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

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Work Catalogue Principal Source(s); *=autograph Date (Albrechtsberger, continued) Offertories Benedictus sit deus pater C.I.2 H-Bn, Ms. Mus. 2.261* 11 June 1783 Justus et palma florebit C.I.16 H-Bn, Ms. Mus. 2.418* 1783 In te domine speravi C.II.12 H-Bn, Ms. Mus. 2.254*, A-Wn, Mus. Hs. 39028* 1783 Meditabor in mandatis tuis C.I.30 H-Bn, Ms. Mus. 2.467* 3 March 1784 Dextera domini C.I.9 H-Bn, Ms. Mus. 2.419* 26 August 1784 Diffusa est gratia C.I.17 H-Bn, Ms. Mus. 2.468* 9 November 1784 Scapulis suis C.I.28 H-Bn, Ms. Mus. 2.467* 1784 Justitiae domini C.I.18 H-Bn, Ms. Mus. 2.457* 24 February 1785 Laudate dominum C.I.23 H-Bn, Ms. Mus. 2.246* 1 March 1785 Si ambulavero C.I.19 H-Bn, Ms. Mus. 2.469* 10 June 1785 Domine in auxilium C.I.21 H-Bn, Ms. Mus. 2.443* 18 July 1785 Sperent in te omnes C.I.14 H-Bn, Ms. Mus. 2.470* 19 October 1785 Antiphons Regina coeli F.I.15 H-Bn, Ms. Mus. 2.445* 13 April 1782 Regina coeli F.I.23 H-Bn, Ms. Mus. 2.446* 26 April 1782 Alma redemptoris mater F.I.20 H-Bn, Ms. Mus. 2.603/1* 5 September 1783 Alma redemptoris mater F.I.16 H-Bn, Ms. Mus. 2.603/2* 6 December 1783 Ave regina F.I.5 H-Bn, Ms. Mus. 2.492* 28 January 1784 67
Work Catalogue Principal Source(s); *=autograph Date (Albrechtsberger, continued) Ave regina F.I.10 H-Bn, Ms. Mus. 2.492* 28 January 1784 Regina coeli F.I.24 H-Bn, Ms. Mus. 2.410* 1784 Litanies Litaniae de SS. Nomine Jesu J.8 H-Bn, Ms. Mus. 2.444* 1782 Bonno, Giuseppe (1711-88) On the possibility that Bonno's numerous works for the Hofkapelle date from the 1780s, see Chapter Three Eybler, Joseph (1765-1846) Missa Sancti Hermani HV 1 A-Ws, 701/710* 1781 Veni Sancte Spiritus deest A-Ws, 701/710* 1781 Numen aeternum deest A-Ws, 701/710* 1781 Ferrarese, Adriana (del Bene, 1759-after 1803) Motet lost; cited in inventory of Italian Congregation c. 1788-90 68
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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
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Figure 1.1. The Consistorium’s pr
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appeared somewhat disingenuous, for
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“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 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: Work Catalogue Principal Source(s);
Page 81 and 82: Work Catalogue Principal Source(s);
Page 83 and 84: 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
Page 123 and 124: Fischer’s copy of K. 321. 142 As
Page 125 and 126: was not the usual disposition, eith
Page 127 and 128: 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
Page 373 and 374:
Whatever attitudes Mozart may have
Page 375 and 376:
several works for the German liturg
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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
Page 427 and 428:
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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