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

Acknowledgements
A study of this kind requires the involvement of a great many people, and it is a pleasure to
thank all those who made the work possible. I am grateful firstly to my advisor, Christoph
Wolff, who offered wise counsel on matters both practical and theoretical. My readers, Sean
Gallagher and Robert Levin were always ready to discuss the implications of my research.
The nature of the topic necessitated visits to a wide variety of libraries and archives
across Europe. In Vienna, I am particularly grateful to the staff of the Stadt- und
Landesbibliothek and Stadt- und Landesarchiv, who fulfilled my seemingly endless requests
with expertise and courtesy. I am grateful also to the staff of the Allgemeines
Verwaltungsarchiv, Diözesanarchiv, Haus-, Hof- and Staatsarchiv, Hofkammerarchiv,
Österreichische Nationalbibliothek and Universitätsbibliothek. Otto Biba of the Gesellschaft
der Musikfreunde generously shared his expertise on music in Vienna and clarified a number
of important issues. The clergy and staff of the Michaelerkirche, Schottenstift and
Stephansdom kindly permitted me access to their collections and offered valuable advice on
interpreting them. Elsewhere in Austria, I am grateful to P. Petrus Eder and Helga Penz of
Stift St. Peter in Salzburg, Ernst Hintermaier of the Erzbischöfliches Konsistorialarchiv in
Salzburg, P. Alfons Mandorfer of Stift Kremsmünster and the staff of the
Niederösterreichisches Landesarchiv in St. Pölten.
In Germany, I am grateful to the staff of the Staats- und Stadtbibliothek in
Augsburg, Staatsbibliothek zu Berlin, Sächsische Landesbibliothek – Staats- und
Universitätsbibliothek in Dresden, Hochschul- und Landesbibliothek in Fulda and
Universitätsbibliothek Frankfurt am Main. Davide Ceriani kindly assisted in my gaining
access to the Conservatorio di Musica Luigi Cherubini in Florence, and I am grateful to the