Chapter 1 Mozart in the Nineteenth Century

Chapter 1
Mozart in the Nineteenth Century
Early in the nineteenth century’s second decade, an audience gathers in the nearly 400-yearold Pfarrkirche St. Jakob in rapt anticipation of the historical event about to occur. Although the
old town is now easily accessed either by the old bridge to the south or the Red Tower to the
west, the waters of the Inn River that almost completely surround Wasserburg still give the city a
secluded, fairy-tale feel.
To the city’s residents, it makes sense that Wasserburg should be chosen to bring the music of
Mozart to Bavaria. After all, this city was well known to him. Half way between Salzburg and
Munich, it was a frequent stopover point for the young Mozart and his father Leopold. The organ
in this very church is the one on which, according to local legend, Leopold taught the seven-yearold Wolfgang how to play the pedals.
The excitement in the room is palpable as the orchestra begins the opening strains of
Mozart’s cantata. The fast-moving, unison violin line fills the room with sound, overpowering
even the horns, trumpets, and timpani, all playing together. Suddenly, the orchestra virtually
disappears from the aural spectrum as the two violin sections play a light, staccato duet. Then,
just as suddenly, the brass and oboes return, building the music into the climactic choral entry.
The audience is pleasantly surprised to understand every word; this is not Catholic Latin, but
German: “Lord! Look graciously down! Hear our songs! Up to you we raise our joyful Psalm
chorus!”
Following the tenor aria, the choir returns with a grand, fugal finale. As the fugue continues
to build, the intensity mounts to a fever pitch. At last the final chord concludes and the audience
leaps to its feet in excitement. Surely all will now understand that which has been said and written
about this great composer. His work must be considered beyond even the great Viennese
composers of today: the quirky Beethoven, or even the recently deceased Papa Haydn. The world
can possess only one genius of this magnitude, and the audience cannot help but beam with pride
that its own minor Bavarian capital would first host the child and later revive his music.
It might go without saying that this story is a fictional one from the present author’s own
mind. It is, however, based upon a number of facts. Wasserburg actually was a regular stopover
for the Mozart family between Salzburg and Munich. St. James Church in that city was, in fact,
where Leopold taught young Wolfgang about the organ pedals while they awaited the repair of a
wagon wheel on June 11, 1763.1 That church apparently did host a Mozart concert sometime
between 1808 and 1815. And, finally, one other rather important, if a bit surprising, fact: the
choral music that continental Europe knew as Mozart’s in the first half of the nineteenth century
was not Latin Mass music, but German cantatas.
1
Roger W. McKinney, "Mozart Chronology: Mozart's Travels," The College of New Jersey,
www.tcnj.edu/~mckinney/mozarts_travels.htm.
Seven cantatas and three motets published in the thirty years following Wolfgang
Amadeus Mozart’s death were among the very few of his choral compositions available before
around 1880. These were derivative works. The music came from Mozart’s sacred compositions,
but each cantata was pieced together from several different major works and contained new
German libretti.
These contrafacta choruses come from a time when neither editorial accuracy nor
authentic performance practice were priorities to musicians. The virtual deification of Mozart
that followed his death created such a demand for his music that publishers paid little attention to
the legitimacy of their publications. Because Germans were Protestant, there was no known
Mozart choral music available to them. Some crafty editors solved this by creating Germanlanguage cantatas out of Mozart’s Catholic masses.
Although they cannot be considered genuine works of Mozart, they are the music by
which he was known in the decades following his death. In 1856, Otto Jahn would state that
these derivative choruses were “after his operas, the most widely known of his works.”2 The
works were hailed by early biographers such as Georg Nikolaus von Nissen and Alexander
Ulibischeff, but later criticized by Jahn and others. Although their origin and construction were
well known to Ludwig Köchel, he also recognized the contribution they had made to Mozartiana,
enough so to warrant inclusion in his thematic catalog of Mozart’s works.
As verified Mozart choral works became readily available in the second half of the
nineteenth century, the derivative choruses gradually went out of style. By the early twentieth
century, they had fallen into near complete obscurity, and only a relative handful of score copies
remain in libraries today.
2
Otto Jahn, Pauline D. Townsend, and George Grove, Life of Mozart (London: Novello Ewer & Co., 1891), 407.
2 While these pieces are unlikely to rejoin the general repertoire, an awareness of their
existence is vital to any serious study of Mozart’s reception history and his impact on future
musicians. They were the music that defined Mozart for several generations, and as such, they
must be considered valid components of Mozart history. This study is intended to provide access
to these scores in order to give researchers a glimpse at the Mozart that the nineteenth century
knew.
3 Chapter 2
Mozart Vocal Works: Early Nineteenth-Century Performance Practice
Wolfgang Amadeus Mozart’s untimely death in 1791 left both immediate successors and
future scholars with an immense jigsaw puzzle of scores, sketches, documents, and
correspondence that would take decades to decipher, organize, and catalog; simply stated, the
man left a mess. The disarray of his papers might have passed unnoticed were it not for the
sudden, cult-like following garnered by his death. His early fame as a prodigious child performer, the late and sudden onset of his commercial success as a composer, and his unexpected
death all contributed to the composer’s almost mystical attraction.
The various volumes of Mozart documents are abounding with tributes, commentary, and
even poetry responding to his death. No less a figure than Franz Joseph Haydn wrote in a letter
from London, “I was beside myself for some considerable time because of his death and could
not believe that Providence should so soon summon an irreplaceable man to the other world.”3
One unidentified Englishman wrote from Vienna, possibly as late as 1799, lamenting the fact
that Mozart’s grave was unmarked and its exact location unknown, saying, “Good Mozart! You
erected a gravestone to a favourite bird in a garden which you rented, and you even wrote an
epitaph for him. When will that be done for you which you did for your bird?”4
Other writings would begin to lay the groundwork for Mozart’s legendary status as an
infallible musician, including one in the memoirs of André Ernest Modeste Grétry:
Once in Geneva I met a child who could play everything at sight. His father said to me before
the assembled company: So that no doubt shall remain as to my son’s talent, write for him, for tomorrow, a very difficult Sonata movement. I wrote him an Allegro in E flat; difficult, but
unpretentious; he played it, and everyone, except myself, believed that it was a miracle. The boy
3
4
Otto Erich Deutsch, Mozart, a Documentary Biography (Stanford: Stanford University Press, 1965), 434.
Mozart, a Documentary Biography (Stanford: Stanford University Press, 1965), 489.
4 had not stopped; but following the modulations, he had substituted a quantity of passages for
those which I had written.5
As early as January 1792, seemingly authoritative accounts of the mythical Requiem
commission story were being published, including the following from the Zeitung für Damen
und Andere Frauenzimmer.
A few months before his death Mozart received a letter without a signature, requesting him to
write a Requiem, and to ask for it what he wanted…. Mozart wrote to the unknown man that he
could not write it for less than 60 ducats, and then not for 2 or 3 months. The servant returned,
brought 30 ducats at once, said he would call again in 3 months, and if the Mass were ready,
would hand over the other half of the money directly. So Mozart had to write, which he often did
with tears in his eyes, constantly saying: ‘I fear that I am writing my own Requiem;’ he
completed it a few days before his death. When his death was known, the servant called again and
brought the remaining 30 ducats, did not ask for the Requiem, and since then there has been no
further request for it.6
Fed by such legends, the years following Mozart’s death were marked by a zealous and
passionate wave of Mozartism that publishers hastened to feed.
Accuracy and the Publication Race: The “Twelfth Mass” Story
Because such a small percentage of Mozart’s compositions were published during his
lifetime—144 of his approximately 600 pieces, according to A. Hyatt King7—a mad scramble to
publish the dead master’s work ensued throughout Europe. In this era of vague copyright
standards and unabashed piracy practices by publishers, the hope of cashing in on the Mozart
phenomenon was tied directly to being the first to publish a piece.
Although the earliest copyright statute, the Statute of Anne, went into effect in England in
1710, with other sovereign states following suit during the eighteenth century, there was no
formal international copyright protection until the Berne Convention was enacted in 1886. Under
5
Mozart, a Documentary Biography, 477.
Mozart, a Documentary Biography, 439.
7
A. Hyatt King, Mozart in Retrospect: Studies in Criticism and Bibliography (London, New York: Oxford
University Press, 1955), 8. In deriving this number, King references the catalog published in Otto Erich Deutsch and
Cecil Oldman, "Mozart-Drucke: Eine Bibliographische Ergänzung Zu Köchels Werkverzeichnis," Zeitschrift für
Musikwissenschaft 14, no. 3 and 7 (1931-32).
6
5 the Berne Convention, only living authors and composers were protected, and then only for a
period of ten years.8 Before Berne, even living composers were not well protected, as is
evidenced in a letter of July 20, 1782, where Mozart writes to his father:
Well, I am up to my eyes in work. By Sunday week I have to arrange my opera for wind
instruments; otherwise someone will beat me to it and secure the profits instead of me.9
Since composers were unprotected even regarding their own creations, it is not surprising
that Constanze Mozart’s efforts to control the publication and dissemination of her late
husband’s music were so often thwarted. In a style calling to mind our modern twenty-four-hour
news networks, the European publishers pursuing revenues from Mozart’s music placed far less
emphasis on authenticity or accuracy than on being the first to print.
Among the publishing industry’s bad actors, Carl Zulehner (1770-1841) arguably stands
above all others with reference to Mozart publication. Zulehner’s fingerprints are to be found on
dozens of derivative, incorrect, and spurious Mozart editions in the first quarter of the century.
Working primarily through the publishing house of N. Simrock in Bonn, much of Zulehner’s
work was quite legitimate. He was highly regarded for his skill in preparing piano reductions
from orchestral scores, including the original vocal score publications of Weber’s
Der Freischütz, Rossini’s La Gazza Ladra, Haydn’s Stabat Mater, and Mozart’s Die
Zauberflöte.
Zulehner was censured several times, however, for taking unfair liberties with the
compositions he arranged. In consequence when Simrock announced, in 1803, the forthcoming
publication of Ludwig van Beethoven’s “complete works for piano and violin” in an edition by
8
Sam Ricketson and Jane C. Ginsburg, International Copyright and Neighbouring Rights: The Berne Convention
and Beyond, 2nd ed. (Oxford, New York: Oxford University Press, 2006).
9
Wolfgang Amadeus Mozart et al., Briefe Und Aufzeichnungen, Gesamtausgabe (Kassel, New York: Bärenreiter,
1962), iii, 213. “Nun habe ich keine geringe arbeit. — bis Sonntag acht tag muß meine Opera auf die harmonie
gesezt seyn — sonst kommt mir einer bevor — und hat anstatt meiner den Profit davon.” Translated by Neal Zaslaw
in Neal Zaslaw, Mozart's Symphonies: Context, Performance Practice, Reception (Oxford [Oxfordshire], New
York: Clarendon Press; Oxford University Press, 1989), 377.
6 Zulehner, Beethoven himself felt obliged to place an advertisement in the Allgemeine
musikalische Zeitung, stating:
WARNING: Herr Carl Zulehner, a re-printer in Mainz, has announced an edition of my
collected works for pianoforte and strings. I consider it my duty to make all music lovers hereby
publicly informed that I have not the slightest share in this edition…. Besides, I must state that
the edition, unlawfully undertaken, can never be its full length….10
The ten contrafacta pieces (K. Anh. 121-130) that are discussed at length in this study
have a connection to Zulehner as well, because he wrote the piano reductions for Simrock’s
vocal scores. Considering his practice of free editorial standards, it is possible that he could be
the still-unidentified editor behind these editions. Because the present study is inconclusive as to
whether these pieces were published as tribute works or actually passed off as originals, it would
be inappropriate at this time to accuse Zulehner of fraud with respect to these contrafacta.
However, his hands can by no means be considered clean with respect to another significant
Mozart publication, the so-called Twelfth Mass, one of the most significant counterfeits in
Mozart publication history.
In 1821, Simrock published orchestral11 and vocal12 scores of a mass in G by Mozart,
which they purported was based upon a manuscript in Zulehner’s possession. Zulehner had
edited the mass and written the piano reduction for the vocal score. The same piece was included
as number twelve in Mozart’s masses: with an accompaniment for the organ published by
Novello around 1833.13 It was from this edition that the work received its common identification
as the “Twelfth” Mass. Oliver Ditson would provide the first United States publication of the
10
Ludwig van Beethoven, "Warnung [Ausgabe Von Beethovens Werken Für Pianoforte Und Geigeninstrumente Bei
Zulehner Ist Nicht Autorisiert]," Allgemeine musikalische Zeitung 6, no. 6 (1803).
11
Wolfgang Amadeus Mozart, Messe À 4 Voix Avec Accompagnement De 2 Violons, 2 Altos, Violoncelle Et Basse,
2 Hautbois, 2 Cors, 2 Trompettes, Timballes Et Orgue ... No. Vii (Berlin: N. Simrock, 1821).
12
Wolfgang Amadeus Mozart and Carl Zulehner, Messe À Quatre Voix: No. Vii (Bonn, Cöln: N. Simrock, 1821).
13
Wolfgang Amadeus Mozart, Mozart's Mass (Commencing) in G, No. 12 (London: Alfred Novello, 1833).
7 Twelfth Mass in 1852,14 and dozens of publishers would follow suit with printings well into the
twentieth century.
The Twelfth Mass was an instant success, quickly becoming one of Mozart’s most
celebrated sacred works, perhaps second only to the Requiem among British and American
choirs. A single search of nineteenth-century periodicals has located newspaper reviews of well
over thirty performances between 1837 and 1860 in these two countries. The Mass was
performed by such organizations as the Sacred Harmonic Society, the Worcester Harmonic
Society, the Mozart Club of Boston, and the Mendelssohn Association of Brooklyn. It was
included in the Birmingham Festival of 1864,15 as well as at least one Three Choirs Festival
(Hereford, 1870).16
It is now universally accepted among scholars that the Twelfth Mass is not authentic.
Even as early as the 1850s, the piece was considered to be spurious. Both of the major early
Mozart biographers, Jahn (1856)17 and Ulibischeff (1859),18 describe the Mass as doubtful, and
Köchel relegated the work to the “Unterschobene Compositionen” section of his Anhang, where
he assigned it K. Anh. 232.19 It is now presumed that the Mass was either composed by Wentzel
Müller and copied by Mozart—a situation causing frequent attribution errors with early Mozart
editions, and one that easily could have been explained as such by Zulehner—or that it was
actually composed by Zulehner and fraudulently passed off as a work by Mozart.
14
Wolfgang Amadeus Mozart and Vincent Novello, Mozart's Celebrated Twelfth Mass, in Vocal Score; with an
Accompaniment for the Organ or Piano-Forte, Ditson's Uniform Edition of Haydn's, Mozart's and Beethoven's
Masses (Boston, New York: O. Ditson; Gould & Berry etc., 1840).
15
Music Critic, "Birmingham Musical Festival," The Manchester Guardian, September 10, 1864.
16
Daniel Lysons et al., Origin and Progress of the Meeting of the Three Choirs of Glouchester, Worcester &
Hereford, and of the Charity Connected with It (Gloucester: Chance and Bland, 1895), 246.
17
Jahn, Townsend, and Grove, Life of Mozart, Vol. I, 265.
18
Alexander Ulibischeff, Mozarts Leben Und Werke, 2. Aufl.. ed. (Stuttgart: Conradi, 1859), 302-03.
19
Ludwig Köchel, Chronologisch-Thematisches Verzeichniss Sämmtlicher Tonwerke Wolfgang Amade Mozart's.
Nebst Angabe Der Verloren Gegangenen, Unvollendeten, Übertragenen, Zweifelhaften Und Unterschobenen
Compositionen Desselben (Leipzig: Breitkopf & Härtel, 1862), 521.
