CHAPTER 13
[Footnote 3: Schubart, Teutsch. Chron., 1775, p. 408; Dressier, Theaterschule, p. 42.]
[Footnote 4: J. E. Altenburg, Anleitg. zur heroisch-musik. Trompeter- Pauker-Kunst. (Halle, 1795,1., p. 26).]
[Footnote 5: [Schinn und Otter] Biographische Skizze von Michael Haydn (Salzburg, 1808).]
[Footnote 6: K. R[isbeck] expresses himself to the same effect, Briefe e. reis. Franz, I. p. 357. Michael Haydn became very industrious later in life.]
[Footnote 7: Wolfgang says of Schweizer (December 3, 1777), that he is as "dry and sleek as our Haydn, only his language is more refined."]
[Footnote 8: This book (mentioned in Cäcilia IV., p. 290) contains the following scores, in Mozart's handwriting:--
M. Haydn, In Te Domine speravi, fuga, a 4 voci, 2 viol., org.
Eberlin, Missa canonica, a 4 voci, org.
Eberlin, Hymnus, Recessit Pater noster, a 4 voci.
Eberlin, Hymnus, Tenebræ factæ sunt, a 4 voci, org.
Eberlin, Graduale pro dominica in palmis, Tenuisti a 4 voci, org.
Eberlin, Offertorium pro dominica in palmis Improperium, a 4 voci, org. Eberlin, Communio pro dominica in palmis, Pater si potest, a 4 voci, org.]
M. Haydn, Tenebræ, a 4 voci, org.
Eberlin, Three Motetti. In nomine Domini; Christus factus est; Domine Jesu, a 4 voci.
M. Haydn, Ave Maria, pro adventu Domini, a sopr. solo c. rip.
Eberlin, Benedixisti, a 4 voci, org.
Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.
Eberlin, Kyrie, fuga, a 4 voci.
Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.]
[Footnote 9: Frz. Lorenz's "Haydns, Mozarts und Beethovens Kirchenmusik und ihre katholischen und protestantischen Gegner," is a plea for impartial judgment. Breslau, 1866.]
[Footnote 10: Cf. A. M. Z., XXIII., p. 683.]
[Footnote 11: Marpurg, Krit. Beitr., III., p. 195.]
[Footnote 12: A similar disposition is described by Mattheson (Neu eröff. Orch., I., p. 158).]
[Footnote 13: A short account is given by L[orenz], Deutsche Mus. Ztg., 1862, p. 265.]
[Footnote 14: The text of the masses and of other important church compositions is given in Appendix VI. [to the German original of this work].]
[Footnote 15: They are denoted in the text by large initial capitals.]
[Footnote 16: Biogr. Skizzen von Michael Haydn, p. 48.]
[Footnote 17: The beginning of such a Kyrie is preserved. (Anh. 18 K.).]
[Footnote 18: The first words "Gloria in excelsis Deo" are intoned by the priest from the altar in the prescribed way, and the choir fall in with the words "et in terra pax"; the same thing occurs at the beginning of the Credo, which the choir takes up at the words "Patrem omnipotentem." The first words are consequently frequently left uncomposed; sometimes, however, the choir repeat the words intoned by the priest.]
[Footnote 19: In accordance with this, the word "quoniam" is repeated before each comma in some masses. (257 K.)]
[Footnote 20: The Credo of this mass (257 K.) is mutilated in the printed score, the repeated--[See Page Image] with all that belongs to it having been struck out.]
[Footnote 21: In earlier times the chief emphasis was laid on the words "et homo factus est," which Beethoven makes so emphatic in his Mass in D.]
[Footnote 22: Mozart writes from Mannheim (November 4, 1777): "It is not the custom here to write a Benedictus, but the organist has to go on playing all the time."]
[Footnote 23: L. Mozart mentions a mass for Count Spaur, which may be this.]
[Footnote 24: In Italy three independent movements were made of the Kyrie, Christe, Kyrie, the last being an elaborate fugue. In Dresden also this was customary, and is to be found in the masses of Hasse, Naumann, and other Dresden composers, as also in Bach's B minor mass.]
[Footnote 25: A. M. Z., XIX., p. 368.]
[Footnote 26: A. Reissmann's Gesch. d. Mus., III., p. 39.]
[Footnote 27: A. M. Z., XI., p. 460.]
[Footnote 28: The date upon a copy at St. Peter's, in Salzburg, December 22, 1777, can only refer to the performance.]
[Footnote 29: Biogr. Skizze von Michael Haydn, p. 18.]
[Footnote 30: The Masses (220, 257-59,262, K.), were bound together in a little blue book, with the title in the father's hand, "V. Missæ in C," and a suggestion of the subjects. The first has been taken out, and was evidently the one which Wolfgang gave to the Abbot of the Holy Cross at Augsburg, as he writes to his father (November 20, 1777).]
