoff pontificirt, noch musicirt, er muß aber die Musik besonders bezahlen. 9 Nicolai’s claim may be easily dismissed: there is no reference in the Gottesdienstordnung to such arrangements at the Hofkapelle or the Cathedral, and the passage was explicitly rejected by the Viennese demographer Ignaz de Luca in 1794: Die Kirchenmusik sondert sich in die Choral- und Instrumentalmusik. Die Choralmusik ist nur in den Kirchen in Uebung, wo Chor z. B. in der Metropolitankirche, und in den Mönchkirchen gehalten wird. Die Instrumentalmusik ist unter Josephs Regierung nicht erloschen, sondern nur beschränkt worden. Man hört sie alle Sonntage in Pfarrkirchen, in den übrigen Kirchen findet sie bey hohen Festen statt. Nicht bloß in der Metropolitankirche, sondern fast alle Pfarrkirchen haben ihre eigene Kapelle...Herr Nicolai ist sehr irrig daran, wenn er glaubt, daß der Kardinal Erzbischof, wenn er pontificirt, die Musik besonders bezahlen muß. 10 The importance of de Luca’s statement that Instrumentalmusik was not extinguished, merely restricted under Joseph can hardly be overestimated, and we shall see repeated confirmation of it in this dissertation. Although instrumental litanies and vespers mostly disappeared, the provision for instrumental masses on Sundays and feast days remained entirely unaffected. 11 Such eucharistic services were the focal point of the church week, and included the musical 8 Bruce C. Mac Intyre, “Religion and Liturgy,” in The Cambridge Mozart Encyclopedia, ed. Cliff Eisen and Simon Keefe (Cambridge: Cambridge University Press, 2006), 414. 9 Friedrich Nicolai, Beschreibung einer Reise Durch Deutschland und die Schweiz im Jahre 1781, 12 vols. (Berlin and Stettin: n.p., 1783-96), iv.549-50. 10 Ignaz de Luca, Topographie von Wien, 2 vols. (Vienna: Thad. Edlen von Schmidbauer und Komp., 1794), i.381-82. 11 The position of instrumental vespers is rather ambiguous. Although there was no provision for them in the Gottesdienstordnung, Joseph did grant permission for Migazzi to hold them as long as they were not supported by state subsidy, as we have seen in the previous chapter; see also RGZJ, 163n31. A 1786 setting of vespers by Johann Georg Spangler, regens chori at the Michaelerkirche will be discussed in the final chapter. 55
performance of the mass ordinary and additional items such as the offertory, gradual and motet. Many of the smaller and private chapels in the city did close, but the music-making there was invariably small-scale and of little interest to a composer like Mozart. The closure of the former chapel in the Trattnerhof was actually of benefit to Mozart: converted into a hall, it served as the venue for the composer’s three subscription concerts of 1784. 12 Clearly, a more nuanced approach to the problem of church music in 1780s Vienna is required, and an explanation of the post-1783 framework in which the music was heard is neccessary. The Gottesdienstordnung in its original form stayed in force in Vienna until 1791, when Leopold II permitted a modest relaxation of its strictures. Outside Vienna, the policy initially varied according to the political orientation of the authorities, but in 1786 all of the Erbländen were ordered to adopt a service pattern closely based on the Viennese model. 13 Churches were required to purchase the new service order and hymn texts, and a market sprang up for supplying these in various formats. In late 1783, an advertisement in the Wiener Zeitung announced the availability of the local editions: Im deutschen Zeitungskomtoir in der Singerstrasse Nr. 931 ist zu haben: Directorium Romano Viennense, seu Ordo Missas celebrandi, & horas canonicas recitandi, juxta Ritum Missalis & Brevarii Romani, ac Proprii Viennensis, adjunctis etiam Festis ex Proprio Passaviensi. Pro Anno Domini 1784. 17 kr... Neue Gottesdiensts- und Andachtsordnung für Wien in und vor der Stadt. Normalmeßgesang, Litaneyen, und Gebether, wie selbe bey der neuen Gottesdiensteinrichtung zu allgemein Gebrauch vorgeschrieben worden. – Beyde in verschiedenen Bänden und Preisen. Ordnung und Lieder zusammen gebunden, mit und ohne Noten in allerley Einband. Noten zum Meßgesange besonders. Normalmeßgesang samt Predigtlied, 1 kr. Normalmeßgesang besonders, 1 kr. Normalmeßgesang samt Predigtlied mit Litaney und Gebeter im grössern Druck. 14 12 Deutsch, Dokumente, 197. 13 See RGZJ, 150-68. 14 Wiener Zeitung (1783): Nr. 101. 56
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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
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: dolorosa von Haydn - aber hatte mir
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
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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
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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
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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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