8 Ignaz von Seyfried first questioned the authenticity of the Mass in issue 17 of Cäcilia in
1826. Seyfried’s argument was based primarily on stylistic grounds but also pointed out several
errors in the counterpoint that Mozart was unlikely to have made.20 He called for Zulehner or
Simrock to produce a copy of the manuscript for public inspection and independent
authentication. Simrock issued a response to this article in issue 21, in which they attempted to
disassemble some of Seyfried’s arguments, but ultimately pushed responsibility off to
Zulehner.21 Despite Cäcilia’s request that he submit a comment, Zulehner apparently remained
silent on the subject.22
So loved was the Twelfth Mass in England that when questions of its authenticity began
to surface, they were met with fierce resistance in the British press. Several letters to the editor of
the Musical World posed the question over the years, including one on October 25, 1862,23 and
another on March 7, 1863.24 Though published, these letters appear to have gone unanswered.
The Musical Times, on the other hand, whose editors clearly believed the Mass authentic,
vigorously took up in the debate in the final few months of 1864, publishing a spirited and
somewhat nasty exchange of letters between its editors and the (unnamed) music reviewer of the
Manchester Guardian.
The topic was laid to rest for several years in the pages of the Musical Times, but as late
as 1882, yet another editorial appeared in response to yet another reviewer’s commentary, this
time in an unidentified Scottish paper. The editors once again took exception with the reviewer
for having questioned the Mass, concluding that, “For our part—knowing the work tolerably
20
Ignaz von Seyfried, "Scrupel, Die, Unter W. A. Mozarts Namen, Bey Simrock Erschienene Messe in G
Betreffend, Mitgetheilt Von Ign. V. Seyfried [Stilkritische Betrachtungen]," Cäcilia V, no. 17 (1826).
21
Nicolo Simrock, "Erklärung Der Verlagshandlung Von N. Simrock Betreffend Die Echtheit Der Mozartischen
Messe Nr. 7 [Stellungnahme Zu Dem Artikel Von I. Von Seyfried in Der Cäcilia 5 (1826), S. 77-80] [Bonn Im Nov.
1826]," ibid.VI, no. 22 (1827).
22
Köchel, Chronologisch-Thematisches Verzeichniss, 521.
23
An Enquirer, "Mozart's Twelfth Mass?," The Musical World 40, no. 43 (1862): 683.
24
"Mozart's Masses," The Musical World 41, no. 10 (1863): 150.
9 well from years of study—we cannot but think it a great pity that, if Mozart were not the
composer of it, the real author did not write another.”25
Similar conversations may be found in Boston and New York newspapers during this
time period, particularly in Dwight’s Journal of Music, Boston, between 1856 and 1863. Still, the
Mass became so woven into the repertoire that parts of it remain there still. In a 1991 article,
David Schildkret identified fourteen pieces incorrectly attributed to Mozart still listed in Choral
Music in Print at that time. Included in his catalog were several editions of the Twelfth Mass as a
whole, five editions of its “Agnus Dei,” and twenty-five editions of its “Gloria,” few of which
included any indication of their true authorship.26 While the exponential increase in small-scale
and individual publishers since 1991 has made the Music in Print series less reliable, a search of
this database still shows at least twenty whole or partial editions in print with only one database
entry updated to show the attribution as spurious.
Reconstruction and Adaptation: The Entführung of Die Entführung
In the decades following Mozart’s death, his operas were by far his most frequently
performed and sought-after works. Annals of Opera indicates that Die Zauberflöte had received
three hundred performances by the end of 1797. By the time it reached New York in 1833, it had
already been performed in fifteen European countries in at least ten languages.27 Don Giovanni
experienced a slightly slower start, but by the 1820s it was a staple of the operatic repertoire in
Europe and the United States.
For each production, however, there were modifications. The operas were frequently
translated into each country’s language. They were shortened, expanded, or otherwise modified.
25
"Occasional Notes," The Musical Times and Singing Class Circular 23, no. 472 (1882): 319.
David Schildkret, "Publications of Misattributed Mozart Choral Works," Choral Journal 32, no. 1 (1991).
27
Alfred Loewenberg, Annals of Opera, 1597-1940, third ed. (London: J. Calder, 1978), 494-98.
26
10 In some cases, they were transformed into productions that would have been barely recognizable
to Mozart.
When Die Zauberflöte arrived in Paris in 1801, it was in the form of an “arrangement” by
Ludwig Wenzel Lachnith called Les Mistères d’isis. This production was not a mere translation,
but a pasticcio incorporating extracts from La Clemenza di Tito, Le Nozze di Figaro, and Don
Giovanni, alongside newly composed recitatives which replaced much of the spoken dialogue.28
According to King, this “hotch-potch” was performed in Paris 134 times before 1828; Mozart’s
original score received no Parisian performances.29
Most interesting among the opera adaptations, however, are the productions in London.
Nineteenth-century London audiences rarely saw an opera, by any composer, in an unadulterated
form. Sir Henry Bishop produced several anglicizations of Mozart’s operas, including a crudely
adapted version of Figaro called The Libertine and a complete rewrite of Don Giovanni called
Don Juan. In both cases, Mozart’s music was freely reworked and interspersed with Bishop’s
own music.
Bishop’s reworkings are minor when compared with the 1821 production of
Die Entführung aus dem Serail, according to an account assembled by Alfred Einstein. This new
version, quite loosely based upon the original libretto and music, was published in a vocal score,
for which the title reads:
THE SERAGLIO. | The Celebrated Opera by MOZART, with additional Music, | as Performed
at the | Theatre Royal Covent Garden. | Composed and Arranged for the | Piano Forte, | and
Dedicated (by Gracious Permission) | with the most Profound Respect to | His Most Gracious
Majesty, | THE KING. | By | His Majesty’s most Humble and Dutiful Servant | C. Kramer. Master
and Conductor of His Majesty’s Band. | LONDON, | Published (for the Author) by Clementi &
Co. 26 Cheapside & S. Chappell, 135 New Bond Str.30
28
Wolfgang Amadeus Mozart, Étienne Morel de Chédeville, and Ludwig Wenzel Lachnith, Les Mistères D'isis
(Paris: Sieber père: Imbault, 1801).
29
King, Mozart in Retrospect, 13.
30
Alfred Einstein, "The First Performance of Mozart's Entführung in London," The Music Review 7 (1946): 155.
11 Einstein proceeds to give a synopsis of the new opera, including a detailed accounting of
the work’s unique structure. The final product included almost nothing of its original format and
only scatterings of Mozart’s music. Einstein’s conclusion, however, is an important one when
considering nineteenth-century opera performance:
That is the form in which the Entführung was introduced to England…. But we had better be
wary of casting too heavy a stone at Christian Kramer, Master and Conductor of His Majesty’s
Band. In its original form of a Viennese Singspiel of 1782 the Entführung would most certainly
not have been understood in the London of 1827 and could have been nothing but a solemn
fiasco. And granted Kramer’s ruinous meddling with it, its predecessors from Tito to Don
Giovanni had met with little better fate…. The London Entführung is a sister work to Weber’s
Oberon, the “British” form of which Weber, who created it, by no means regarded as final. But
again, no Pharisaical stoning of the British or London taste of the time. We know what happened
to the Zauberflöte in Paris between 1801 and 1827, and to Don Giovanni from 1805 and on. We
know the sad fate of Così fan tutte in all European countries, even down to our own day….
But even in Germany the record is not clean. In a long and arduous career as a critic… I
never heard Belmonte’s third act aria. Everywhere “Von der Maas bis an die Memel” the B-flat
aria from the second act was put in its stead, where it is ludicrously out of place. How says the
Apostle? For all have sinned and come short of the glory of God.31
In other words, that is simply how opera was done in the nineteenth century. The practice
of hacking up scores and libretti in order to suit provincial tastes or to elevate local musicians
was not unique to England, nor was is unique to Mozart operas, nor even to dead composers.
Annals of Opera includes several accounts of Weber’s and Rossini’s operas being treated
similarly even during the composers’ lifetimes.
Opera scores had hardly been sacrosanct in the previous century either. The practice of
substituting one or more arias from a given score with one preferred by the singer, for example,
was so commonplace in eighteenth-century Neapolitan opera performance that it was expected of
certain singers. In fact, the commissioning of purposeful “replacement” arias became an
important status symbol for singers and income source for composers. Singers would freely
substitute their arias into opera performances, regardless of that action’s effect on the plot.32
31
32
"The First Performance of Mozart's Entführung in London," The Music Review 7 (1946): 159-60.
John A. Rice, Antonio Salieri and Viennese Opera (Chicago: University of Chicago Press, 1998), 463-64.
12 Derivative and Tribute Works
The convergence of the three major forces thus far discussed—a public’s insatiable
appetite for all things Mozart, an ignorance of or even a disregard for authenticity in publication
and performance standards, and the widespread permissiveness to freely adapt, arrange, and
otherwise transform the works of other composers—established an environment whereby a series
of derivative works would be welcomed into Mozartiana. Publishers’ catalogs from the midnineteenth century are packed with arrangements and adaptations of Mozart works: symphonic
movements arranged for piano, piano works arranged for wind band, wind serenades arranged
for choir, and Mass movements arranged for instruments. No adaptations, however, would have
as strong an effect on Mozart reception as the adaptations of his sacred music.
Mozart was not the first composer to be commemorated with derivative works. Pasticcio
oratorios of Handel’s music were among London’s most popular concert works in the three
decades following his death. Edward Toms’s arrangement Israel in Babylon was the first major
contribution to this genre, premiering at the King’s Theater in Haymarket in a commemoration
concert for the fifth anniversary of Handel’s death.33 At least five additional pasticcio oratorios
were assembled and performed during this time period, and the genre reached its apex with
Samuel Arnold’s monumental Redemption, which premiered at the Drury Lane Theatre on
March 10, 1786.
Like Handel, several derivative choral works of Mozart’s music surfaced for special
occasions over the years, but do not appear to have lived beyond their first performances. Some
of the works in this category were prepared by, or at the behest of, direct family members. The
33
Howard E. Smither, A History of the Oratorio, 4 vols. (Chapel Hill: University of North Carolina Press, 1977), v.
III, p. 242. Although the fifth anniversary was actually April 14, 1764, this concert took place on April 12.
13 benefit concert that Constanze organized in Prague on November 15, 1797, included one such
work.
Concluding with a German Scena and Final Chorus for the joyful Restoration of Peace. Its
poetic text has been specially written by the famous Poet and Professor Herr A. Meissner.
The music of the recitative is by Hr. Witassek, and the Chorus by Mozart from the Opera la
Clemenza di Tito; the latter has been chosen because it is to be hoped that the public will desire to
join in the Chorus of Jubilation on such a happy occasion.34
Interestingly, the program also notes, “All these pieces, with the exception of the Chorus,
are new and have not yet been performed.”35
In the concert that followed the unveiling of the Salzburg Mozartplatz statue on
September 5, 1842, W.A. Mozart the younger conducted the double-chorus and orchestra in the
performance of his own cantata arrangement. This cantata was published by Artaria & Comp.,
but was not included in Köchel. Inclusion was not necessary, as the published title, Fest-Chor
zur Enthüllung des Mozart-Denkmals in Salzburg, aus Compositionen des Gefeierten
zusammengestellt, instrumentirt, und mit einem passenden Texte versehen von dessen Sohne
W. A. Mozart,36 can leave no doubt as to the cantata’s source or intention. The source music
appears to have been the offertory Venite populi, K. 260, the Adagio für pianoforte H-moll,
K. 540,37 and several themes from Clemenza di Tito,38 though the present author has not
personally inspected a copy of the score. The description of the event published in the Musical
World describes the performance: “A choral ode, adapted to motiveos [sic] of Mozart by his
34
Deutsch, Mozart, a Documentary Biography, 484-85.
Ibid.
36
Rudolph Angermüller and Adolf Hahnl, Das Salzburger Mozart-Denkmal: Eine Dokumentation (Bis 1845) Zur
150-Jahre-Enthüllungsfeier (Salzburg: Internationale Stiftung Mozarteum, 1992), 141.
37
Das Salzburger Mozart-Denkmal: Eine Dokumentation (Bis 1845) Zur 150-Jahre-Enthüllungsfeier (Salzburg:
Internationale Stiftung Mozarteum, 1992), 142.
38
Catalog entry for the score copy housed at the Pierpont Morgan Library, New York.
35
14 son—the poetry by the venerable archbishop—was then finely executed, and the effect in the
open air was all but sublime.”39
Anhang III of Ludwig Ritter von Köchel’s catalog is dedicated to derivative
compositions. Köchel’s list is comprised of compositions that had been published, and for which
he could identify the source compositions. This section of Köchel’s appendix totals seventy-five
pieces, for which he assigned Anhang numbers 110 through 184.
Many of the titles included in this catalog are simple arrangements or transcriptions. For
example, K. Anh. 184 is merely a transcription of the Rondo in C für Violine und Orchester,
K. 373, which substitutes a transverse flute for the solo violin.40 Similarly, K. Anh. 113 is a
Diabelli publication titled Sechs Psalmen für 4 Singstimmen, Streichquartett, 2 Trompeten,
Pauken und Orgel, which is just a German translation of the six Vesper Psalms in the Vesperæ
solennes de Dominica, K. 321.41
Other titles are little more than single movements extracted from larger works, such as
K. Anh. 115, which is the celebrated “Laudate Dominum” from the Vesperæ solennes de
Confessore, K. 339. Several others are adaptations of secular instrumental pieces as choruses
with sacred texts, such as K. Anh. 110, which sets the Adagio movement of the Serenade in B,
K. 361 as an offertory with the text “Quis te comprehendat.”42
Of particular interest for this study are K. Anh. 121 through 130. Under these numbers
are ten large-scale derivative choral works. All of them originated as choral compositions. Some
of them are completely derived from a single source work; others are assembled from several
39
"Fete at Salsburg in Honor of Mozart," The Musical World 17, no. 42 (1942). The involvement of the Archbishop
in composing the text is not confirmed in any other source.
40
Köchel, Chronologisch-Thematisches Verzeichniss, 516.
41
Chronologisch-Thematisches Verzeichniss, 509. The title would indicate that a viola part was also added for the
Diabelli edition, but a copy of the score has not been found for verification.
42
Ibid.
15 sources. All of the compositions have new, sacred texts in German, which generally have no
relation to the original text set by Mozart.
It is the opinion of this author that the choruses were likely conceived and assembled in
good faith, intended to be sold as freely arranged “tribute” works and giving Protestant Germans
the opportunity to sing Mozart’s music. In reality, however, the title pages include no such
explanation; additionally, they were advertised, performed, and discussed as though they were
original works of Mozart. As a result, these ten pieces would become the primary lens through
which the world viewed Mozart’s sacred music throughout the nineteenth century.
16 Chapter 3
The Contrafacta Cantatas, K. Anh. 124-130: Editorial History
In the early morning of December 4, 1943, a flight of 527 Lancaster and Halifax bombers
from the Royal Air Force Bomber Command rained nearly 1,400 tons of ordinance on the city of
Leipzig.43 Among the nearly 1,500 buildings destroyed or heavily damaged was the headquarters
of Breitkopf & Härtel. Although the attack was anticipated and the publishing company had
begun taking precautions to safeguard its documents and manuscripts earlier in the year,
including the construction of a “massive” bomb shelter in its basement and the removal of
hundreds of boxes to homes and shelters outside the city,44 any documentation that may have
existed regarding the editorial history of the contrafacta choruses is now lost and believed to be
destroyed.45 As a result, this study’s goal of identifying the editors and text authors, as well as
circumstances surrounding the cantatas’ preparation, remains incomplete. The publication
history does tell a part of the story, however.
