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

Tempting as it is to interpret the Emperor’s last remark as a sarcastic comment directed
specifically at Migazzi, it does reflect Joseph’s concern at the expense involved in maintaining
large ensembles. He had already indicated to Baron Kressel that the budget for church music
should be heavily reduced, to make better use of the Religious Fund, and the directive to
Migazzi adopts a pragmatic solution aimed at transferring expenditure from public to private
sources.
Although the proclamation of December 1782 contained much detailed information
on the proper conduct of services, a more systematic treatment was required for everyday use.
In particular, there was a need for a comprehensive public statement on the role of music in
church services, taking into account the private determinations of the Emperor and the
Hofkomission, and making explicit the performative restrictions implied by the reduction in
high masses. The Hofkomission therefore entrusted the Archdiocese of Vienna with the
responsibility of producing a new Gottesdienstordnung for the city, detailing the precise order
of services at churches of different kinds, the musical accompaniment permitted, and the
conduct required at special services such as the forty hour prayer. A central feature of the new
order was to be the regular progression of masses throughout the churches in each parish,
suppressing what was thought to be wasteful duplication. 72
The Gottesdienstordnung underwent extensive revision before reaching its final form,
yet the directives concerning church music seem to have remained fairly stable from the
unqualified; see Pauly, “The Reforms of Church Music under Joseph II”, Musical Quarterly 43 (1957): 372-82,
here 377.
72 According to the church census, St. Michael’s held a mass every 15 minutes throughout the day; RGZJ, 118.
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