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

More documents

Recommendations

Info

Platz, theils des überaus leichten Spieles und der besonders lieblichen Töne, theils der eigenen, vor der bisher gewöhnlichen ganz abweichenden Struktur wegen, da z.B. ein sieben-jähriger Knabe mittels eines einzigen, leicht beweglichen Hebels den Wind in die Orgel treiben kann u.s.w. 42 Kraus was not the parish priest in 1788, and there seems to be no earlier evidence that Mozart was in attendance. Nevertheless, the program for the examination survived into the nineteenth century, and was cited by the Signale für die musikalische Welt in 1869. In its mixture of original works and arrangements from a wide timespan, Albrechtsberger’s selection of repertoire strikes a distinctly modern note: Das erwähnte Programm nennt als “Clavierstücke, die man Personen vom Stande, oder sonst von einem Ansehen, auf der Schottenfelder Pfarrorgel (unentgeltlich wie es sich von selbst versteht) spielen wird; “Mit Begleitung der Register etc. – Aufgeführt wurde: “Ein Zusammgetragenes.” Allegro von der Sinfonie Laudon; Andante von einem Anonymen; Finale. Wird extemporiert mit der völligen Orgel über ut re mi fa so la. Man hat dabei eine confuse Nachahmung von verschiedenen Instrumenten, und fast wie von einem Gesange.” Sonaten von Bach, Albrechtsberger und Haydn; Fuge a 3 von Bach; Variazioni von Haydn. Zum Beschluß eine Sinfonie von Gasman. 43 It is impossible to know if such meetings between Mozart and Albrechtsberger are indicative of regular contact. We can be sure however that the two composers engaged in “shop talk” when they did meet, and these exchanges would have informed Mozart of the latest developments in sacred music from the perspective of a leading practitioner. Several Viennese composers of Mozart’s generation were active at least fitfully in sacred music. Albrechtsberger’s student Joseph Weigl produced two masses in 1783-84 during his apprenticeship at the Burgtheater under Salieri. 44 The first is set on a particularly large scale, featuring four trumpets, an independent viola part and an Agnus dei in the rare key of E-flat minor. The multi-movement offertory Francisce pauper humilis is undated in its 42 Ludwig Kraus, Die Pfarre und Kirche St. Laurenz im Schottenfelde (Vienna: Anton Strauß, 1826), 9. 43 Quoted in Karl Schütz, Der Wiener Orgelbau in der Zweiten Hälfte des 18. Jahrhunderts, vol. 35, Dissertationen der Universität Wien (Vienna: Verlag Notring, 1969), 93. 44 Most of Weigl’s church music was written in the 1820s and 30s as part of his duties at court; see Franz Grasberger, “Joseph Weigl (1766-1846). Leben und Werk mit Besonderer Berücksichtigung der Kirchenmusik” (PhD diss., Universität Wien, 1938). 79
autograph but appears consistent with the masses in its paper and handwriting. 45 Evidently it was intended for a Franciscan institution or feast-day, but the circumstances of its composition, like those of the masses, remains unknown. Anton Teyber, resident in Vienna from about <strong>1781</strong> to 1787 and again from late 17<strong>91</strong> wrote much church music that seems mostly to post-date Mozart’s lifetime. The only possible exception I have encountered is a Salve Regina for solo alto that survives in a set of parts from the collection of Archduke Rudolph. Stylistically, the work is throughly “modern,” and the watermarks are consistent with a date in the 1780s. 46 The fact that most of the Teyber manuscripts in Rudolph’s collection derive from the composer’s Nachlass leads to the possibility that these are the “original” parts for the work. Ignaz Umlauf was involved with sacred music on a constant basis during the 1780s: from 1783 he was responsible for the Hofkapelle’s choirboys and in 1788 was appointed substitute Kapellmeister and music librarian. 47 It is surprising, then, that Umlauf seems to have written no music for his charges until about 1792, when he wrote a coronation mass and two offertories. 