Mozart’s Music in Derivative Works
In the thirty years following Mozart’s death, Breitkopf published orchestral scores of
eight contrafacta cantatas, six of them pasticcios, and three contrafacta motets. The publishing
house of N. Simrock in Bonn would also publish vocal scores, with piano reductions by Carl
Zulehner, within a few years of each publication’s release.
The three motets are all derived from the incidental music König Thamos, K. 345. Only
minor musical changes were made to the underlying works, but sacred texts in German were
43
Royal Air Force Bomber Command, "Campaign Diary, December 1943,"
http://www.raf.mod.uk/bombercommand/dec43.html.
44
Oskar von Hase and Hellmuth von Hase, Breitkopf Und Härtel. Gedenkschrift Und Arbeitsbericht (Wiesbaden:
Breitkopf & Härtel, 1968), 88.
45
Email correspondence with Breitkopf archive musicologist Dr. Andreas Sopart in January 2009.
17 substituted for the original text. The scores are numbered one through three on their title pages,
although this numbering does not reflect the order in which the choruses appear in König
Thamos. The order used in these publications was adopted by Köchel when he entered the
choruses in the Anhang III section of his catalog:
1. Hymne, Preis dir Gottheit 46
2. Motette, Ob fürchterlich tobend 47
3. Hymne, Gottheit dir sey Preis 48
Of the eight cantatas published by Breitkopf, seven comprise a similarly numbered set.
The source material and details of these seven pieces will be dealt with in depth in this study.
1.
2.
3.
4.
5.
6.
7.
Heiliger, sieh gnädig [K. Anh. 124]
Allerbarmer höre [K. Anh. 125]
Herr! Herr! vor deinem Throne [K. Anh. 126]
Ewiger, erbarme dich [K. Anh. 127]
Mächtigster, Heiligster [K. Anh. 128]
Hoch vom Heiligthume [K. Anh. 129]
Herr, auf den wir schauen [K. Anh. 130]
The eighth cantata, “Das Lob der Freundschaft,” was derived from the Freemason
Cantata, K. 623. The music remains unchanged from the source work, which is set for men’s
chorus and orchestra. As with the other works discussed, the score gives no indication of being a
derivative piece.49 Köchel did not create a separate entry for this cantata as he did the others, but
he did make mention of it in the K. 623 entry.50 The text author has been identified in several
modern catalog records as Hr. D[aniel] Jäger, but the source of this information is unknown.
Jäger is not identified in the Breitkopf or Simrock scores, the publishers’ catalogs, or the Köchel
entry.
46
K. Anh. 121, derived from the chorus “Schon weichet dir Sonne” in König Thamos, K.345.
K. Anh. 122, derived from the chorus “Ihr Kinder des Staubes” in König Thamos, K.345.
48
K. Anh. 123, derived from the chorus “Gottheit über alle Mächtig” in König Thamos, K.345.
49
Wolfgang Amadeus Mozart and D. Jäger, Das Lob Der Freundschaft: Kantate, Partitur. ed. (Leipzig: Breitkopf &
Härtel, 1800).
50
Köchel, Chronologisch-Thematisches Verzeichniss, 490.
47
18 The Simrock vocal scores for all of these pieces were released as part of a collection
titled Mozart, Hymnen und Kantaten. This set remains intact, mostly bound in a single volume in
the Lowell Mason Papers Collection at the Beinecke Library of Yale University. Alexander
Ulibischeff also included it in his 1859 catalog with only minor variances from the Beinecke
copy:51
1. Cantate: Lob der Freundschaft52
2. Motett: Ob furchterlich tobend sich Stürme erheben (Ne pulvis et cinis suberba)
[K. Anh. 122]
3. Hymne: Gottheit! Dir sei Preis und Ehre [K. Anh. 123]
4. Cantate: Allerbarmer höre [K. Anh. 125]
5. Cantate: Heiliger sieh’ gnädig hernieder [K. Anh. 124]
6. Hymne: Preis dir Gottheit! (Splendente de Deus) [K. Anh. 121]
7. Cantate: Herr, hier [sic] vor deinem Throne [K. Anh. 126]
8. Cantate: Alles was ich hoffe (Tutte le mi speranze; Toute mon espérance)53
9. Cantate: Ewiger, erbarme dich! [K. Anh. 127]
10. Cantate: Mächtigster, Heiligster! [K. Anh. 128]
11. Cantate: Hoch vom Heiligthum [K. Anh. 129]
12. Cantate: Herr auf den wir schauen [K. Anh. 130]
All of these works were published first by Breitkopf and later by Simrock. The focus of
this study is on the cantatas numbered one through seven by Breitkopf and four, five, and seven
through twelve by Simrock. To avoid confusion between the publication sequences, this
document identifies the cantatas by Köchel number.
Publication history
Because Breitkopf has been unable to provide any insight into the editorial history of the
works, exact publication dates have not been ascertained. However, a review of early nineteenthcentury Breitkopf editions has made it apparent that the plate numbers used for their publications
51
Ulibischeff, Mozarts Leben Und Werke, 313-14.
This piece is not bound with the others in the Beinecke collection, but a copy is included elsewhere in the Lowell
Mason collection.
53
No Köchel number was assigned to this publication, and there was apparently no Breitkopf edition. Ulibischeff
states this cantata was derived from the Quoniam of the C-minor Mass, which is titled “Tutte le mi speranze” in
Davide Penitente. It seems unlikely that a publication extracting only this movement would have been classified a
“cantata,” but a copy of the score has not been found for verification.
52
19 were mostly chronological, beginning with number one in 1797. Therefore, by reconciling the
plate numbers on the cantata scores against other Breitkopf editions with known publication
dates, approximate dates have been determined for each of the cantatas.
The publication date appearing in most library catalog records for Cantata 124 is 1808.
This publication’s plate number, 405, supports a date between 1806 and 1808, though the 1808
date seems too late. The Reicha Piano Trio, Op. 47, bears plate number 222 and was published in
1804;54 Breitkopf’s original edition of Beethoven’s fifth symphony was published in 180955 and
shows a plate number of 1329.56 Therefore, a publication date of 1807 for both this cantata and
Cantata 125, which shows plate number 465, seems more likely.
Cantata 126 bears plate number 1683. Beethoven’s Lenore Overture No. 3, Op. 72b,
published in 1810,57 has plate number 1603.58 By the 1812 publication of Kuhlau’s Sonate Facile
pour le Pianoforte, Op. 6b, the plate number sequence had advanced to 1787.59 Considering
these two publications, 1810 appears to be an accurate publication date for Cantata 126.
Three interesting observations stand out in the plate numbers for the four remaining
cantatas. First is the significant numerical gap between the three already discussed and the final
four. The next plate number in the sequence, that of Cantata 128, is 3451, meaning that Breitkopf
waited a significant amount of time before returning to the Mozart cantata series. The second
observation is the close clustering of plate numbers among these remaining cantatas. Cantatas
54
Anton Reicha, Sonate Pour Piano Forte Avec Accompagnement De Violon Et Violoncelle ... Oeuv. 47. Parts.
(Leipzig: Breitkopf & Härtel, 1804).
55
Barry Cooper, The Beethoven Compendium: A Guide to Beethoven's Life and Music (London: Thames and
Hudson, 1991), 217.
56
Ludwig van Beethoven, Sinfonie Pour 2 Violons, 2 Violes, Violoncelle Et Contre- Violon, 2 Flûtes, Petite Flûte, 2
Hautbois, 2 Clarinettes, 2 Bassons, Contre-Basson, 2 Cors, 2 Trompettes, Timbales Et 3 Trompes (Leipzig:
Breitkopf & Härtel, 1809).
57
Cooper, The Beethoven Compendium: A Guide to Beethoven's Life and Music, 253.
58
Ludwig van Beethoven, Ouverture À Grand Orchestre De L'opéra Leonora (Leipzig: Breitkopf & Härtel, 1810).
59
Friedrich Kuhlau, Sonate Facile Pour Le Pianoforte Avec Accompagnement De Violon Ad Libitum: Op. 6b
(Leipzig: Breitkopf & Härtel, 1812).
20 128, 129, and 130 show plate numbers 3451, 3452, and 3462, respectively, and Cantata 127
shows a plate number of 3594. The third item of interest is this last plate number itself, 3594,
indicating that Cantata 127, number four in the listed sequence, was actually the last of the
cantatas to go to print. It does, however, appear close enough to the sequence of other numbers to
put it within the same year as the other three. As Breitkopf’s 1818 publication of its revised vocal
score to Die Zauberflöte shows a plate number of 3439,60 it is safe to date these remaining
cantatas from the same year.
A similar method has been used to identify the publication dates of the Simrock scores,
though the process has been made significantly easier by Hans Schneider’s 1975 historical
catalogue of Simrock’s publications. None of the cantatas are included among the 745 titles
listed in Schneider’s survey, but a review of this volume indicates that Simrock’s plate numbers
were also assigned sequentially.
The plate numbers for cantatas 124, 125, and 126 were 1177,61 1176,62 and 1181,63
respectively. Simrock published a volume of five Mozart quintets (K. 406, 515, 516, 593, and
614), bearing a plate number of 1164 and a definite publication date of 1816, according to
Schneider’s survey. Likewise, Schneider assigns a firm publication date of 1816 to the
VIII Variations sur un Air de la petite Russie pour le Piano-Forte by Ferdinand Ries, plate
number 1187.64 As a result, this year can be most definitely assigned to these three cantatas.
60
Wolfgang Amadeus Mozart and Michael Gotthard Fischer, Il Flauto Magico: Dramma Per Musica (Leipzig:
Breitkopf & Härtel, 1818).
61
Wolfgang Amadeus Mozart and Carl Zulehner, Cantate, Heiliger Sieh Gnädig Hernieder, Mit Vier Singstimmen
(Bonn, Cöln: N. Simrock, 1816).
62
Cantate, Allerbarmer Höre, Ach Höre &C. (Bonn, Cöln: N. Simrock, 1816).
63
Cantate, Herr! Hier I.E. Herr Vor Deinem Throne, Mit Vier Singstimmen (Bonn, Cöln: N. Simrock, 1816).
64
Hans Schneider (Tutzing), Katalog Historisch-Bibliographische Schau in 745 Ausgewählten Titeln (Tutzing:
Schneider, 1975), 62.
21 Cantata 127 bears a plate number of 2148.65 Simrock’s printing of Ries’s Air national
“Nelson” was plate number 2146, and plate number 2155 appears on their publication of a fourhand piano arrangement of Beethoven’s Grand Trio pour Violon, Alto & Violoncelle.66 Both of
these pieces were published in 1823, so this same date has been assigned to the cantata.
As with the Breitkopf editions, a significant gap in plate numbers exists before the final
set of cantatas. Cantatas 128 and 129 show consecutive plate numbers of 260767 and 2608,68 and
Cantata 130 is plate number 2654.69 All three of these publications appear to have gone to print
in 1829; the plate numbers in that year range from 2545 through 2711 in Schneider’s survey.70
Table 3.1 is a synopsis of the probable publication dates based upon plate numbers:
K. Anh. 124: Heiliger sieh gnädig
K. Anh. 125: Allerbarmer höre
K. Anh. 126: Herr! Herr! vor deinem Throne
K. Anh. 127: Ewiger, erbarme dich!
K. Anh. 128: Mächtiger, Heiligster
K. Anh. 129: Hoch vom Heiligthume
K. Anh. 130: Herr, auf den wir schauen
Breitkopf
1807
1807
1810
1818
1818
1818
1818
Simrock
1816
1816
1816
1823
1829
1829
1829
Table 3.1: Cantata publication dates.
In addition to the publications cited, there were other editions of the derivative works.
Breitkopf’s catalogs list their own piano and vocal scores with each of the three König Thamos
choruses.71 Novello also published each of these choruses in English and Latin translations
65
Wolfgang Amadeus Mozart and Carl Zulehner, Cantate, Ewiger Erbarme Dich, Für Vier Singstimmen Von W.A.
Mozart (Bonn, Cöln: N. Simrock, 1823).
66
Hans Schneider (Tutzing), Katalog Historisch-Bibliographische, 74-75.
67
Wolfgang Amadeus Mozart and C. Zulehner, Cantate "Mächtigster, Heiligster! Für Vier Singstimmen: No. 10
(Bonn: N. Simrock, 1827).
68
Wolfgang Amadeus Mozart and Carl Zulehner, Cantate, Hoch Vom Heiligthume, Für Vier Singstimmen Von W.A.
Mozart (Bonn, Cöln: N. Simrock, 1829).
69
Cantate, Herr! Auf Den Wir Schauen (Bonn: N. Simrock, 1827).
70
Hans Schneider (Tutzing), Katalog Historisch-Bibliographische, 86-87.
71
Verzeichniss Des Musikalien-Verlags Von Breitkopf & Härtel in Leipzig, (Leipzig: Breitkopf & Härtel, 1847),
55.
22 sometime around 1835.72 They identified the choruses as Mozart’s “First” through “Third
Motets.”73
By Novello’s 1914 catalog, their entries are far more descriptive. Their “First Motet” is
Preis dir Gottheit! (K. Anh. 121). Novello’s full score of this motet included text in both German
and Latin (Splendete de Deus),74 with vocal scores available in Latin and English (O God, When
Thou Appearest). Novello’s “Second Motet” is Ob fürchterlich tobend sich Stürme erheben
(K. Anh. 122). The catalog does not specify the language(s) included in the orchestral score, but
vocal scores were available in Latin (Ne pulvis)75 and in English (Have Mercy, O Lord). Finally,
their “Third Motet” was Gottheit! Dir sei Preis und Ehre (K. Anh. 123). According to the
catalog, the full score included only the German text, while vocal scores were available in Latin
(Deus Tibi Laus et Honor)76 or English (Glory, Honor, Praise, and Power).77 This “Third Motet”
is also commonly called “Hymn of Praise” in performance announcements in England.
The 1914 catalog lists these three motets as the first three of nine “motets,” many of
which are other derivative works not yet discussed. Completing this list are: Alma Dei Creatoris
(presumably K. 277), Amavit cum Dominus (K. Anh. 119, originally the Laudate pueri from
K. 32178), Beatus vir (unknown, but possibly drawn unaltered from one of the Vesper settings),
Quis te Comprehendat (K. Anh. 110, derived from the Adagio of the Serenade in B-flat,
72
Wolfgang Amadeus Mozart et al., Mozart's Third Motett, 'Deus Tibi Laus Et Honor': For Four Voices from the
German Hymn Gottheit Dir Sey Preis Und Ehre! Arranged with an Accompaniment for the Organ or Piano Forte by
Vincent Novello (London: Novello, 1835).
73
The Complete Catalogue of Music Published by Novello, Ewer and Co, (London, New York: Novello Ewer,
1890), 89.
74
This text was also included in the Breitkopf and Simrock scores.
75
Again, this Latin text was included in the Breitkopf and Simrock publications.
76
Unlike the first two, this Latin text appears to be original to the Novello publication.
77
The Complete Catalogue of Music Published by Novello and Company, Limited, (London, New York: Novello
and Co.; H W. Gray Co., 1914), Sec. 3, p. 58-59.
78
Köchel, Chronologisch-Thematisches Verzeichniss, 509.