[Footnote 31: Sometimes his church music was mutilated and distorted, sometimes operatic and other compositions were arranged for church performance. A great deal was given out with his name in which he had little part, such as a Mass in G Major (Anh., 23a K.), rightly omitted by Seyfried (Cäcilia, V., p. 77; cf. VI., p. 129), another doubtful Mass in B flat major (Anh., 233 K.), and finally, an unauthenticated Mass in G major (140 K.), which, in my opinion, is unworthy of Mozart, but which Köchel and Lorenz consider to be genuine.]
[Footnote 32: A. M. Z., XVI., p. 612. The criticism of Rochlitz (fur Freunde der Ton-kunst, IV., p. 237) is feeble and colourless. Thibaut does not scruple to include Haydn and Mozart in his censure on those who write "our new masses and other church music in a purely amorous style, giving them an altogether operatic stamp, and imitating the most popular, and therefore the least refined operas" (Ueber Reinheit der Tonkunst, p. 10). The tendency of the romantic school was to favour the early Italian church music, very often ignorantly, and to the prejudice of Mozart. Cf. Tieck Phantas., I., p. 468.]
[Footnote 33: Ueber Reinheit der Tonkunst, p. 11.]
[Footnote 34: A. M. Z., III., p. 494.]
[Footnote 35: A. M. Z., III., p. 493.]
[Footnote 36: A. M. Z.f I., p. 116.]
[Footnote 37: It is very interesting to compare Michael Haydn's Litaniæ de venerabili sacramento in G minor (Leipzig: Breitkopf and Härtel), which was written at the same time and under similar circumstances. It is an excellent work, displaying the cultivation of a master both in design and execution. The fact of its being on the whole less graceful, and more serious, only shows the difference of the artistic nature of the two masters; the general conception is not essentially different, and Michael Haydn also yields to operatic influence.]
[Footnote 38: This movement ended originally in B flat major. Mozart rightly preferred to close the introduction in the dominant (F major), and thus gave greater breadth to the finale.]
[Footnote 39: Mozart has abbreviated it in three places, and has altered wherever necessary. The shortened fugue is printed in Cantate I.]
[Footnote 40: L. Mozart wrote at the beginning: "The solo of the Agnus Dei is written in the bass for Herr Meissner."]
[Footnote 41: One of these Regina coeli--we do not know which--was composed for Frau Haydn, and afterwards sung, as L. Mozart writes (April 12,1778), by Ceccarelli.]
[Footnote 42: I have grave doubts of the genuineness of a short Salve Regina for solo voices and chorus (92 K.).]
[Footnote 43: Perhaps this is one of the motetts which Wolfgang composed in Milan in 1771. A second aria in cavatina form, "Quaere superna," with an introductory recitative, "Ergo, inter est," in G major (143 K.), was evidently intended for an interpolation.]
[Footnote 44: When Mozart was travelling in 1777, his father wrote to him (October 4): "I inclose the chorale, which may be useful and even necessary to you at some time or other; you ought to know everything."]
[Footnote 45: P. Martini, Storia Univ., II., p. 281.]
[Footnote 46: Stadler's Defence of the Authenticity of Mozart's Requiem, p. 10.]
[Footnote 47: An analysis is given in A. M. Z., X., p. 43; cf. XIII., p. 305.]
[Footnote 48: Ulibicheff, II., p. 333: Pour rompre la monotonie que des paroles tant de fois répétées sur le même sujet devaient introduire dans un morceau de 160 mesures, d'un mouvement grave, le compositeur avait les ressources inépuisables de la modulation et de l'analyse contrapontique. Il les employa avec la science de Bach, avec la gravité onctueuse des maîtres catholiques du XVIIme siècle, avec le sentiment profond et le goût qui n'appartenaient qu'à Mozart.]
[Footnote 49: Thibaut, Ueber Reinheit der Tonkunst, p. 109.]
[Footnote 50: Zelter was not satisfied with Thibaut's judgment (Briefw. m. Goethe, IV., p. 37). Rochlitz (A. M. Z., XXVII., p. 461) attempts a lame apology for Mozart.]
[Footnote 51: Two violin parts, _ad libitum_, meant for support, are added.]
[Footnote 52: The Offertory, Sub tuum præsidium (198 K.), a duet for soprano and tenor, is simple and melodious, and has the soft and tender character appropriate to the worship of the Virgin.]
[Footnote 53: Marpurg, Krit. Beitr., III., p. 195.]
[Footnote 54: Altenburg, Anl. z. Tromp.-Kunst, p. 108.]
[Footnote 55: Marpurg, Krit. Beitr., III., p. 195.]
[Footnote 56: Rochlitz's remarks on Bach's influence over Mozart are unfounded (A. M. Z II., p. 641).]
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MOZART
BY DAVID WIDGER
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