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

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other religious institutions within the city. 20 The extent of her influence on Trautson, who was now issuing a similar edict for the archdiocese of Vienna, remains unclear. The Archbishop was, in fact, a leading early figure in Enlightenment Catholicism himself, and his pastoral letter of 1752, which criticized current religious observance, is a central document in the history of the reform movement. 21 As we shall see, one of Maria Theresia’s leading courtiers was later to attribute the ban explicitly to Trautson. Whatever the truth, the arrival of the Archbishop’s decree was rather inconvenient for Viennese churches, coming as it did on the eve of the Church’s second-largest feast. Considering the traditional prominence of trumpets and timpani during the Christmas season, one wonders whether Trautson and the Empress had timed the introduction of the restrictions for maximum effect. Two weeks later, on 8 January 1754, Maria Theresia issued her own decree, which essentially covers the same ground as that proclaimed by Trautson’s Konsistorium: Demnach nach Gesinnung und Rathe Sr. päbstlichen Heiligkeit die Trompeten und Paucken in den Kirchen allschon untersagt worden. Als haben Ihre kaiserl. königl. Majestät allergnädigst zu verordnen befunden, daß in allen hiesigen großen und kleinen Kirchen sowohl in als vor der Stadt bey der haltenden Kirchenmusik, ingleichen auch bey den Processionen die Paucken und Trompeten unverlängt eingestellet werden sollen. 22 Finally, on 26 January, the Empress issued a Generale, extending the ban to all provinces of the Monarchy. 23 The explicit invocation of the Pope in all three proclamations may have 20 According to the diary of Maria Theresia’s Obersthofmeister Count Khevenhüller, the ban first took effect in the Hofkapelle on 21 December; see Rudolf Khevenhüller-Metsch and Hans Schlitter (eds.), Aus Der Zeit Maria Theresias: Tagebuch Des Fürsten Johann Josef Khevenhüller-Metsch, Kaiserlichen Obersthofmeisters 1742- 1776, 8 vols. (Vienna: A. Holzhausen, 1907-72), iii.156. 21 Reprinted in Peter Hersche (ed.) Der aufgeklärte Reformkatholizismus in Österreich (Bern: Lang, 1976). See RGZJ, 62-3. 22 Thomas Ignaz Freyherrn von Pöck (ed.) Supplementum Codicis Austriaci, oder Chronologische Sammlung, aller vom 20ten Oktober 1740. als vom Anbeginne der...Regierung der…Mar. Theresiae, bis letzten Dezember 1758…Generalien…(Vienna: Johann Thomas von Trattner, 1777), v.830. 23 ‘Nach Gesinnung, und Rath Sr. päpstl. Heiligkeit werden in allen grossen und kleinen Kirchen der Residenzstadt Wien, sowohl in, als vor der Stadt die Pauken, und Trompeten bei der zu haltenden Kirchenmusik, imgleichen auch bei den Prozessionen eingestellet, und ein gleiches in den gesammten Erbländen zu beobachten verordnet.’ Joseph Kropatschek (ed.), Kaiserl. Königl. Theresianisches Gesetzbuch, enthaltend die Gesetze von den Jahren 1740 bis 1780, 9 vols. (Vienna: Johann Georg Mößle, 1789), ii.266. The 11
appeared somewhat disingenuous, for Annus qui had advocated far more than a mere ban on trumpets and timpani, and it had taken Vienna more than four years to respond to Benedict’s papal bull. Nevertheless, the fact that the reforms to the church calendar were also introduced in January 1754, after consultation between Maria Theresia and Benedict XIV, shows that the Empress did consider it important to maintain good relations with Rome in liturgical matters, and the contemporary reforms to church music should be seen in this light. The three proclamations have commonly been interpreted as bans on the presence of music of any kind involving trumpets and timpani. The import of these reforms was recognized by not only the affected musicians but also the national pilgrimage church of Mariazell, and both unsuccessfully petitioned the Empress to reverse her decision. 24 Yet there is much evidence to suggest that trumpets and timpani did indeed continue to be used during the thirteen years in which the ban remained in force. One commentator has suggested that the real intention of the decrees was to prohibit the trumpet fanfares that commonly preceded and followed the celebration of high Mass and served as interludes during the Te Deum. 25 Yet the forcefulness of the petitions produced at the instigation of the ban suggests that some clergy and musicians genuinely believed a total removal was original of Maria Theresia’s decree is in AVA, A-Cultus 11 Gen. 3/1754. ‘Monarchy’ here refers to the Austrian crown lands, including present-day Austria and parts of Hungary, Slovenia, Italy and elsewhere. 24 The petitions are preserved in AVA, A-Cultus 11 Gen. 61/1754 and 101/1754, together with Maria Theresia’s responses. A celebratory service at St. Veit in Krems involving two choirs of trumpets and timpani earned the church the ‘sharp rebuke’ of the responsible Landesregierung in 1753; see Riedel, “Geschichte Der Musikpflege,” 327. A study of the sources for Reutter’s trumpet sinfonias suggests that they received no performances in the Hofkapelle after the early 1750s; see A. Peter Brown, “The Trumpet Overture and Sinfonia in Vienna (1715-1822): Rise, Decline and Reformulation,” in Music in Eighteenth-Century Austria, ed. David Wyn Jones (Cambridge: Cambridge University Press, 1996). However, a baptismal service at the Hofkapelle in June 1754 included trumpets and timpani, and the Piaristenkirche in Vienna reintroduced those instruments in 1755 with no response from the authorities; see Khevenhüller-Metsch, Aus Der Zeit Maria Theresias, iii.179. and Otto Biba, Der Piaristenorden in Osterreich. Seine Bedeutung Für Bildende Kunst, Musik Und Theater Im 17. Und 18. Jahrhundert (Eisenstadt: Institut für österreichische Kulturgeschichte, 1975), 113. 25 Friedrich Wilhelm Riedel, “Liturgie Und Kirchenmusik”, in Joseph Haydn in Seiner Zeit (Eisenstadt: Burgenländische Landesregierung, 1982), 123. 12
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: Figure 1.1. The Consistorium’s pr
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
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conditions of employment differed s
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Work Catalogue Principal Source(s);
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Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
composer’s maturity. The C minor
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The recovery of several autographs
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status of the church. Albrechtsberg
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autograph but appears consistent wi
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“Mottett” in 1789. 53 The autog
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performance has been exaggerated. I
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Determining the identity of the wor
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There is no sure way of identifying
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erhielt ich in Partitur-Abschrift;
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Mozart’s “lieblingsfach,” the
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Figure 2.6. Score of Davide, signed
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often accompanied her (Madame Mozar
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A number of commentators have specu
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Example 2.1. Jesu Rex patriarcharum
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Example 2.2. Opening of the final f
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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
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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
Page 163 and 164:
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
Page 217 and 218:
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
Page 227 and 228:
Figure 3.23a. First page of Salieri
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now lost, so we will never know if
Page 231 and 232:
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
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,
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It is difficult to say whether the
Page 261 and 262:
through local congregations and not
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independence from the ecclesiastica
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Cathedral to cave in, destroying mu
Page 267 and 268:
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
Page 279 and 280:
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
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
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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
Page 307 and 308:
and the newly-written Ave, verum co
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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
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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
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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
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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
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FIVE Mozart’s Obsequies 342 Die M
Page 355 and 356:
leading up to the Exequien for Moza
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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
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Figure 5.15. Receipt by Spangler da
Page 411 and 412:
the rhythm of the Cum sanctis. 172
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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
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