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

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Unfortunately, with the near-total loss of Wanhal’s autographs it is impossible to determine the provenance of his work. 59 Viennese choirmasters continued to add music both old and new to their collections in the 1780s. Most of the copying was done “in house,” but professional copyists were also contracted. The copyist Johann Schmutzer, for example, produced several sets of parts for the Augustinerkirche. 60 An advertisement in the Wiener Zeitung from 1799, discovered by Otto Biba, gives some idea of the range of sacred music that was then available in Vienna: Musikalien-Nachricht. Es sind grosse Anzahlen von Messen, Gradual. Offertor. Vespen, Psalmi, Mottet. Requiem, Litan. Stabat Mater, Missere, Simphonien, Regina cœli, Alma, Ave regina, Te Deum Laudamus, von den berühmtesten Meistern, als von Capel. Albrechtsberger, Arbesser, Arraja, Aumon, Berti, Brazner, Bredieri, Brixi, Boog, Bonno, Caldara, Campungani, Christian, Corri, Ditters de Dittersdorf, Ehrenhardt, Fillenbaum, Fini, Fux, Gallo de Venet. Galuppi, Gasmann, Giomelli, Graun, Giacomelli, Gluck, Grottendorfer, Gsur, Haidn Gius., Haidn Mich., Hosse, Hofmann, Holzpauer, Kerzelli, Leo, Luchi, Majo, Magiore, Maturo, Misliweczeck, Morr, Monterisso, Naumann, Novotni, Ordenetz, Pampani, Perez, Pergolesi, Paratti, Pirk, Reinhari, Reitter, Riepl, Roi, Sabatino, Sachini, Seuche, Shrameck, Siani, Majest. neapol. Signorilli, Schmidt, Stadler Abée, Starzer, Steffan, Stock, Thuma, Wagenseil, Wanhal, Vinci, Vingorilli, Zechner, Ziegler; einzeln, oder zusammen um den billigsten Preise zu verkaufen; nähere Auskunft giebt der Hausmeister in der Leopoldstadt gegen der Jägerzeil, von dem Theater gegenüber, im Welischen Hause Nr. 474. 61 Whether speaking of its text, the enforcement of its regulations, or its effect on new composition, there has been a great deal of misunderstanding regarding the Gottesdienstordnung and its implications for Viennese sacred music. There is no doubt that it caused much short-term hardship and led to a major reconfiguration of the financial arrangements for church musicians, but the longer-term negative impact on composition and 59 Paul Bryan states without supporting evidence that Wanhal’s large-scale Stabat mater “was probably created sometime in the mid-1780s”; Paul Bryan, Johann Wanhal, Viennese Symphonist: His Life and His Musical Environment, vol. 23, Thematic Catalogues (Stuyvesant, NY: Pendragon Press, 1997), 36n117. 60 A-Wa, 740, 743, 753 and 761; all sets are for music by Reutter and are signed “Schmutzer.” On Schmutzer, see MVC, 981-87. 61 Wiener Zeitung (1799): 4074 and 4123. I am grateful to Otto Biba for providing me with a copy of this advertisement. Names are transcribed exactly as they appear in the original. It is not clear who was selling all this music or where it had come from; the house was owned by Barbara von Neuhaus and the nearest church was St. Johann Nepomuk. 83
performance has been exaggerated. In seeking to reform the content of Viennese church services, Joseph II was setting himself against a tradition of musical splendour that stretched back to the Counter-Reformation, and universal compliance with the new order was not guaranteed. Observance of the Gottesdienstordnung, after all, required the cooperation and self-regulation of clergy, musicians and congregations, for Joseph and the Hofkomission were not in a position to “police” services across the city. Given the prominence of music in Viennese cultural life, it is not surprising that the new order was sometimes disobeyed to the benefit of musicians and listeners. The simultaneous reverence and dismissal of authority that this conduct entails was well-characterised in Joachim Perinet’s satirical essay on the Viennese character, published in 1787: ...mit den Alten unzufrieden, trachtet er immer nach Neuerungen, und verachtet doch jede Verbesserung, beobachtet die weisesten Verordnungen höchstens ein Vierteljahr, und wünschte dann wieder hervorzuwühlen, was er einst zu vergraben, selbst mit Hand anlegte. Stündlich spricht er von Religion, aber im Grunde hat er keine, er ist der Priester jeder Gottheit, und jeder Priester ist sein Gott. 62 II. <strong>THE</strong> C MINOR MASS, K. 427 Mozart continued to take an interest in his Salzburg sacred music after the move to Vienna, although his initial requests for the scores were not marked by a particular sense of urgency or specificity. On 27 June <strong>1781</strong>, Mozart wrote to Leopold, “mir ist ganz lieb wenn ich nach und nach meine Messen bekomme,” and a week later reminded his father, “wegen den Messen habe ihnen schon letzthin geschrieben.” 63 In March 1782, Mozart concluded a list of required music from Salzburg with a request for “etwelche sparten von meinen Messen.” 64 At 62 Joachim Perinet, Annehmlichkeiten in Wien (Vienna: n.p., 1787-8), i.8. 63 MBA, iii.135-36. 64 Ibid., iii.199. 84
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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
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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 and 90: status of the church. Albrechtsberg
Page 91 and 92: autograph but appears consistent wi
Page 93: “Mottett” in 1789. 53 The autog
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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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
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
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Rice, John A. “Adding Birds to Mo
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Scheib, Wilfried. “Die Entwicklun
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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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