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

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parish churches did close, as we have noted, virtually all of the musicians who formerly played in them held multiple posts, allowing many to retain a reduced rather than eliminated income. All this might go some way to explaining why no further protests against the musical provisions of the Gottesdienstordnung are known after the rejection of Frieberth’s petition in January 1784. In the lively musical economy of Vienna in the 1780s, many musicians no doubt obtained work outside church environments. Some may have abandoned the profession entirely: a former Kirchen-Musikus called Georg Greiner applied in September 1783 for permission to open a cheesemonger’s shop (Käßstechergewerb) on the Landstrasse. 20 Perhaps the most intriguing prospect in the post-1783 environment is the possibility that the restrictions of the Gottesdienstordnung were simply ignored in practice. Evidence for this comes not only from musical sources but also from the contemporary religious literature. Joseph II’s partial relaxation of censorship laws in 1781 had allowed Vienna to become one of the Empire’s great publishing centres, and an enormous number of books, journals, newspapers and pamphlets on every subject appeared in the city during Mozart’s lifetime. 21 Reform-minded commentators soon produced critiques of sacred music, following a well- worn path of indignation against the “theatrical” nature of the service, the disturbing noise of trumpets and drums and the tendency of congregations to become distracted by the sounds emanating from the organ gallery. The most well-known of these critiques are the anonymous pamphlet Über die Kirchenmusik in Wien, which appeared in the first half of 1781, and a chapter in Joseph Richter’s Bildergalerie Katholischer Misbräuche from 1784. 22 20 A-Wsa, Alte Registratur, A2/106 (13 September 1783). 21 See Leslie Bodi, Tauwetter in Wien: Zur Prosa der Österreichischen Aufklärung, 1781-1795 (Vienna: Böhlau, 1995), 43-57. 22 Anon., Ueber die Kirchenmusik in Wien (Vienna: Sebastian Hartl, 1781), Joseph Richter, Bildergalerie Katholischer Misbräuche ([Vienna]: n. p., 1784), 63-70. A review of the former appeared in Die Wiener- Wochenschrift, Nr. 15 (22 June 1781), and a translation is available in Jane Schatkin Hettrick, “Colorful Comments on Church Music in Vienna around 1780,” The American Organist 34 (2000): 77-81. Other contemporary accounts of Viennese sacred music include: Anon., Die Bürgersmädchen (Vienna: Kurzbeck, 61
More celebrated than Richter’s text is the accompanying satirical engraving depicting the performance of a Stabat mater, now available in a number of modern studies. 23 Printed defences of concerted sacred music are very rare: the only extended justification of which I am aware is a long response by Patrizius Fast, Chormeister at St. Stephen’s Cathedral, to an attack on the genre by the jurist and professor Josef von Weisenegg. 24 Fast was a leading reactionary against Imperial attempts at religious reform, and his rejoinder compared church music to an ornate garden filled with flowers and fruit trees in its capacity to awaken a love of the Creator. In addition to the individually published items, a number of religious periodicals were active in the city. Their primary focus was not musical and all were Josephinian in orientation, but once this is borne in mind they become a useful source for the state of sacred music in Vienna and beyond. The two leading journals, Marc Anton Wittola’s Wienerische Kirchenzeitung and Leopold A. Hoffmann’s twice-renamed Wöchentliche Wahrheiten für und über die Prediger in Wien both carried a mixture of religious news, opinion pieces on doctrinal questions and, particularly in the latter, a large number of Predigtkritiken. These anonymous articles were effectively reviews of recent church services, critiquing the content 1781), 16-17, Anon., Ueber die Abschaffung der Weinachtsmetten und Veränderung in eine Tagandacht... (Vienna: n. p., 1781), 4-13, Johann Nikolaus Forkel, ed., Musikalischer Almanach für Deutschland auf das Jahr 1784 (Leipzig: Schwickert, 1783; reprint, Hildesheim: Georg Olms Verlag, 1974), 188-89, Nicolai, Beschreibung einer Reise Durch Deutschland und die Schweiz im Jahre 1781, iv.544-52, Gustav Gugitz and Anton Schlossar, eds., Johann Pezzl: Skizze von Wien (Graz: Leykam-Verlag, 1923), 281-82, Anon., “Ueber den Stand der Musik in Wien,” in Wiener Theater Almanach für das Jahr 1794 (Vienna: Kurzbeck, 1794), 177-79, Johann Ferdinand von Schönfeld, Jahrbuch der Tonkunst von Wien und Prag, ed. Otto Biba (Munich: E. Katzbichler, 1976), 97-8. 23 Among others, Neal Zaslaw, Mozart's Symphonies: Context, Performance Practice, Reception (Oxford: Clarendon Press, 1989), John A. Rice, “Vienna under Joseph II and Leopold II,” in Man and Music: The Classical Era, ed. Neal Zaslaw (London: Macmillan, 1989), 126-65, Daniel Heartz, Haydn, Mozart, and the Viennese School, 1740-1780 (New York: W.W. Norton, 1995). The caption in the first-cited mistakenly describes the engraving as Richter’s frontispiece. 24 Josef Maria Weissegger von Weissenegg, Beiträge zur Schilderung Wiens, 2nd ed. (Vienna: Kurzbeck, 1781), 78-85, Patricius Fast, Katholischer Unterricht und Erörterung aller Zweifel, welche in den Beyträgen zur Schilderung Wiens aufgeworfen werden (Vienna: Erzbischöfliche Cur, 1781), ix.31-32, x.3-15. The anonymous Über die Kirchenmusik in Wien refers to Weissenegg’s book. 62
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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
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on Jews. Church music was, so far,
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fidelium animi ad spiritualium reru
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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 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: provided obsequies for Mozart and a
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
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
Page 117 and 118: that city. This would seem to imply
Page 119 and 120: combining: on 31 August 1782, the d
Page 121 and 122: 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
Page 375 and 376:
several works for the German liturg
Page 377 and 378:
service in the orchestra, and it ma
Page 379 and 380:
Figure 5.7. Autograph opening of S
Page 381 and 382:
Figure 5.8. Autograph title page of
Page 383 and 384:
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
Page 391 and 392:
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
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———. “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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