23 K. 36179), Sancta Maria (presumably K. 273), and Sancti et Justi (K. Anh. 114, derived from the
Laudate pueri in K. 33980). In Novello’s 1922 Catalogue of Vocal Compositions, the first three
motets remain, but all of these additional titles have been eliminated.81
There were also several second-generation derivations of the derivative works that went
even further than Novello’s adaptations. The December 1852, edition of the Quarterly Review,
London, advertises a series of “New and Fashionable Pianoforte Duetts,” published by Robert
Cocks & Company. Among these are four-hand piano arrangements of all three König Thamos
choruses and cantatas 124, 125, and 126 prepared by Carl Czerny and dedicated to the Duchess
of Kent.82
Finally, the publishing house of Moriz Schauenburg and Lahr in Baden published a
modern edition of Cantata 126 in 1930. For this edition, Ernst Dahlke (1877-1960) arranged the
cantata for a reduced instrumentation of two violins, violoncello, and clavier. Dahlke’s
introductory notes make no mention of the cantata’s derivative origins, merely stating that his
reduced arrangement was intended to fill a void of music by the “masters” in arrangements that
are suitable for school orchestras.83
Musical Sources
While no documentation exists as to the individuals involved in the preparation of the
cantatas, information compiled from correspondence offers some clues to the source materials. A
letter from Mozart’s sister, Maria Anna (Nannerl) Reichsfreyin, to Breitkopf on October 29,
1800, Briefe number 1317, lists nineteen pieces that had been dispatched from her to the
79
Ibid.
Ibid.
81
Alphabetical Catalogue of Vocal Compositions, (London: Novello and Co., 1922).
82
William Gifford et al., The Quarterly Review, vol. CLXXXIII (London: John Murray, 1809), 468.
83
Wolfgang Amadeus Mozart and Ernest Dahlke, Kantate, Herr, Herr Vor Deinem Throne: Für Gemischten Chor,
Soli Oder Kleinen Chor, Streichinstrumente (I. Und Ii. Violine Und Violoncello) Und Continuo (Lahr (Baden):
Schauenburg, 1930), 2.
80
24 publisher; Briefe number 1314a on October 8 is thought to have been the bill of sale, but is lost.84
This lot of manuscripts represents a virtual catalog of source works for the cantatas; among
others: the Litanies, K. 125 and 109, the source works for Cantatas 124 and 125 respectively; the
Offertory, K. 72, one of the source works for Cantata 126; the Offertory, K. 277, used in Cantata
127; and the Dixit et Magnificat, K. 193, the movements of which were used in Cantatas 127 and
129 respectively.85 In fact, the only source works missing from this list are three Masses, K. 220,
258, and 259, the Vesperae solennes de Dominica, K. 321, and the oratorio Davide Penitente.86
Since it is believed that the sources on which Breitkopf relied for their early publications of the
masses were performance copies, rather than the autograph scores, 87 it is likely that they relied
on these sources to construct the cantatas as well.
The above-referenced letter addresses the apparent situation that Breitkopf was seeking to
obtain a score to Davide Penitente, as she writes, “You are mistaken if you believe I have written
regarding the score of Davide Penitente because neither the text nor the composition are known
to me; also, I do not know that my brother even made [it].”88 Nannerl’s recollection (rather, lack
thereof) was correct; it would appear that Constanze, not Nannerl, might have offered this work
to Breitkopf sometime prior to 1800, ultimately making it available to Johann Anton André
instead, on February 21, 1800.89
No evidence has been uncovered to indicate that the editorship of these works was in
itself significant. Neither Constanze nor Nannerl appears to have been directly involved, and no
84
Mozart et al., Briefe Und Aufzeichnungen, Gesamtausgabe, VI, 556.
Briefe Und Aufzeichnungen, Gesamtausgabe, IV, 378-9. The individual works described in the letter are identified
by the editors in Volume VI, pages 556-557.
86
This is a derivative work itself, based upon the Mass in C Minor, K. 427, albeit a derivation prepared by Mozart
personally. For reasons that will be discussed in chapter 5, it is the author’s belief that the cantata movements were
derived from copies of this piece and not from the Mass.
87
Wolfgang Amadeus Mozart and Emily Anderson, Letters of Mozart and His Family (London: Macmillan, 1938),
1455.
88
Mozart et al., Briefe Und Aufzeichnungen, Gesamtausgabe, IV, 377. Translation by the author.
89
Briefe Und Aufzeichnungen, Gesamtausgabe, IV, 319.
85
25 mention of an editor or text author appears in any of the extant scores or period accounts, with
the exception of Cantata 130, for which the text author is identified in the score as G[ottfried]
W[ilhelm] Fink (1783-1846). It must therefore be assumed that the derivative works were simply
created by an editor or conductor for the purpose of making Mozart’s music available for
performance in Lutheran Germany.
Availability and repertory status
More telling perhaps than publication dates, from an historical standpoint, is the emphasis
placed on derivative works among Mozart’s early publications, as well as how long these pieces
remained available.
The “Oratories, Messes et autre Musique d’Eglise en Partition etc.” section of
Breitkopf’s 1847 catalog lists eighteen pieces by Mozart. Of those eighteen, twelve are the
derivative works listed at the beginning of this chapter. Interestingly, the catalog lists these
pieces in the same order that Köchel would later assign them.
Entry
Missa pro defunctis, Requiem, Partitur, latinisch u.
deutsch. Neue Ausgabe
-Klavierauszug
-die Singstimmen
Messe No 1 et 2 lateinisch u. deutsch.
Te Deum Partitur
-Klavierauszug
-die Singstimmen
Hymne. Preis dir Gottheit, für 4 Singstimmen. Partitur.
Neue Ausg. No. 1
-Klavierauszug
-die Singstimmen
Motette, Ob fürchterlich tobend etc. Part. No. 2
-Klavierauszug
-die Singstimmen
Hymne, Gottheit dir sey Preis etc. Part. No. 3
-Klavierauszug
-die Singstimmen
Probable Identity
Requiem, K. 626 (authentic)
Unknown. However, publications of Mozart’s Masses
were numbered into the twentieth century, including in
Breitkopf’s 1877 Alte Mozart-Ausgabe, which identifies
K. 49 and K. 65 as Masses 1 and 2, so this entry could
refer to those Masses.
K. 141 (authentic)
K. Anh. 121
K. Anh. 122
K. Anh. 123
26 Entry
Cantate: Heiliger! sieh gnädig etc. No. 1
Cantate: Allerbarmer höre etc. No. 2
Cantate: Herr, Herr vor deinem etc. No. 3
Cantate: Ewiger erbarme dich etc. No. 4
Cantate: Mächtigster, Heiligster etc. No. 5
Cantate: Hoch v. Heiligthume etc. No. 6
Cantate: Herr auf den wir etc…. No. 7
das Lob der Freundschaft, Cantate. Part.
Dasselbe, Klavierauszug
Hymne: Gottheit über alle mächtig
Cantate: Die ihr des unermesslichen etc.
Beatus vir (Lobsingt dem Herrn), Psalm, arr. von
O. Claudius
Probable Identity
K. Anh. 124
K. Anh. 125
K. Anh. 126
K. Anh. 127
K. Anh. 128
K. Anh. 129
K. Anh. 130
No Köchel number; as discussed earlier, this was
derived from K. 623.
Extracted directly from König Thamos, K. 34590
K. 619 (authentic)
Beatus vir from Vesperae de Dominica, K. 321,
published in 1827, text in Latin and German.91 Not listed
separately by Köchel but mentioned in the K. 321 entry.
Table 3.2: Excerpt from Breitkopf & Härtel catalog, 1847.92
The catalog includes no wording to indicate that the pieces are inauthentic. They are
merely listed among Mozart’s compositions, comprising the majority of the list in this particular
section.
Although the cantatas would remain in print well beyond Köchel’s identification of them
as derivative works, Breitkopf’s catalog entries never became fully transparent as to their nature.
The first edition of the Köchel catalog in 1862 properly identified the cantatas as derivative
works. The pieces are still listed in the 1885 Breitkopf catalog. However, the listings for the
cantatas include their Köchel Anhang numbers, implying, if not fully disclosing, that they are not
original works.93 To Breitkopf’s credit, the listings for the four “hymns,” including K. Anh. 121–
123 go the further step of including the statement, “The above four hymns include music from
90
Wolfgang Amadeus Mozart, Harald Heckmann, and Tobias Philipp Gebler, Chöre Und Zwischenaktmusiken Zu
Thamos, König in Ägypten, vol. Bd. 1, Neue Ausgabe Sämtlicher Werke. Serie Ii, Bühnenwerke. Werkgruppe 6,
Musik Zu Schauspielen, Pantomimen Und Balletten / Wolfgang Amadeus Mozart (Kassel: Bärenreiter, 1956), 88133.
91
Wolfgang Amadeus Mozart and Otto Claudius, Beatus Vir: Lobsingt Dem Herrn: Psalm (Leipzig: Breitkopf &
Härtel, 1827).
92
Verzeichniss Des Musikalien-Verlags Von Breitkopf & Härtel in Leipzig, 55.
93
Verzeichniss Des Musikalien-Verlags Von Breitkopf & Härtel in Leipzig: Systematischer Und Alphabetischer
Theil Nebst Anhang: Vollständig Bis Ende 1885 Mit Nachträgen Bis Zur Gegenwart, (Leipzig: Breitkopf & Härtel,
1888), 451-52.
27 the drama ‘King Thamos.’”94 It should also be noted that Breitkopf passed over all of the
derivative works in their Alte-Mozart Ausgabe, published between 1877 and 1883.
All twelve pieces are listed as late as Breitkopf’s 1902 catalog. All entries include a
Köchel number. However, while the hymn entries include the “Anh.” designation with the
numbers, the cantatas do not. This is likely a mere oversight, as the pieces with the actual Köchel
numbers 124 through 130 are included in the catalog as well.
Unfortunately, no master catalogs beyond 1902 have been located. It has therefore not
been determined how far into the twentieth century the Breitkopf publications remained
available.
As with Breitkopf, full listings of the Simrock publications have been located in their
catalogs of 1851,95 1880,96 and 1902. 97 An abridged catalog was published in 1915. None of the
derivative works appear in this catalog.98 Because this was an abridged catalog (“eine Auswahl
der besten Werke”), the absence of these works does not necessarily indicate that they had gone
out of print.
The previously mentioned Novello publications appear in Novello’s 1890,99 1910,100
1914,101 and 1922102 catalogs.
94
“Die vorstehenden vier Hymnen gehören der Musik zum Drama ‘König Thamos’ an.” Verzeichniss Des
Musikalien-Verlags Von Breitkopf & Härtel in Leipzig: Systematischer Und Alphabetischer Theil Nebst Anhang:
Vollständig Bis Ende 1885 Mit Nachträgen Bis Zur Gegenwart, (Leipzig: Breitkopf & Härtel, 1888), 463.
95
Verzeichniss Des Musik-Verlags, (Bonn: N. Simrock, 1851), 69-70.
96
Verzeichniss Des Musikalien-Verlages Von N. Simrock in Berlin. In Alphabetischer Reihenfolge. Vollständig Bis
Ende 1880, (Berlin: N. Simrock, 1880), 186-7, 91, 93.
97
Verzeichniss Des Musikalien-Verlages, (Berlin: N. Simrock, 1902).
98
Musikverlag Simrock: Eine Auswahl Der Besten Werke, (Berlin, Leipzig: N. Simrock Musikverlag, 1915).
99
The Complete Catalogue of Music Published by Novello, Ewer and Co, 89.
100
The Complete Catalogue of Music Published by Novello & Company, Ltd, (London: Novello, 1910), Sec. 2B, p.
39.
101
The Complete Catalogue of Music Published by Novello and Company, Limited. London, New York: Novello
and Co.; H.W. Gray Co., 1914.
102
Alphabetical Catalogue of Vocal Compositions. London: Novello and Co., 1922.
28 Reception and Legitimization
Although Constanze was apparently not involved in their preparation, several of the
derivative works are discussed in the Kirchenmusik section of Georg Nikolaus von Nissen’s
biography (completed by Constanze following Nissen’s death) as though they are authentic
pieces:
His cantata “Herr, Herr, vor deinem Throne” etc. [Cantata 126] belongs no doubt among his
earlier works, as one can determine from the style, from the arrangement and treatment of the
harmony, and from the use of the brass instruments. It contains a lot of magnificent ideas, and
anyone who appreciates true church music will not be dissatisfied. The second movement, the
Andante for four solo voices [Benedictus from K. 220] is excellent in the instrumentation despite
containing several non-modern figures, and yet has something very lovely about it. The fourth
movement [Offertorium, K. 72] also contains several very expressive parts but appears too
extended due to the frequent repetition of the main theme: at least its length contrasts with the
other relatively short movements. It is noticeable that the part where the Redeemer teaches the
truth to the people, which is repeated twice, [measures 47-57 and 90-100, originally setting the
text “Ecce Agnus Dei, qui tollit peccata mundi.”] was intentionally kept in dark tones by the
composer (and why would Mozart have done anything unintentionally?). It contains considerably
less difficulty for singers and instruments than other works by Mozart. For this reason, and
because some instruments can be left out without significant drawbacks, it must be welcomed by
orchestras with few means.
Of similar value in this category are his Motettes: “Ob fürchterlich tobend sich Stürme
erheben” etc. [K. Anh. 122], his hymns: “Preis dir Gottheit durch alle Himmel“ etc. [K. Anh.
121] and: “Gottheit, dir sey Preis und Ehre” etc. [K. Anh. 123], his Cantata: “Heiliger, sieh'
gnädig hernieder” etc. [K. Anh. 124], his Te Deum and many others. Also his masses in D major,
103
B major, G major, etc.
Considering Constanze’s years of work cataloging and authenticating Mozart’s
manuscripts, it seems unlikely that she would be unaware these were derivative works when
completing the Nissen biography in 1828. However, the detail with which she and Nissen
describe Cantata 126 seems almost humorous when considered in this context.
In his 1859 biography, Alexander Ulibischeff displays an equal fondness for the
derivative works, although he is clear on both their origin and their purpose:
As we have already seen numerous times, many movements from masses and similar works
have been published with German texts under the title of Cantatas…. In this way they have
become available to our German choral societies and… their dissemination is desirable. As a
103
Georg Nikolaus von Nissen and Constanze Mozart, Anhang Zu Wolfgang Amadeus Mozart's Biographie
(Leipzig: Breitkopf & Härtel, 1828), 166-7. Translation by foxtranslate.com.
29 means of orientation, we will now present an overview of these cantatas, using the numbering of
the Simrock collection, which is generally more accessible, in the piano score of Zulehner.
• Nr. 1. Cantate: Lob der Freundschaft, für vier Stimmen. Originally the FreimaurCantate. Composed 15 Nov. 1791, so one of Mozart’s last compositions, very
suitable for the social gatherings.
• Nr. 2. Motett: Ne pulvis et cinis superba, with the text: Ob fürchterlich tobend sich
Stürme erheben, for four voices.
• Nr. 3. Hymne: Gottheit! Dir sei Preis und Ehre, for four voices.
• Nr. 4. Cantate: Allerbarmer höre, for four voices. Originally the Litany in B [flat]
Nr. 1 composed in 1771.
• Nr. 5. Cantate: Heiliger sieh’ gnädig hernieder, for four voices. Originally Kyrie –
Panis omnipotentis – Viaticum – Pignus future gloriae from the Litany in B [flat]
composed in 1772.
• Nr. 6. Hymne: Splendete de Deus, Preis dir Gottheit! for four voices.
• Nr. 7. Cantate: Herr vor deinem Throne, for four voices. Originally the Kyrie from a
Mass.
• Nr. 8. Cantate: Alles was ich hoffe, with Italian and French text. Trio. Originally
Quoniam from the C-minor Mass, then in Davidde penitente with the text: Tutte le
mie [sic] speranze.
