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

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A number of works are known through citations in biographical sources or catalogues but have yet to be located. Ambros Rieder recalled writing several works around 1784 for the parish church in Lichtenthal: “...ich war mit 13 Jahren kühn genug, mehrere kleine Motetten und eine kleine Messe zu verfertigen, deren Aufführung jedoch jedesmal für mich ein Freudesfest war.” In the accompanying list of works, Rieder confirmed that the mass dated from 1784 and mentioned another mass written in 1790. 50 He also recalled studying in the 1780s with Leopold Hofmann, Kapellmeister at St. Stephen’s Cathedral, and the highly positive picture Rieder paints is in marked contrast to the Cathedral’s own negative evaluation of Hofmann, as we shall see in Chapter Four: Ein glücklicher Zufall für mich machte, daß sich der verstorbenen Capellmeister von St. Stephan in Wien Herr Leopold Hoffmann, in Döbling ein Landhaus mit einem niedlichen Gärtlein kaufte, welches er während der schönen Sommermonathe hindurch zu bewohnen pflegte. Er erlaubte mir den Zutritt in sein Haus, daselbst öfters recht hübsche Musiken gegeben wurden; dies war für mich ein neues Feld, um mir mehrere musikalische Kenntnisse und – einen gereinigteren Geschmack im Vortrage zu sammeln. Dieser menschenfreundliche Mann unterstützte mich nicht nur in meinen Kompositionen mit seinen ausgebreiteten Erfahrungen, sondern erlaubte mir auch dieselben vorzuweisen, belehrte mich über die Reinheit der Harmonie und gab mir die Mitzler’sche deutsche Übersetzung des von dem unsterblichen Meister Johann Joseph Fux verfassten Gradus ad Parnassum zu lesen, um selbst darin studiren zu können. 51 Wenzel Müller, the probable composer of the infamous “Twelfth Mass,” is said to have written a “große Messe” early in his career “für die P. P. Serviten in der Roßau.” 52 As Müller only arrived in Vienna in the 1780s, there is a good chance that the work dates from that decade. Karl Frieberth, regens chori at the Universitätskirche, the Kirche am Hof and the Minoritenkirche is known from a biographical sketch to have written a “Solo-Messe” and 50 Gertrude Beneš, “Ambros Rieder: sein Leben und sein Orgelwerk. Nebst einem themat. Verzeichnis seiner Werke” (PhD diss., Universität Wien, 1967), 117-23. Rieder described the 1784 mass as a “Missa in D-Dur für 4 Singstimmen, 2 Violinen, Orgel und Violon,” and the 1790 mass as a “Missa in B-dur für 4 Singstimmen, 2 Violinen, 2 Oboen, 2 Horn, Orgel und Baß.” 51 Ibid., 118. 52 See Karl Pfannhauser, “Epilegomena Mozartiana,” in Mozart-Jahrbuch 1971/72 (Salzburg: 1973), 308. No work by Müller survives in A-Wr, although there are several sets of parts in the archive dating from the 1780s. 81
“Mottett” in 1789. 53 The autographs of these works and much further music by Frieberth went to his son-in-law Anton Riedel, after which their fate is generally unknown. Despite his prominence in Viennese sacred music, very little is known about Frieberth’s work: although a few autographs survive, no catalogue has yet been attempted. 54 The archive of the Minoritenkirche preserves just one work by Frieberth, while the archives of the Universitätskirche and the Kirche am Hof have yet to be catalogued and made generally accessible. 55 The works of several further composers of the 1780s have yet to be investigated. It is likely that the prolific Tobias Gsur, Kapellmeister at the Schottenstift, was active in composition during this decade, but the large collection of his music still at the monastery awaits further study. 56 Carl Martinides, regens chori at the parish church in Lichtenthal and Joseph Preindl, organist at St. Joseph and the Michaelerkirche are further possibilities. 57 Perhaps the most interesting candidate is the deeply religious Johann Wanhal, who did not hold a church position. Wanhal, who lived opposite Mozart for several years, was a prolific composer of sacred music, and most of his output in this genre has been catalogued. 58 53 A-Wgm, 10907/139. A “solo” mass is one scored for solo voices in addition to the usual tutti forces. See also Ingrid Fuchs and Leopold Vobruba, “Studien zur Biographie von Karl Friberth,” Studien zur Musikwissenschaft 34 (1983): 57-8. 54 Surviving autographs of Frieberth’s sacred music include A-Wst, MH 10215/c (works for Corpus Christi, title page only), D-B, Mus. ms. autogr. C. Friberth 1 (Vexilla Regis, post-1800) and S-Smf, s.s. (Missa in D, 1774). 55 A-Wm, 466 is a set of parts for the motet Eia dilecti fideles. 56 Possible candidates for a date in the 1780s include Salve regina (A-Ws, C3/12), Veni sancte spiritus (B4/72), Veritas mea (F29/6), and two settings of Regina coeli (C3/22, 24). 57 A mass and a Tantum ergo by Martinides are still preserved in the church’s music archive; A-Wlic, 133 and 134. 58 Alexander Weinmann, Themen-Verzeichnis der Kompositionen von Johann Baptiste Wanhal, 2 vols., vol. 11, Wiener Archivstudien (Vienna: Musikverlag L. Krenn, 1988). Many relevant sources are missing from this catalogue. See also Bruce C. MacIntyre, “Johann Baptist Vanhal and the Pastoral Mass Tradition,” in Music in Eighteenth-Century Austria, ed. David Wyn Jones (New York: Oxford University Press, 1996), 112-32. 82
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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
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Figure 1.2. First page of signature
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Vorfallenheiten und Feierlichkeiten
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mentioned by Leopold Mozart. 43 Bot
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could cite not only Muratori for ph
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medical care, the housing of orphan
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esponsible priests. 60 Joseph himse
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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
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Page 91: autograph but appears consistent wi
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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
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
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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
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———. “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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