48 A set of parts for a Litany in C, possibly deriving from St. Pölten Cathedral, appears to date from the 1780s, but the set is probably not associated with Umlauf and so at best provides a terminus ante quem. 49 45 The watermark consists of three moons | BV over C under a canopy (cf. Duda BV/C-2 and BV/C-3). 46 The parts are written on a variety of Italian and non-Italian paper. Watermarks in the former include Tyson 97, three moons over REAL over A | W (cf. Tyson 76), and three moons over REAL | GB under canopy. 47 On Umlauf’s biography, see James de Groat, “Leben und Singspiele des Ignaz Umlauf” (PhD diss., Universität Wien, 1984), 1-66. 48 On the mass see the following chapter. The two offertories, which may possibly be associated with the coronation services of the 1790s, are in A-Wn, HK 2842 and HK 2843. Ferte lauros triumphales (“No. 2”) bears several performance dates beginning with 13 May 1793. Ad aram pietatis (“No. 1”) has performance dates beginning with 26 December 1801 but was certainly copied earlier: the first Violino Primo part is marked “Sigr: de Kreibich,” referring to the violinist Franz Kreibich who died in 1797. The watermarks are also suggestive of a date in the early to mid-1790s. 49 A-Wn, Mus. Hs. 23115. Watermarks include Tyson 67, three moons over REAL | GFA under canopy and the single mark PS in the timpani part, possibly equivalent to Tyson 80. The parts form part of a large collection of sacred music sold to the ÖNB by “Dr. Collins” on 14 October 1940; see the library’s card for A- Wn, Mus. Hs. 22518. The former owner of the collection was one Johann Amand Schminder in “Grosspechlarn” or St. Pölten (cf. Mus. Hs. 22275), and several manuscripts have references to St. Pölten Cathedral (Mus. Hs. 22722 and 22757). 80
Page 1 and 2:
MOZART AND THE PRACTICE OF SACRED M
Page 3 and 4:
Prof. Christoph Wolff, advisor Davi
Page 5 and 6:
In Omnibus Glorificetur Deus M pia
Page 7 and 8:
Acknowledgements A study of this ki
Page 9 and 10:
Neal Zaslaw. Dexter Edge was an ess
Page 11 and 12:
KBZ Tschink, Kajetan, ed. Kritische
Page 13 and 14:
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 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 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: status of the church. Albrechtsberg
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
Page 129 and 130: not square. 166 Both the organ part
Page 131 and 132: form, but K. 427 itself seems to ha
Page 133 and 134: Figure 2.10. Violino 2 do from an u
Page 135 and 136: The three sketchleaves mentioned ab
Page 137 and 138: educed to a one-to-one corresponden
Page 139 and 140: might receive a pension from the To
Page 141 and 142:
services involving the court are do
Page 143 and 144:
withholding on the curious grounds
Page 145 and 146:
Signature Work Date(s) Comments 54
Page 147 and 148:
Signature Work Date(s) Comments 28
Page 149 and 150:
Figure 3.1. Title of the Hofkapelle
Page 151 and 152:
Ecce quomodo moritur justus by Jako
Page 153 and 154:
it seems that Wenzel Sukowaty, the
Page 155 and 156:
Figure 3.3. Violino Primo part in a
Page 157 and 158:
Two works by Salieri himself, a Mas
Page 159 and 160:
Salieri...geflochten hatte, öffnet
Page 161 and 162:
Figure 3.5. Autograph opening of Pa
Page 163 and 164:
parts taken by Catarina Cavalieri,
Page 165 and 166:
Cathedral preserves two sets of par
Page 167 and 168:
the 1780s do however set texts of a
Page 169 and 170:
The two “sacred songs” O Gottes
Page 171 and 172:
paper is ruled with 14 staves, a ch
Page 173 and 174:
A letter from Norbert Lehmann to Ni
Page 175 and 176:
Example 3.1. Jacquin: Wir werfen un
Page 177 and 178:
Example 3.1, continued. 166
Page 179 and 180:
of a sacred piece sitting on Mozart
Page 181 and 182:
Figure 3.9. Opening of Mozart’s c
Page 183 and 184:
handwriting in the two psalm settin
Page 185 and 186:
Nativity of the Virgin and St. Leop
Page 187 and 188:
Figure 3.12. Opening of the second
Page 189 and 190:
Mozart’s selection of two homopho
Page 191 and 192:
eference to the Thomaskantor in Moz
Page 193 and 194:
church sonatas of Fux and Caldara.