• Nr. 9. Cantate. Ewiger, erbarme dich! for four voices. Originally Missa in C (Nr. 5 in
Novello’s collection).
• Nr. 10. Cantate: Allmächtigster, Heiligster! for four voices. Originally Missa in C
(Nr. 4 in Novello’s collection).
• Nr. 11. Cantate: Hoch vom Heiligthum. Originally as Dixit, composed 1772.
• Nr. 12. Cantate: Herr, auf den wir schauen. Originally Missa in C (Nr. 11.
Novello).104
Three items are of particular interest in this excerpt. First is the information that is either
incomplete or inaccurate in Ulibischeff’s list. Several titles are incorrect; the entries are limited
to a single source work each, even in instances where the cantata in question was derived from
several works; and he fails to identify the source work at all in his listing for Cantata 126. The
second item of note is his reliance on the Novello editions in identifying the source material for
the derivative works, even though he was writing in Germany for a German audience. Finally,
his attribution of the C-minor Mass, K. 427, as one of the source works, rather than Davide
Penitente, is unique among nineteenth-century identifications of the cantatas’ sources.
Nissen’s and Ulibischeff’s enthusiasm for the pieces was not universal. In his 1856
Mozart biography, Otto Jahn includeed within his catalog of Mozart’s church compositions a
104
Ulibischeff, Mozarts Leben Und Werke, 313-14. Translation by foxtranslate.com and by the author.
30 discussion and identification of the seven cantatas.105 In the second edition (1867), this
discussion is expanded into a full essay examining the cantatas’ negative influence on Mozart’s
reputation as a composer of church music.106 The essay is Appendix VII in the second edition but
appears as Appendix II in Pauline Townsend’s 1891 translation and in subsequent editions,
including Hermann Abert’s 1923 rewrite.
Seven cantatas which appeared under Mozart’s name (Leipzig: Breitkopf and Härtel, and
elsewhere) are perhaps, after his operas, the most widely known of his works, and upon them in a
great measure rests his fame as a composer of church music. Of these cantatas, however, only
one, the second [K. Anh. 125] (and that with altered words), was left in its present state by
Mozart; the others were all put together after his death from separate portions of various church
compositions, often widely differing in the time, the object and the style of their composition, and
having undergone arbitrary alterations and additions. Nothing but the newly adopted words holds
them together, and these are generally trivial, often in direct contradiction to the spirit of the
original words.
The parody of Goethe’s song “Der du Leid und Sehnsucht stillest,” which in Cantata III
[incorrect: actually Cantata IV, K. Anh. 127] replaces the original “Alma redemptoris,” [also
incorrect: the source work is Alma Dei creatoris] may serve as an example.
Der du Leid und Sehnsucht stillest
und das Herz mit Trost erfüllest,
das sich reuvoll seiner Schuld bewußt,
ach, ich bin des Wogens müde,
banger Schmerzen, unruhvoller Lust;
Geist vom Himmel, Gottes Friede,
komm und wohn’ in meiner Brust!
This double injustice done to the composer may be explained as arising from the tendency of
an age which turned to its own immediate convenience any music which came to hand, with little
feeling for the work of art as a whole and little respect for the right of the author to the integrity
of his work or for the claims of historical accuracy.
…
After this, it was not surprising that the choruses from “König Thamos” should have been
used as sacred music, or that the “Freimaurercantaten” (429, 471 K.) should have been treated in
the same way. Nor was it unusual to find an altered text (church-like in character) supplied to
sacred compositions. But secular music was also appropriated by the Church…. V. Novello
published the wonderful ensemble from the second finale in Figaro “Più docile io sono e dico di
sì,” with the words “O Jesu mi, miserere nobis!” as a motett with organ accompaniment, and has
appended the remark: This motett may be used at Benediction. It is hoped that there is no truth in
the report that Leporello’s “Notte e giorno faticar” and Don Giovanni’s “Fin che dal vino” have
been travestied as a “Docti sacris” and a “Lauda Sion.”
Further than this, however, whole Masses have been arranged from Mozart’s operas; and at
the beginning of this century a “Missa di Figaro-Don Giovanni” was not unknown to church
choirs. One example of the kind may be described as evidence of the fact. In the collection of
K. Zulehner of Mayence there was preserved a “Coronation Mass” in C major, with Mozart’s
105
106
Otto Jahn, W.A. Mozart (Leipzig: Breitkopf & Härtel, 1856), Vol. 1, p. 688-89.
W.A. Mozart, 2. Aufl. ed. (Leipzig: Breitkopf & Härtel, 1867), 660-63.
31 name as composer, of which a copy was sent to me by Herr Schott of Mayence. All the
movements, with the exception of the Credo, are identical with whole movements or smaller
portions of Così fan Tutte, with alterations….
…
I gather from a letter addressed to G. Weber that Zulehner was of opinion that Mozart wrote
the Mass before the opera; that, on the contrary, the Mass was pieced together from the opera by
some church musician, no external evidence is required to prove.107
As will be seen in chapter 4, Jahn’s warnings may have taken hold among the music
community. The contrafacta choruses would begin a steady decline in popularity, eventually
falling into near complete obscurity by the beginning of the twentieth century.
107
Jahn, Townsend, and Grove, Life of Mozart, 407-09.
32 Chapter 4
The Contrafacta Cantatas, K. Anh. 124-130: Performance History
At the time that Otto Jahn wrote the essay (1856) quoted in chapter 3, it seems that the
derivative works were among Mozart’s most frequently performed compositions. The
publishers’ catalogs from this era also indicate that a significant percentage of the works in
circulation were either of a derivative or of an otherwise questionable origin. Chapter 2 of this
document has presented evidence that much of Mozart’s early reception history, particularly with
respect to his sacred music, was based upon incomplete, inaccurate, or false editions. This
chapter will document a partial performance history of the seven contrafacta cantatas,
K. Anh. 124–130, demonstrating how they specifically contributed to this situation.
The performance history has been assembled in large part through analysis of the
catalogs that the author prepared of extant score copies (Appendix A) and performance materials
(Appendix B). In addition to these two sources, a broad, but by no means exhaustive, survey of
concert descriptions in period newspapers and music journals has been completed, and anecdotal
accounts have also been reviewed.
Extant Copies of Published Scores
Appendix A contains a collection of tables listing library holdings and, where available,
provenance information regarding each known copy of the published cantata scores still in
existence. Libraries were identified from a series of WorldCat searches and from Karl-Heinz
Schlager’s 1978 survey of early Mozart editions,108 and each library’s catalog was then queried
for verification and for collection of further data, where available. This process has limited the
results to copies residing in research libraries and cataloged archives. While copies certainly
108
Karl-Heinz Schlager and International Association of Music Libraries., Wolfgang Amadeus Mozart, Verzeichnis
Von Erst- Und Frühdrucken Bis Etwa 1800 (Kassel: Bärenreiter, 1978).
33 exist in several small libraries and personal collections, successful assembly of exhaustive
information regarding these copies seems improbable.
That most extant copies of the scores are located in Germany and Austria is not
surprising. As was established in previous chapters, the likely purpose for the cantatas was to
give Protestant Germans the opportunity to perform Mozart’s sacred music at a time when they
were unlikely to sing in Latin. Aside from this geographical concentration, the presence of the
scores in major depository and research libraries probably does not enlighten this study, as they
could have been procured at any time and do not provide any insight into the cantatas’
performance histories. The list does illuminate two matters of particular interest. First, the
presence of scores in local archives, churches/abbeys, and ensemble libraries are likely evidence
of actual performances, particularly in circumstances where they are accompanied by
performance materials identified later in this chapter. Second, the provenance records of several
score copies indicate ownership by significant nineteenth-century musicians and historians, as
this shows that the cantatas were held as legitimate works worthy of collection and study.
Among this first group, the ensemble that stands in the forefront is the Society of the
Friends of Music in Vienna, for whom Schlager lists several copies of each cantata, and evidence
of at least one performance has been discovered.109 Additionally, multiple score copies are to be
found in the Melk Abbey in Austria and the St. Lawrence Church in Lichtenstein, though no
performance materials have been located in their geographical areas.
A look at the provenance records in this appendix displays a fascinating list of former
owners of these cantatas. As was discussed in chapter 3, Lowell Mason owned a complete set of
the Simrock scores, as well as copies of the Breitkopf scores for cantatas 126, 127, and 128.
Anthony van Hoboken also left a complete set of Breitkopf scores in his collection. The copy of
109
"Wien," Allgemeiner Musikalischer Anzeiger 9, no. 14 (1837): 56.
34 Cantata 125 in the Diocesan Library of Münster was a part of the enormous collection prepared
by Fortunato Santini (1778-1861) and sold to the Bishop of Münster in 1853. A score of Cantata
124 is included in Robert Schumann’s personal library.110
Among more recent names, violinist Edwin Bachmann owned the copies of cantatas 127
and 130 now housed at the University of Texas. Copies of four Breitkopf scores in the Gaylord
Music Library at Washington University were among the collection that library acquired from
prominent British musicologist Alan Tyson. Finally, the New York Public Library’s copy of
Cantata 129 was formerly the property of Bruno Walter, a gift to him from German pianist
Carl Friedberg.
Performance Materials
Appendix B contains a series of tables showing locations of manuscript score copies and
performance parts for each of the seven cantatas. These tables were compiled primarily from the
RISM Series A/II database. Unlike the library records listed in Appendix A and the previous
section of this chapter, nearly every entry in this database is likely linked to at least one actual
performance of the cantata in question.
A review of the Appendix B tables also helps to shed some light on several entries in
Appendix A. For example, Schlager lists copies of the Breitkopf scores for cantatas 124, 125,
and 126 in the Czech State Regional Archives at Třeboň, verified by the published catalog of
their Mozartiana collection.111 The archive also holds a single manuscript copy of each vocal part
110
Unfortunately, no record has been located of a performance with the Düsseldorf Gesangverein under his
direction.
111
J. Pešková, Státní oblastní archív Třeboň. Pobočka Český Krumlov, and J. Záloha, Českokrumlovská
Mozartiana: Katalog Skladeb W.A. Mozarta Z Hudební Sbírky Státního Oblastního Archívu Třeboň, Pobočka Český
Krumlov (Státní Knihovna ČSR, 1982).
35 for cantatas 124 and 125, indicating that some sort of performance was probably affiliated with
the Breitkopf scores on file there.
Likewise, the Breitkopf score of Cantata 124 that Schlager locates at the University of
Tübingen, which has not been located in the library’s online catalog, could very possibly be the
same as the one that RISM now lists in the Swabian National Music Archive in that same city.
This copy is filed with a complete set of parts and appears to have originated from the Collegiate
Church at Herrenberg.
St. Bartholomew’s Church in Waldenburg seems to have taken an interest in the later
cantatas during Ludwig Mallder’s tenure as Cantor. He prepared copies of cantatas 127, 128, and
129 for this church. The manuscripts are undated, but Mallder was Cantor at Waldenburg from
1831 to 1849.112 Interestingly, Schlager lists copies of Breitkopf scores 125 and 126 among this
church’s collection, but he does not locate print editions of any of the cantatas that Mallder
copied there.
The Solothurn branch of the Swiss Central Library currently holds instrumental part sets
for four of the seven cantatas, which were formerly owned by St. Ursus Cathedral in that city.
That same library holds one copy each of the Breitkopf and Simrock scores for Cantata 126. The
catalog also lists a large part book collected by Cleopha Schmidlin, a member of the St. Cecilia
Society from sometime before 1831 until 1856, which contains among its sixteen titles two of the
three König Thamos choruses and six of the seven cantatas. 113 The conductor of the St. Cecilia
Society during this time, Fr. Franz Ludwig Studer, was also organist at the Cathedral.114
112
Reinhard Vollhardt, Geschichte Der Cantoren Und Organisten Von Den Städten Im Königreich Sachsen Bearb.
V. Reinhard Vollhardt (Berlin: W. Issleib, 1899), 325.
113
Zentralbibliothek Solothurn catalog:
http://www.ubka.uni-karlsruhe.de/kvk/solothurn/frameset.html?bibdiaId=5224839.
114
Hans Rudolf Binz and Rolf Max Kully, Die Historische Musiksammlung Der Zentralbibliothek Solothurn: Ein
Überblick, vol. Nr. 27 A, Veröffentlichungen Der Zentralbibliothek Solothurn (Solothurn: Zentralbibliothek, 2005),
6.
36 Several archives appear multiple times in Appendix B, perhaps indicating that the cantata
set was of particular interest to these congregations or ensembles. Franz Xavier Rücker prepared
copies of cantatas 124 and 129 in 1843 for the Brothers of Charity Hospital in Kuks, Czech
Republic. St. Michael’s Parish Church in Zug, Switzerland, holds part sets for five of the
cantatas, one of which, number 129, bears a date of 1841. Performance materials for 124, 127,
and 128 were all prepared for St. Laurentius City Church in Crimmitschau by Cantor Johann
Friedrich Willfert in 1860. Finally, several copies of various cantatas are found in Moravian
settlements in Christianfeld, Denmark; Salem, North Carolina; and Bethlehem, Pennsylvania. A
discussion of the copies in the United States is found later in this chapter.
It is interesting, though not altogether surprising, to note that the lists in both appendices
become significantly shorter with each cantata. For instance, fifty-nine remaining copies of
Cantata 124 in printed scores and twenty-one documented sets of performance materials remain;
and a similar number—fifty-one copies—of Cantata 125’s printed scores remain, along with
eight part sets. On the contrary, printed scores of Cantata 130 number only forty-one, with only
three known performing sets. This apparent decline in interest with each successive publication
logically aligns with the increased availability of authentic Mozart compositions as the
nineteenth century progressed. Still, as was noted in chapter 3, the cantatas remained available in
the publishers’ catalogs into the twentieth century. There were also several copies held in the
various circulating libraries in the United Kingdom and elsewhere, including the Sacred
Harmonic Society115 and the Augener & Company’s Universal Circulating Music Library.116
However, the decline in performing editions as well as the manuscript dates, where available,
115
William Henry Husk, Catalogue of the Library of the Sacred Harmonic Society (London: The Sacred Harmonic
Society, 1872).
116
Catalogue of Augener & Co's. Universal Circulating Musical Library with Supplements, (London: Augener &
Co., 1861).
37 indicate that interest in all the cantatas appears to have dropped off significantly after around
1860.
Performance Records
Because detailed information regarding concert repertoire in the nineteenth century is
notoriously difficult to ascertain, this study has relied on mostly circumstantial sources for
performance information. Several sets of the performing materials described in Appendix B and
the previous section of this chapter have been reviewed for annotations regarding performance
history. In some cases, the present author completed this investigation personally; in other
instances, local librarians performed the review at the author’s request. In addition to the
materials themselves, period newspapers and periodicals were searched for performance
accounts. Although searchable databases such as the Retrospective Index to Music Periodicals
and the Google Books archiving project have grown exponentially in recent years, the ability to
broadly search these periodicals remains limited. Finally, the author consulted several secondary
and anecdotal accounts for records of performances.
General trends drawn from this data review support the earlier evidence that the first
three cantatas were more frequently performed than the later four. Sporadic reviews of concerts
involving cantatas 124, 125, and 126 appear in period music journals, but little information
regarding the other four has surfaced.
Cantata 124 received several performances in Vienna in the first half of the century.
According to journals, this cantata was included in a benefit concert for the Central-Vereins für
38 Nothleidende in Vienna on December 15, 1817,117 and was heard again in Vienna on
March 12, 1837, performed by the Society of Friends of Music.118
Despite the cantatas’ likely intended use in Protestant Germany, rather than Catholic
Vienna, only a few performances of Cantata 124 have been verified there either. The Köln
Singverein performed it at the Lower Rhenish Music Festival in Elberfeld in 1823.119 In addition,
the copies associated with St. Elizabeth Church in Wroclaw—at the time, the Prussian city of
Breslau—include notes that indicate the cantata was performed no fewer then four times there:
November 4, 1812, for the swearing in of the Mayor; the Erndtefeste celebration of 1813; and
other festivals in 1820 and 1824. No other direct performance records of Cantata 124 have been
located in Germany. However, of the nine part sets currently located there, eight are linked to
parish churches whose performances would not likely be covered in the music journals.
Cantata 124 also appears to have been performed at York Minster Cathedral on
September 13, 1825, as a part of the Yorkshire Music Festival. In a journal of the festival that
appeared in the London Magazine on October 1, 1825, the following account of the Tuesday
morning concert appears:
A motet of Mozart followed: in the first chorus the time was unsteady for want of
sufficient rehearsal. Mr. Vaughan sang a tenor solo, in which the modern effects of the
orchestra in the accompaniments came out to great advantage. The last chorus is perhaps
as highly wrought a production as ever fell from the pen of man; the original words are,
‘Pignus futura,” [sic] and it is adapted from the litany of this composer.120
The description of the three sections aligns with the cantata’s movements, all of which
are derived from the Litaniae de venerabili altaris Sacramento, K. 125. The first movement, the
117
P. von Winter, "Nachrichten," Allgemeine musikalische Zeitung 20, no. 1 (1818).
"Wien," 56.
119
Gottfried Weber, "Blicke Auf Die Neuesten Erscheinungen in Der Musikalischen Literatur," Cäcilia, eine
Zeitschrift für die musikalische Welt 1824, no. 4 (1824): 361-62. The source incorrectly cites the date as 1813, but it
is stated correctly in Karl Gustav Fellerer, "Mozart Im Programm Der Frühen Niederrheinischen Musikfeste," in
Mozart-Jahrbuch 1962/63, ed. Internationale Stiftung Mozarteum Salzburg. (Kassel: Bärenreiter, 1962), 34.
120
John Scott, "The Musician at York," London Magazine 1825 Series, no. 3 (1825): 261.
118
39 “Kyrie,” offers several opportunities for the unsteadiness that the author describes. The second
movement of the cantata is the “Panis omnipotentia” from the Litaniae, a tenor solo, and the final
movement is the “Pignus futuræ” fugue that the author identifies. It is therefore reasonable to
presume that the “motet” the author describes was actually Cantata 124. What remains uncertain
is whether the piece was performed in German, which is unlikely for an English festival at this
time, in the original Latin, or in (translated) English.
It appears that the concluding fugue of Cantata 124 was also periodically extracted for
performance, especially as a concert finale. Such was the case in Biedermeier, Vienna, in the
Concert Spirituel under the direction of Franz Xavier Gebauer on May 19, 1820,121 and in
another Concert Spirituel in the Salle estates of Vienna on May 8, 1824.122 There are several
indications that this fugue gained popularity as a stand-alone piece throughout the century in
England as well, though it is generally correctly identified as being from the Litaniae and was
presumably sung in Latin or English.
The aforementioned Lower Rhenish Music Festival was a regular venue for Mozart
contrafacta in its early years. The “Hymne” K. Anh. 123 was included in the 1819 festival in
Elbersfeld.123 Cantata 125 was performed under the direction of Friedrich August Burgmüller in
the 1820 festival in Düsseldorf.124 The 1823 festival at Elberfeld, whose inclusion of Cantata 124
was discussed earlier, also included performances of Cantata 130 and two of the three adapted
König Thamos choruses, K. Anh. 121–123.125
121
Alice M. Hanson, Musical Life in Biedermeier Vienna, Cambridge Studies in Music (London: Cambridge
University Press, 1985), 97-98.
122
J. L. Dussek, "Nachrichten," Allgemeine musikalische Zeitung 26, no. 21 (1824): 343.
123
Fellerer, "Mozart Im Programm Der Frühen Niederrheinischen Musikfeste," 34.
124
Ibid.
125
Ibid. The source does not specify which two of the three were performed.
40 While Cantata 126 is the most often cited of the seven cantatas, only one definite
performance record for it has been found. It was sung during the opening liturgy of the third
General Synod for the Consistorial district of Bayreuth on September 16, 1832. A published
service booklet and sermon transcript from this event includes the text of the first three
movements only.126
Performances in the United States
The part sets located in the Moravian archives in Bethlehem and Salem offer strong
evidence of multiple, possibly even regular, performances of cantatas 124 and 125. Complete
part sets for Cantata 124, formerly belonging to the Bethlehem and Lititz congregations and the
Salem Collegium Musicum, remain in the archives. Salem also holds a set of parts for Cantata
125 and Breitkopf scores for both cantatas. The part sets for the two Pennsylvania congregations
are both comprised of movement one only, and both are filed together with other pieces. The
Lititz set is in a file with Christian David Jaeschke’s cantata Ihr Töchter Jerusalems freut euch!,
and the Bethlehem copy is bound together with Haydn’s Lass auf diesem [dunklen] Pfade
(“Virgo virginum praeclara” from Stabat Mater, Hob.XXa:1). The Bethlehem Moravian Archive
holds two copies of a service pamphlet from Sunday, June 25, 1826, showing a performance of
Cantata 124 at the Bethlehem church.127 There is no evidence that the Haydn was also performed
on that day, nor would it have been liturgically appropriate at that time of year. In fact, from a
liturgical perspective, it is difficult to conceive of any appropriate time to perform these choruses
126
Theodor A. Gabler, Worauf Hat Unsere Evangelische Kirche Vornemlich in Unsern Tagen Sorgfältig Zu Achten?
Eine Predigt Bei Der Feyerlichen Eröffnung Der Dritten General-Synode F. Bayreuth (Bayreuth, 1832).
127
Gerd- J. Bötte et al., The First Century of German Language Printing in the United States of America: A
Bibliography Based on the Studies of Oswald Seidensticker and Wilbur H. Oda, Publications of the Pennsylvania
German Society (Göttingen: Niedersächsische Staats- und Universitätsbibliothek Göttingen, 1989), 1023.
41 together in a service. It therefore remains a puzzle why these two pieces would have been bound
together.
Johann Christian Till and others prepared copies of cantatas 124 and 125 for the
Philharmonic Society of Bethlehem in large volumes titled “Collection of Cantatas and
Choruses” in the instrumental part books and “Mozart’s Hymn of Praise and other Compositions
for Voices & Orchestra” in the vocal books. These sets include fifteen titles: the two Mozart
cantatas, nine cantatas by Johann Rudolf Zumsteeg, one by Andreas Jacob Romberg, and all
three Mozart König Thamos contrafacta, K. Anh. 121–123. “Hymn of Praise” was a common
title for Gottheit! dir sei Preis und Ehre, K. Anh. 123 in England, which has found its way into
this set as well.
Specific performance records for the Philharmonic Society are unavailable. A 1976 thesis
by Barbara Jo Strauss that edits and annotates the Register of Music Performed in Concert,
Nazareth, 14 October 1796 provides a complete accounting of music performed by the
Paedagogium Collegium Musicum Nazareth, later called the Musical Society of Nazareth,
between 1796 and 1845. This organization is known to have routinely shared music with the
Bethlehem congregation and the Philharmonic Society.128 While none of the cantatas appear on
this register, the so-called “Hymn of Praise,” Gottheit! dir sey Preis und Ehre!, K. Anh. 123, was
performed by this organization on October 30, 1806,129 November 14, 1806,130 and November
16, 1809.131 There was also a concert in 1836 (date not specified) that included a “chorus by
Mozart” which Strauss was unable to identify.132
128
Barbara Jo Strauss, "A Register of Music Performed in Concert, Nazareth, Pennsylvania from 1796 to 1845: An
Annotated Edition of an American Moravian Document" (The University of Arizona, 1976), 1.
129
"A Register of Music Performed in Concert, Nazareth, Pennsylvania from 1796 to 1845: An Annotated Edition of
an American Moravian Document" (The University of Arizona, 1976), 78.
130
Ibid.
131
"A Register of Music," 88.
132
"A Register of Music," 112.
42 Conclusions
While the documentary record has provided only a short list of verified performances, the
wide dissemination of extant scores and performing materials, along with the anecdotal evidence
from nineteenth-century Mozart biographers, indicates that these cantatas were in regular use
throughout at least the first half of the nineteenth century. It remains apparent the three cantatas
published in the first decade of the century enjoyed more success than the four published
later.
It also appears that the works began to fall from favor by around 1860. Whether this is
due in part to Jahn’s criticism of the pieces in 1856, the publication of the Köchel catalog in
1862, a general trend toward authenticity in editorship and performance, or merely coincidence
cannot be determined. It has been noted that the contrafactas remained in the Breitkopf, Simrock,
and Novello catalogs into the twentieth century, but this is not necessarily an indication that they
were still being printed or purchased with any regularity. The Dahlke arrangement published in
1930 offers evidence that the cantatas in general, or Cantata 126 specifically, remained in
musicians’ consciousness into the twentieth century, even if not in the regular repertoire. Still,
with only three known copies of that twentieth-century score remaining, it would seem that this
publication did not widely circulate.
Whether Breitkopf intended to market these pieces as authentic will never be proven.
Whether or not the general public was aware of their origins, the works certainly appear to have
been held as a part of the Mozart repertoire for many years. In no period catalogs, concert
reviews, or other references is authorship attributed to anyone but Mozart.
43 Chapter 5
The Contrafacta Cantatas, K. Anh. 124–130: Individual Commentary
Heiliger! sieh gnädig hernieder!, K. Anh. 124
The first entry in the Breitkopf cantata set, this piece was derived entirely from the
Litaniæ de venerabili altaris Sacramento, K. 125. The cantata uses the Kyrie for its first
movement, the tenor solo Panis Omnipotentia for its second movement, and the Viaticum and
Pignus for its final movement. The Litaniæ was composed in Salzburg in March 1772, and the
autograph score resides in the Staatsbibliothek zu Berlin.133
In addition to the autograph score in Berlin, a set of manuscript parts for the Litaniæ still
resides at the Salzburg Cathedral. The set includes trombone parts doubling the choral alto,
tenor, and bass lines, as was still the practice in Salzburg at the time Mozart composed the
Litaniæ. This was, however, an antiquated practice even in Mozart’s time, and it had certainly
ceased completely by the time large-bore trombones came into use in the 1790s.134 As a result,
there is no indication in the cantata score or in the extant part sets to indicate the use of
trombones, and they have not been added to the current edition. The Breitkopf cantata score
includes a timpani part, but no such instrument is shown in the Neue Mozart-Ausgaben (NMA)
Litaniæ score, nor is a part included in the Salzburg set.
Cantata 124 includes one minor musical deviation. This occurs in measure 85 of the first
movement. Here, the NMA shows a tonic B-flat chord over the first half of the measure and a
dominant F7 over the second half. The Breitkopf score’s harmony in the second half of the
133
Wolfgang Amadeus Mozart, Litaniae De Venerabili Altaris Sacramento: Kv125, Per Soli (Satb), Coro (Satb), 2
Flauti, 2 Oboi, 2 Clarini, 2 Corni, 2 Violini, 2 Viole E Basso Continuo (Violoncello/Fagotto/Contrabbasso,
Organo), 3 Tromboni Ad Libitum, Stuttgarter Mozart-Ausgaben, Urtext (Stuttgart: Carus-Verlag, 2003), 4.
134
Anthony C. Baines, Arnold Myers, and Trevor Herbert, "Trombone," in Grove Music Online. Oxford Music
Online (Oxford University Press).
44 measure is a simple F-major, with corresponding changes in both the continuo and the choral
parts:
Figure 6.1: K 125, movement 1, measure 85. NMA.
Figure 6.2: Cantata 124, movement 1, measure 85. Breitkopf.
Upper voices in C-clefs.
Figures 6.1 and 6.2 show only the vocal and continuo parts. All other parts match
between the scores with the exception of the viola, which doubles the continuo. It is possible that
this alteration did not originate with the editor. As was discussed earlier, documented
manuscripts of this Litaniæ were in both Constanze’s and Nannerl’s possession at the time of
Mozart’s death, and the performance materials in Salzburg show alterations in both Leopold’s
hand and Wolfgang’s.135 The current edition retains the alteration shown in the Breitkopf score.
It is presumed that Breitkopf’s source for this cantata was the score copy purchased from
Nannerl in October 1800. This cantata’s text is a general hymn of praise from an unknown
source. The first movement’s poetry is in two stanzas of two couplets each (AABB), followed by
four additional lines repeating and paraphrasing what came before. It is an entreaty to hear the
praises and songs offered by a happy people. The tenor soloist of the second movement sings a
135
Mozart, Litaniae De Venerabili Altaris Sacramento: Kv125, Per Soli (Satb), Coro (Satb), 2 Flauti, 2 Oboi, 2
Clarini, 2 Corni, 2 Violini, 2 Viole E Basso Continuo (Violoncello/Fagotto/Contrabbasso, Organo), 3 Tromboni Ad
Libitum, 4.
45 wordy free verse of the bliss that strengthens the joyful human race. The third movement begins
with a brief penitential text over the original Viaticum music, followed by a celebratory hymn of
thanks for Pignus fugue.
Allerbarmer höre, K. Anh. 125
Cantata 125 is the only one of the seven that leaves Mozart’s music completely intact.
The editor simply set new text into the Litaniæ Lauretanae B.M.V. in B, K. 109, leaving all five
movements in their correct order and musically unaltered. The first of Mozart’s four litany
settings, K. 109 was composed in May 1771. Its “church trio” scoring indicates that it was likely
composed for the chapel at the Schloss Mirabel. As Mozart likely modeled this Litany setting
after his father’s F-major Litany,136 the choral writing shows a nod to the largely homophonic
stile moderno contrasting with flowing, Galant-style solo passages.
The autograph score of this work resides in the Staatsbibliothek zu Berlin, and a set of
handwritten parts can be found at St. Peter’s Abbey in Salzburg. As with the discussion of
Cantata 124 and its source litany, the part set in Salzburg includes trombones doubling the voice
parts, but there is no such indication in the cantata score, so they have not been added to the
current edition.
Breitkopf’s source material was most likely the Litaniæ score copy purchased from
Nannerl in October 1800. The Loreto Litany is a very lengthy text, and the cantata editor
responded to this text with a rambling one of his own, a pilgrimage from supplication to
penitence to rejoicing. The first movement, originally the Kyrie, is a hopeful plea to be heard.
The second movement—by far the longest, originally setting nearly the entire first set of
136
Wolfgang Amadeus Mozart et al., Litaniae Lauretanae B.M.V.: Kv 109 (74e) Per Soli (Satb), Coro (Satb), 2
Violini, Basso Continuo (Violoncello/Fagotto/Contrabbasso, Organo), 3 Tromboni Ad Libitum ibid., 3.
46 intercessions—is a plea for deliverance of the Lord’s lost children and a reminder that the Savior
has reconciled our sins. The turning point occurs in the third movement, originally the Salus
Infirmorum and including the final four lines of the Litany’s first set of intercessions. Here, the
cantata text begins with the statement, “Yes, we have been heard; we are reconciled with the
Father,” to Mozart’s Adagio introduction. At the Allegro moderato, the choir responds to this
opening statement with one of jubilation and praise. This movement is followed by the solo
quartet singing music that originally set the entire “Regina” section of the Litaniæ. In the cantata,
the quartet sings of “a new and blissful life” brought on by their reconciliation. Finally, the fifth
movement, originally the Agnus Dei, is a text of humble thanksgiving and a final entreaty to
“When we fail, help graciously,” and “When we fall, have mercy on us.”