Page 195 and 196:
Figure 3.13. Title page to a set of
Page 197 and 198:
central and northern Germany, altho
Page 199 and 200:
violas and woodwind. The most disti
Page 201 and 202:
If Plath’s dating of Fr 1790a to
Page 203 and 204:
orchestrates the first few bars, th
Page 205 and 206:
Figure 3.15. Entries for the Kyrie
Page 207 and 208:
suggestion in the literature: a Vie
Page 209 and 210:
players at great expense, but it is
Page 211 and 212:
Figure 3.16. The musicians of the H
Page 213 and 214:
speaking, this is an attractive the
Page 215 and 216:
Figure 3.17. Last page of concertma
Page 217 and 218:
separated was high. 218 A further c
Page 219 and 220:
Figure 3.18. The hand of Joseph Hof
Page 221 and 222:
Joseph Hoffmann was at the centre o
Page 223 and 224:
Nurscher died of “Brustwassersuch
Page 225 and 226:
the composer. 238 In contrast, the
Page 227 and 228:
Figure 3.23a. First page of Salieri
Page 229 and 230:
now lost, so we will never know if
Page 231 and 232:
e Alma Dei creatoris MH 221, a copy
Page 233 and 234:
the “etwas kleinere” mass offer
Page 235 and 236:
Figure 3.25a. Works by Mozart in Sa
Page 237 and 238:
Mosel’s statement is only partial
Page 239 and 240:
a mass by Kozeluch himself has an a
Page 241 and 242:
Table 3.4. Performance calendar for
Page 243 and 244:
der Musikfreunde in Vienna; see Fig
Page 245 and 246:
Figure 3.28. Violino Primo in a set
Page 247 and 248:
e pursued in detail here, and the e
Page 249 and 250:
Table 3.5. Some early copies of K.
Page 251 and 252:
Krönungsfeyer S r . M. / Franz. I
Page 253 and 254:
Figure 3.31. Title page of a set of
Page 255 and 256:
FOUR A Kapellmeister at St. Stephen
Page 257 and 258:
dell’organo.” 5 If carried out,
Page 259 and 260:
It is difficult to say whether the
Page 261 and 262:
through local congregations and not
Page 263 and 264:
independence from the ecclesiastica
Page 265 and 266:
Cathedral to cave in, destroying mu
Page 267 and 268:
Figure 4.3. Choirloft and organ at
Page 269 and 270:
copied before Reutter became Kapell
Page 271 and 272:
Maestro di Capella part for the off
Page 273 and 274:
Figure 4.6. Harmonisation of chant
Page 275 and 276:
Figure 4.7. Pope Pius VI celebrates
Page 277 and 278:
to equate these necessarily with th
Page 279 and 280:
Whether Burney communicated any of
Page 281 and 282:
Gottesdienstordnung, the town counc
Page 283 and 284:
Figure 4.9. Inventory of the St. St
Page 285 and 286:
Name Position Table 4.1. Musicians
Page 287 and 288:
Name Position Table 4.2. Music pers
Page 289 and 290:
Name Position Payment (fl.xr) Comme
Page 291 and 292:
Year Essential Gnadenbild (fl.xr) C
Page 293 and 294:
comparatively small remaining amoun
Page 295 and 296:
intention of departing Vienna in th
Page 297 and 298:
were present at St. Stephen’s on
Page 299 and 300:
Whatever the background, Mozart eve
Page 301 and 302:
Als Hr: kapellmeister Hofmann krank
Page 303 and 304:
292 Figure 4.12. Deleted rejection
Page 305 and 306:
information, for the mention of the
Page 307 and 308:
and the newly-written Ave, verum co
Page 309 and 310:
Figure 4.14. Autograph petition by
Page 311 and 312:
Question. Whether he occasionally a
Page 313 and 314:
IV. MUSIC AT THE BADEN PFARRKIRCHE
Page 315 and 316:
most renowned of the composer’s s
Page 317 and 318:
elations with Stoll after the death
Page 319 and 320:
following letter to Constanze, Moza
Page 321 and 322:
months. 170 For our purposes, the p
Page 323 and 324:
Figure 4.15. Opening of Mozart’s
Page 325 and 326:
Figure 4.17. Verso of Mozart’s (
Page 327 and 328:
Perhaps the shared key of the mass
Page 329 and 330:
Es dürfte wahrscheinlich nur wenig
Page 331 and 332:
then Hofbibliothek in Vienna, where
Page 333 and 334:
example, sets of parts used in Bade
Page 335 and 336:
Figure 4.18. Title wrapper of a set
Page 337 and 338:
evival of Die Entführung aus dem S
Page 339 and 340:
paper dimensions, watermarks, the s
Page 341 and 342:
Figure 4.19. Canto part for Ave, ve
Page 343 and 344:
and other material. 222 Among the n
Page 345 and 346:
suggests that Mozart took part in t
Page 347 and 348:
eceived a letter from her, “welch
Page 349 and 350:
welche Wonne!” in Die Zauberflöt
Page 351 and 352:
Like much else in Mozart’s short
Page 353 and 354:
FIVE Mozart’s Obsequies 342 Die M
Page 355 and 356:
leading up to the Exequien for Moza
Page 357 and 358:
Leuthe, Lichtern, Kirchen apparaten
Page 359 and 360:
The score of Gluck’s De Profundis
Page 361 and 362:
the material derives from the Hofka
Page 363 and 364:
Figure 5.3. Wrapper of parts for Ga
Page 365 and 366:
part is marked “Trani” in the I
Page 367 and 368:
II. THE COMMISSIONING OF THE REQUIE
Page 369 and 370:
eplacement for the usual clarinet p
Page 371 and 372:
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
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
Page 385 and 386:
Süssmayr’s relations with Salier
Page 387 and 388:
Musikfreunde, was witnessed by Sali
Page 389 and 390:
The earliest report, completed in P
Page 391 and 392:
Taken as a group, the four reports
Page 393 and 394:
otherhood, the St. Cecilia Brudersc
Page 395 and 396:
Fortunately, a number of Johann Geo
Page 397 and 398:
Figure 5.11. “Singers’ graffiti
Page 399 and 400:
detailed account of payments and a
Page 401 and 402:
Majus 1791 [...] 1: 40: p[ro] descr
Page 403 and 404:
SmWV 226. Both operas are undated,
Page 405 and 406:
Figure 5.14. Entry in the St. Micha
Page 407 and 408:
Seelenamt 6.-- Ornat beym Seelenamt
Page 409 and 410:
Figure 5.15. Receipt by Spangler da
Page 411 and 412:
the rhythm of the Cum sanctis. 172
Page 413 and 414:
than 1795, and in a score of Don Gi
Page 415 and 416:
Figure 5.19. Entry by Freystädtler
Page 417 and 418:
minor. 186 It may be doubted, howev
Page 419 and 420:
Discovering the true identity of th
Page 421 and 422:
organist in Vienna. 200 Benedikt Sc
Page 423 and 424:
Figure 5.21. Autograph Clarino Imo
Page 425 and 426:
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
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?