Herr, Herr vor deinem Thröne, K. Anh. 126
Cantata 126 is the first of the set to use multiple source works. Three of the work’s five
movements are derived from the Missa in C, K. 259. The first movement comes from the
Sanctus of this Mass, the third movement is from the Gloria, and the final movement is the
Credo.”The cantata’s second movement is the Benedictus from the Missa in C, K. 220.
The fourth movement is Inter natos mulierum, the offertory for the feast day of St. John the
Baptist, K. 72.
Composed in 1775 or 1776, the so-called “Orgelsolo-Messe,” K. 259, remains extant in
several pre-1800 manuscript copies in Europe, any or none of which could have been Breitkopf’s
source for the cantata. Because two significant alterations were made to the Mass during
Mozart’s lifetime, it exists in four essential variations. The autograph does not include oboes, but
parts were subsequently added, possibly as early as 1778 when Leopold used K. 259 for the
47 consecration of the Archbishop of Olmütz.137 The second alteration was the abridgement of the
Benedictus movement, removing measures 30 through 33 and 48 through 61. The part material
for Leopold’s 1778 performance of the work indicates that these abridgements, presumed to be
Wolfgang’s, had already been made at that time. All four combinations resulting from these two
changes exist in the surviving pre-1800 copies.138
The Cantata 126 score includes two oboes, so one can presume that Breitkopf’s source
for this movement did as well. Because the oboe parts differ from the NMA in several places, it
can be further presumed that Breitkopf’s source was not the same as that used for the NMA.
Further muddying the waters, Breitkopf’s first publication of the Mass itself, the Mozart
Ausgabe edition in 1878, does not include oboe parts.139 The Benedictus is not used in this piece,
but it is used in Cantata 130 and will be discussed in that section.
The C-major Mass, K. 220 certainly dates from the early Salzburg years, but an exact
composition date is unknown. The earliest surviving manuscript is the copy in the Salzburg
Cathedral archive, dating from 1775 or 1776.140
Inter natos mulierum, K. 72, is the offertory for the feast day of St. John the Baptist,
June 24. It was composed for this day in 1771.141 Because a manuscript of this work was
included in the lot sold by Nannerl to Breitkopf in 1800, it is presumed that this manuscript is the
one used as the source for the cantata.
137
Wolfgang Amadeus Mozart and Walter Senn, Missa in C - Dur ('Orgelsolo-Messe') Missa in C Major ('Organ
Solo Mass'): Kv 259 (Kassel/Stuttgart: Barenreiter/Carus, 1980), iv.
138
Ibid.
139
Wolfgang Amadeus Mozart, Messen: Partitur, vol. Bd. 1-2, Wolfgang Amadeus Mozart's Werke: Kritisch
Durchgesehene Gesammtausgabe. Serie I (Leipzig: Breitkopf & Härtel, 1877).
140
Hermann Abert, Stewart Spencer, and Cliff Eisen, W. A. Mozart (New Haven, London: Yale University Press,
2007), 350.
141
Wolfgang Amadeus Mozart and Hellmut Federhofer, Inter Natos Mulierum: Offertorium De S. Joanne Baptista,
Kv 72 (74f) (Kassel, New York, Stuttgart: Bärenreiter, Carus, 1963), 2.
48 The particular combination of source works for this cantata leads to a cohesive and
consistent whole.
Movement
Source
Tonality
Winds
Strings
I. Herr, Herr vor
deinem Throne
K. 259 Sanctus
C major
2 Ob, 2 Tpt,
Timp
2 Vln., Cont.
II. Seelig wer in
dem Tempel
K. 220 Benedictus
G major
-
III. Seeligkeit
füllet alle Herzen
K. 259 Gloria
C major
2 Ob, 2 Tpt, Timp
IV. Aus gegangen
von Ewigkeit
K. 72
G major
-
2 Vln., Cont.
2 Vln., Cont.
2 Vln., Cont.
V. Freut euch
ihr Christen!
K. 259 Credo
C major
2 Ob, 2 Tpt,
Timp
2 Vln., Cont.
Table 6.1: Cantata 126 movements.
The text written for this cantata is a general one of praise and rejoicing. All five
movements are essentially narrative with very little to indicate a poetic form. With the exception
of possible allusions to Psalm 139:11-12 and I John 1:5 found in the second stanza of Movement
III, no particular text source or reference has been identified by the present author.
Ewiger, erbarme dich!, K. Anh. 127
Cantata 127 is the first entry in the second group of contrafacta cantatas, having been
published approximately eight years after Cantata 126. As noted in chapter 3, the final four were
probably all published in the same year, 1818. These four cantatas are generally longer, larger in
scope and instrumentation, and far less carefully assembled than the original three. While the
way in which some of them were constructed creates significant problems of logistics and
instrumentation, the texts chosen for the later cantatas generally show an improvement over the
early ones. In many cases, the cantata movements provide either a German paraphrase of the
original Latin text or poetry by contemporary writers.
Cantata 127 provides an excellent example of the lack of cohesion in the music selection
for the late cantatas. The five movements were selected from four different source works. The
first movement is the Kyrie and Gloria from the Missa Brevis in C, K. 220; the second is the
offertory Alma Dei creatoris, K. 277; the third and fourth movements come from the oratorio
49 Davide penitente, K. 469; and the final movement is the Magnificat from Mozart’s Dixit et
Magnificat, K. 193.
As discussed with Cantata 126, the K. 220 Mass dates from 1775 or 1776. The first
movement of Cantata 127 links the Kyrie and Gloria of the Mass into a single entity. In the Kyrie
section of the movement, the cantata text is a paraphrase of the Kyrie eleison, but the editor has
added “Vater Menschen” to the Kyrie portion and “Erlösser der gefallnen Menschen” to the
Christe portion. The section derived from the Gloria begins with a quote of its original text as
well. As the movement proceeds, however, the text departs from the original, ultimately
including brief snippets of both the Credo and Te Deum texts.
The cantata’s second movement uses the offertory Alma Dei creatoris, K. 277. Although
the composition date for this offertory is unknown, Köchel linked it stylistically with the Sancta
Maria, K. 273 and therefore assigned it a date of 1777. As Leopold also mentioned this work in a
letter in November of that year, Köchel’s date seems appropriate. At the time of Köchel’s
publication, the location of the autograph was unknown and the only published version of this
offertory was in Cantata 127.142 A copy of this piece is known to have been among the lot sold
by Nannerl to Breitkopf in 1800, and that manuscript is presumed to have been the editor’s
source.143
Otto Jahn identifies the text used in this movement as a parody of a Goethe text.144 While
Jahn does not identify the parody’s source, there are clear similarities between this poem and
Goethe’s Wandrers Nachtlied. It is therefore the assumption of the author that this is the song to
which Jahn referred.
142
Köchel, Chronologisch-Thematisches Verzeichniss, 238.
Mozart et al., Briefe Und Aufzeichnungen, Gesamtausgabe, VI, 556-57.
144
Jahn, W.A. Mozart, 688.
143
50 Cantata text
Der du Leid und Sehnsucht stillest
und das Herz mit Trost erfüllest,
das sich reuvoll seiner Schuld bewußt,
ach, ich bin des Wogens müde,
banger Schmerzen, unruhvoller Lust;
Geist vom Himmel,
Gottes Friede,
komm und who’ in meiner Brust!
Goethe poem
Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest;
Ach, ich bin des Treibens müde!
Was soll all der Schmerz und Lust?
Süßer Friede,
Komm, ach komm in meine Brust!
Longfellow translation of Goethe
Thou that from the heavens art,
Every pain and sorrow stillest,
And the doubly wretched heart
Doubly with refreshment fillest,
I am weary with contending!
Why this rapture and unrest?
Peace descending
Come ah, come into my breast!
Table 6.2: Poetry comparison
Mozart’s Alma Dei creatoris setting includes several Solo and tutti indications. However,
because the cantata editor chose to set the entire movement for a solo quartet, these indications
do not appear in the Breitkopf or Simrock scores.
The third and fourth movements are derived from the fourth and fifth movements of the
oratorio Davide Penitente, K. 469. It should, of course, be noted that these two movements were
originally the Gratias Agimus Tibi and Domine Deus from the Messe in C-Moll, K. 427. It is the
author’s belief that Davide Penitente, and not the Mass, was the source work for these
movements, as well as the single movement used in Cantata 130.
While the still-incomplete Mass did receive a partial performance at St. Peter’s Church,
Salzburg, on October 26, 1783,145 the set of parts used for this performance remained in
Leopold’s possession. After his death, the set was transferred, along with many of Leopold’s
manuscripts, to the Augustinerchorherrnstift in Augsburg. This part set was not resurrected until
the late 1830s, when choir director Matthäus Fischer used it to create a score for Johann Anton
André. André used Fischer’s score for his 1840 edition of the Mass, as Mozart’s autograph score
was apparently misplaced during his lifetime and remained lost until much later.146
Compared with the incomplete Mass, Davide Penitente was widely circulated in the
decades following Mozart’s death. Multiple manuscript copies of the score and/or parts existed
145
Abert, Spencer, and Eisen, W. A. Mozart, 753-54.
Wolfgang Amadeus Mozart et al., Messe in C, Kv 427 (417a) = Missa in C Minor, vol. 255, Bärenreiter
Studienpartituren (Kassel ; New York: Bärenreiter, 1986), VII-VIII.
146
51 in several locations. Many of the solo movements were extracted and published with piano
reductions.147 The publishing house Hoffmeister & Kühnels in Leipzig published movements
eight through ten as an Osterkantate in 1805; Simrock would expand (adding movements three,
four, and five) and publish this Osterkantate with a piano reduction and alternate German text
in 1822.148
In his description of the cantatas, Jahn properly cites the double identities of these two
movements (although the movement in Cantata 130 is simply identified with the Davide
Penitente reference).149 Jahn’s text, however, was written fully sixteen years after André’s
publication of the Mass. While the Breitkopf editor preparing the cantata probably knew of
Davide Penitente’s origins, he would far more likely have had access to a score of the oratorio
than of the Mass.
The texts paired in these two movements bear no resemblance to either their original
Mass texts or the Psalm paraphrases in Davide Penitente. It is the author’s opinion that the text in
the fourth movement could also be a poetic parody, but a source poem has not been identified.
The Cantata’s final movement is based upon the Magnificat of the Dixit et Magnificat,
K. 193. Composed in Salzburg in 1774,150 this work was among the lot sold by Nannerl to
Breitkopf in 1800, so that copy is presumed to have been the source work for this cantata
movement.
Almost as if the editor sought to highlight the musical incongruity of his cantata, the text
he assembled for this movement is a schizophrenic collection of unrelated Biblical texts. Short
147
Messe in C, Kv 427 (417a) = Missa in C Minor, vol. 255, Bärenreiter Studienpartituren (Kassel ; New York:
Bärenreiter, 1986), VIII.
148
Wolfgang Amadeus Mozart and Monika Holl, Davide Penitente: Kv 469, vol. Werkgruppe 4, Bd. 3, Neue
Ausgabe Sämtlicher Werke / Wolfgang Amadeus Mozart (Kassel: Bärenreiter, 1987), XV-XIX.
149
Jahn, W.A. Mozart, 689.
150
Wolfgang Amadeus Mozart, Karl Gustav Fellerer, and Felix Schroeder, Vespern Und Vesperpsalmen, Neue
Ausgabe Sämtlicher Werke. Serie I, Geistliche Gesangswerke. Werkgruppe 2, Litaneien, Vespern / Wolfgang
Amadeus Mozart (Kassel, New York: Bärenreiter, 1959), IX.
52 snippets or allusions are included from the Magnificat and elsewhere in the Gospel of Luke, the
Book of Revelation, Psalms 34, 96, and 150, and the Lesser Doxology. The translation provided
in Appendix C includes footnotes identifying the scriptural allusions that were recognized by the
present author.
The particular collection of movements selected for this cantata has led to a rather
lengthy piece with some significant logistical issues making modern performance unlikely. One
of the four choral movements is scored for an SSATB chorus, while the other three are SATB.
Two movements include a viola part, while the other three do not. In the third movement, fully
twelve measures in length, two oboes and two horns appear, which are never heard from again.
This movement also includes two obbligato bassoon parts, which are retained in the following
movement, though only to double the continuo line. The first and last movements include two
trumpets, but only the last movement also calls for timpani. This is interesting because the
K. 220 Mass, the source work for the first movement, includes a timpani part. The lack of a part
in the cantata likely indicates that the editor’s copy of the score left this line out as well. The
structure of the Cantata that is left by this mismatched collection is as follows:
Movement
Source
Tonality
Vocal forces
Winds
Strings
I
K. 220 Kyrie &
Gloria
C major
SATB
2 Tpt.
2 Vln., Cont.
II
K. 277
III
K. 427/469
IV
K. 427/469
V
K. 193
F major
SATB
-2 Vln. Bassi (no Org.
indicated)
A minor
SSATB
2 Ob., 2 Bsn. 2 Hn.
2 Vln., Vla. Bassi
(no Org. indicated)
D minor
Duet – SS
2 Bsn.
2 Vln., Vla., Bassi
(no Org indicated)
C major
SATB
2 Tpt., Timp.
2 Vln., Cont.
Table 6.3: Cantata 127 structure.
Perhaps recognizing this problematic structure, the Simrock edition of this cantata
removes the third and fourth movements entirely.
53 Machtigster, Heiligster, K. Anh. 128
After the disarray of Cantata 127, the editor returned to a more manageable and unified
structure for Cantata 128. The piece is shorter than its predecessor, derived entirely from a single
source work, and incorporates a more cohesive text with a single topical thread. The source work
is the Missa in C, K. 258. Specifically, the first movement is the Kyrie; the second movement is
the Et Incarnatus Est, Et Resurrexit, and Benedictus; the third movement is the Agnus Dei; and
the fourth movement is the Gloria.
Although the autograph of K. 258 is inscribed, “nel mese Decembre 1776,” Walter Senn
claims this is not authentic, and that the Mass was more likely written in late 1775 or early
1776.151 The autograph score, located in the Staatsbibliothek Preußischer Kulturbesitz in Berlin,
includes handwritten notations by both Leopold Mozart and Johann Anton André, making it
unlikely that it was ever in Breitkopf’s possession.152 As with the other masses used in the
cantatas, it is therefore presumed that the editor had access to a copy or a part set from another
location. However, Senn also states that the oboe parts included with the autograph, while in
Mozart’s hand, were added separately, not included in the score, and not included in any of the
early copies.153 It is therefore noteworthy that the oboe parts in the cantata match the NMA
throughout, with the exception of one short passage in the second movement. It must therefore
be presumed that an accurate copy of the score had made its way to Leipzig by the time this
cantata was compiled.
The most significant development that begins with this cantata is an apparent shift in
editorial integrity. The four previous cantatas include only the German text and no movement
151
Wolfgang Amadeus Mozart and Walter Senn, Missa in C, Kv 258 Missa in C Major, Bärenreiter Urtext (Kassel:
Bärenreiter, 1980), XV.
152
Missa in C, Kv 258 Missa in C Major, Bärenreiter Urtext (Kassel: Bärenreiter, 1980), VIII.
153
Missa in C, Kv 258 Missa in C Major, XV-XVI.
54 titles at all. Beginning with this one, however, and continuing into cantatas 129 and 130, each
movement is titled with the Latin text incipit of its source work. Additionally, the first several
notes of each movement show the original text underlay. This new development would seem to
indicate that the nature of the works was general knowledge by the time these late cantatas were
published.
Figure 6.3: Cantata 128, first page of music.
The cantata text is neither more inspired nor less loquacious than the previous ones. It
does, however, return to the single-topic approach of the first two cantatas. While it is somewhat
general in nature, there is an overarching theme of comfort in death or the end times. There are
even some recurring themes. Three of the four movements make reference to the soaring down
(Schwingt or Schwingen) of the Holy Spirit, and each movement makes some mention of the
“example” set by the suffering Christ.
55 The editor made some significant musical modifications in the second movement. First,
he made a fifteen-measure cut and inserted a two-measure dominant pedal, in order to affect an
orderly transition between the Credo and Benedictus movements. In measure 134 of Mozart’s
Et Resurrexit,154 Mozart completes a brief sojourn into F-major with a gentle cadence, followed
by a four-measure retransition to C-major through the use of a German-sixth resolution. This
phrase arrives at an arpeggiated G-major chord in measure 138, which resolves to C in the
following measure. In the G-major measure,155 the cantata editor eliminates the string arpeggio,
instead giving the entire ensemble a half-note arrival point. He then inserts a two-measure G
octave in the strings, solidifying the dominant before jumping to the Benedictus material
in C-major.
It has been established that the editor was likely working from, at best, first-generation
copies of the Mass scores in his preparation of the cantatas. It is highly unlikely, though, that
these measures were missing from any parts or score copies for the simple reason that
overlooking these fifteen measures of the original Mass would have eliminated the text, “Et
vitam venturi sæculi. Amen.” More likely, the editor was ready to move into the next section of
text and created this link to connect the two movements. The long pedal notes also allow the
ensemble an easy way to transition into the new tempo.
Once in the former Benedictus, the editor makes another rather significant musical
alteration. In measures 21 through 26, and again in measures 53 through 58, Mozart composed a
phrase-by-phrase dialog between the chorus and solo quartet. In the corresponding measures in
the cantata, however, 156 the solo interjections are eliminated, leaving rests.
154
The Credo is in three distinct sections, but NMA numbers the measures continuously through the entire
movement.
155
Measure 81 of the cantata movement.
156
Measures 105 though 109 and 137 through 141.
56 In the NMA score of the Mass, the pages containing these two passages give separate
staves to the solo quartet. Certainly the clearest way to present music like this, it is quite possible
that the score used by the cantata editor set the solo passages on separate staves as well. If the
editor was working from parts, it is similarly likely that separate parts were created for the solo
quartet. In either of these scenarios, it is conceivable that the elimination of these solo passages
could have been an oversight. However, the editor’s willingness to change Mozart’s music, as
demonstrated earlier in this movement, also leaves open the possibility that he simply chose to
leave the solos out of these two passages. Whatever the reason for the elimination, the altered
version, without solos, has been retained in the new edition.
Hoch vom Heiligthume, K. Anh. 129
Cantata 129 is derived from two source works. Movement one is the Dixit Dominus from
the Dixit et Magnificat, K. 193. The Magnificat movement from this work was used in Cantata
127 and, as discussed in that section, the copy sold by Nannerl to Breitkopf in 1800 is presumed
to have been the source.
Movements two and three are both derived from the Vesperæ Solennes de Dominica,
K. 321. Movement two is the Laudate Dominum and movement three the Magnificat. Composed
in Salzburg in 1779, the autograph for this vesper set now resides in the library at the Paris
Conservatory.157 This set was not included in Breitkopf’s 1800 purchase from Nannerl, but
Répertoire International des Sources Musicales (RISM) currently identifies at least six complete,
pre-1810 copies of K. 321 in various archives throughout Europe, as well as several copies of
individual movements. It is therefore clear that copies of this set could easily be found at the time
of the cantata’s preparation.
157
Mozart, Fellerer, and Schroeder, Vespern Und Vesperpsalmen, XV.
57 Cantata 129 is somewhat of a departure from the other late cantatas, in that it is quite well
conceived and intelligently prepared. The work pulls together three movements of reasonable
length, with the middle movement a soprano solo. The two choral movements even incorporate
text that is a paraphrase of the original Latin. The solo movement departs from the original text
but retains the feel of a Psalm of thanksgiving. In fact, aside from two obvious allusions to Psalm
150, the solo movement’s text bears a striking resemblance to Psalm 111. It is intriguing to think
the editor might have intended to paraphrase the source movement’s text, but confused the
original Laudate Dominum (Psalm 117) with the Laudate pueri (Psalm 111), another vesper
Psalm. Despite the substitution, the text holds together quite well, and the cantata was assembled
with a natural flow.
Herr, auf den wir schauen, K. Anh. 130
After somewhat redeeming himself with Cantata 129, the editor returns to a problematic
format for the final entry in the series. Although four of this cantata’s six movements are drawn
from a single source, the other two movements differ in style and instrumentation, causing the
same sort of continuity and logistical issues observed in Cantata 127. This piece does, however,
stand out from all its predecessors in the quality of its text. Cantata 130 is the only one of the
seven that identifies its text author, Gottfried Wilhelm Fink (1783-1846). The poetry that Fink
wrote is concise and appropriate, lacking any of the repetitiveness, rambling quality, or trite
simplicity noted in the earlier cantatas.
Although the score’s probable publication date of 1819 was early in his career, composer,
writer, and clergyman G.W. Fink’s name already would have been familiar to German musicians
and his participation in this cantata series noteworthy. Fink began writing for the Allgemeine
58 musikalische Zeitung (AMZ) during his time as a student at the University of Leipzig (18041808), and that newspaper printed his first musical treatise, Über Tact, Tactarten und ihr
Charakteristisches, in 1808. As early as 1805, he had a series of clavier compositions published,
followed closely by a set of Thuringian folk song arrangements with violin accompaniment.158
He began work as a non-tenured vicar in Leipzig in 1811 and established an educational
institution there in 1812. He served as that institution’s director and primary teacher until 1827,
when he left to assume the editorship of the AMZ.159
Cantata 130 is derived from the Missa in C, K. 259, Davide penitente, K. 469, and the
Vesperae solennes de Dominica, K. 321, all of which were drawn upon for earlier cantatas. For
this piece, the editor used the Kyrie, Benedictus, Agnus Dei, and Dona Nobis Pacem from the
Mass, thus comprising the bulk of the cantata’s source material. In addition, he used the Dixit
Dominus from the Vespers and the aria “Lungi le cure ingrate” from Davide penitente (originally
the Laudamus Te from K. 427).
Movement one is the Kyrie from the Mass. While somewhat penitent in feel, Fink’s
poetry for this movement does not reflect the original Latin text. The poem uses a trochaic
trimeter that fits well with the original Kyrie eleison, leading this author to believe that the poetry
was written specifically for the cantata. While Fink’s poem is longer than the tripartite Kyrie
text, incorporating two four-line stanzas, his matching meter and AAAB rhyme scheme make the
new text fit quite naturally. The movement’s music takes no significant departures from the
Mozart source. Curiously, the oboe parts in this movement directly match those in the NMA
edition of the Mass, unlike the movements discussed in Cantata 126. This could be an indication
that a different source was used for this cantata.
158
159
"Necrolog. Dr. Gottfried Wilhelm Fink," Allgemeine musikalische Zeitung 48, no. 38 (1846): 641-42.
Ibid. Also, Günther Kraft, "Fink, Christian Gottfried Wilhelm," in Neue Deutsche Biographie (1961).
59 The second movement uses the Benedictus from the Mass, including the “Hosanna.” As
with the previous movement, Fink’s poetic text bears no thematic connection with the original
text, with the exception of the final line, a German translation of “Hosanna in excelsis.” The
poem is in two stanzas with an overall rhyme scheme of AAB CCB. The first two lines of each
stanza are dimeter, but three of the four lines use a trochaic foot, while the fourth is dactylic.
Likewise, each stanza’s final line is tetrameter, but the first stanza’s foot is iambic while the
second is dactylic. Furthermore, lines three, five, and six each add an anacrusis.
This entire poem is contained within the Benedictus section of the source work. The
portion of the movement that originally set the “Hosanna in excelsis” text is paired with the
direct German translation “Gelob’t sei in der Höhe.” In measures 67 through 70 of Mozart’s
setting (based on the unabridged version in the NMA and corresponding with measures 49
through 52 of the cantata movement) there are two isolated statements of the word “hosanna.”
Because this is incompatible with the syllable-for-syllable translation (“Gelob’t sei…”), Fink
substitutes the text “O Christe” in these two measures.
As was stated in this chapter’s discussion of Cantata 126, Mozart made two minor cuts in
this movement. The first removed measures 30 through 33, and the second measures 48 through
61.160 Both of these cuts have been incorporated in the cantata. The presence of the oboe parts
and the fact that the score is in its edited version eliminate several extant score copies as
potential sources for these scores, but by no means isolate a single candidate. This also presumes
that the score used by the cantata editor is even still in existence.
160
Mozart and Senn, Missa in C - Dur ('Orgelsolo-Messe') Missa in C Major ('Organ Solo Mass'): Kv 259, XVI.
While this edition’s foreword lists the measure numbers of the second cut as 48–61, the score itself shows the cut
starting in measure 41. Either location is musically feasible. The fact that this Cantata makes the cut at measure 48 is
evidence that this location is the correct one.
60 This chapter’s discussion of Cantata 127 made the argument that the music that
originated as the Missa in C-Moll, K. 427 was actually drawn from score copies of Davide
penitente, K. 469. In Cantata 130, the editor happened to choose a movement that helps bolster
the author’s argument. Not only are there several differences between the “Laudamus te” in
K. 427 and “Lungi le cure ingrate” in K. 469 that are reflected in this Cantata movement, but the
movement’s title page also shows the Italian Davide penitente text incipit, and not the Latin one.
Figure 6.4: Title page of Cantata 130, movement 3, reflecting the Davide penitente text incipit.
In measures 14 and 85 of the Mass movement, Mozart’s melody begins with an anacrusis
for the first syllable of “Laudamus te.” Because his text for Davide penitente begins on a stressed
syllable, however, Mozart leaves this note out of both measures. Fink’s text follows suit,
requiring that the melody begin on the following downbeat. This departure from a melody that
has become so familiar in the modern repertoire has caused even the editor of the NMA Davide
penitente edition to suggest the restoration of that note with a neutral syllable such as “Deh!,”
Oh!,” or “Sì.”161 The editor of the present edition has chosen to leave the notes out of these
measures to accurately reflect the Breitkopf source.
In measures 68 and 70 of this movement, Mozart altered the melody line from the Mass
in order to accommodate an additional syllable in the Davide penitente text. Here again, Fink’s
text and the cantata melody reflect the Davide penitente music, rather than that of the Mass.
161
Mozart and Holl, Davide Penitente: Kv 469, Werkgruppe 4, Bd. 3, XXI.
61 Figure 6.5: Missa in C-Moll, K. 427,
“Laudamus Te,” measure 68.
Figure 6.6: Davidde penitente, K. 469, “Lungi
le cure ingrate,” measure 68.
Figure 6.7: Cantata 130, “Auf vom Staub der
Erde,” measure 68 (soprano clef).
The movement also includes several rhythmic modifications and the addition of some
notes in order to accommodate the German text.
Fink’s poetry for this movement bears little resemblance to either the liturgical or the
Davidde penitente text. The original liturgical text comprises the “Laudamus te” section of the
Gloria: four short lines of text with a total of eight words. The text from Davide penitente also
comprises four lines, but not quite as limited:
Lungi le cure ingrate,
respirate omai.
S’è palpitate assai
è tempo da goder.
Far away from sad afflictions,
feel free again.
If once you were afraid
now is the time to rejoice.
Fink’s poetry is considerably lengthier. It is in three stanzas of three lines each, with the
rhyme scheme AAB CCB DDB. The verse fits loosely into a trochaic dimeter.
As the topic of the Davide penitente text may be described as one of rising out of the
ashes of life into heavenly bliss, it could very possibly have inspired Fink’s poem. The imagery
of being lifted far away from earlier cares and the specific reference to fright or anxiety are
shared between the two texts.
The Cantata’s fourth movement returns to the Mass, specifically the Agnus Dei. For this
movement, Fink provided an embellished parody of the liturgical text. The poem is five lines
with an AABCC rhyme scheme and a free meter. The editor made no significant musical
changes in this movement.
62 Movement five is drawn from the Dona Nobis Pacem of the Mass, which appropriately
follows the Agnus Dei used for the previous movement. Fink’s text for this movement goes far
beyond the three original words and incorporates a poem of two three-line stanzas. The stanzas
incorporate a rhyme scheme of AAB CCB. The first two lines of each are in trochaic tetrameter,
while each stanza’s third line is in an irregular triple-meter. Interestingly, Fink uses a rhyme
scheme here similar to the one that he used in movement three, which dealt with the similar
theme of deliverance.
Breitkopf shows two deviations from NMA in measure 7 of this movement, which create
some compositional errors. The first appears to be a simple misprint in the bass voice, which
reverses the first two notes. Because this G–F movement is contrary to the continuo line, it
causes parallel ninths with the alto, and does not fit the harmony, it is presumed to be a
typographical error and not an editorial decision. The second, however, appears intentional and is
duplicated in the Simrock score. In this case, the editor changed the first tenor note from an “A”
to a “D,” perhaps to simplify the voice leading. Unfortunately, this change creates parallel fifths
with the alto. In fact, the two errors put together result in a situation whereby the tenor sings a
parallel fifth above the bass, while the alto sings a parallel fifth above the tenor. As mentioned
above, the bass motion is presumed to be an engraving error and has been altered accordingly in
the new edition. The present edition also changes the tenor note back to Mozart’s “A.”
The final movement sets the Dixit Dominus from the Vesperæ Solennes de Dominica,
K. 321. Cantata 129, which used two other movements from this Vesper set, substituted the Dixit
from K. 193, so the editor used K. 321’s Dixit here instead. Fink’s text is a lengthy prayer in free
rhythm and an irregular rhyme scheme. It is mostly unrelated to the Dixit text, but it concludes
with a “Gloria Patri” paraphrase that aligns with the original Latin underlay.
63 Although this cantata text is arguably the strongest of the set, the editor’s choice of music
leads to logistical problems that would make it unattractive to the modern ensemble. Similarly to
Cantata 127, the instrumentation does not align between movements. This cantata is slightly
better planned than 127, in that five of the six movements use variations of the same
instrumentation: Two oboes, two trumpets and timpani, two violins, and continuo. However, the
use of K. 321 means removal of the oboes for the final movement, an unusual configuration for
modern performances. Furthermore, the inclusion of a single movement from K. 469/427 for the
cantata requires the addition of both horns and violas for only this movement.
64 Chapter 6
Significance for the Modern Musician
The seven cantatas explored in this study cannot be considered purely Mozart. The music
was certainly written by Mozart, but the works were taken out of their original context: they
were rearranged, the texts were replaced, and music that was intended for liturgical use became
concert repertoire. When considered through modern eyes, it could therefore be argued that these
pieces are, at best, poorly conceived curiosities, and at worst, frauds. To draw such a conclusion,
however, would fail to consider them through the lens of nineteenth-century performance
standards. The contrafacta motets and cantatas represent the most authentic source available of
the Mozart that nineteenth-century Germany knew.
The concept holding a piece of music as a sacrosanct work of art would have been
foreign to an eighteenth-century musician. Composers in Mozart’s time wrote and performed at
the pleasure of patrons, with limited artistic license and little thought toward posterity. The midnineteenth-century concept of “l’art pour l’art” became so ingrained in the twentieth century that
it is difficult for us to consider that these adaptations of Mozart’s music were acceptable and
commonplace in the nineteenth century; had he been aware of these contrafacta, it is likely that
Mozart himself would have approved of their creation.
It is general knowledge that Johann Sebastian Bach’s music essentially died with him for
seventy years, until it was revived in the 1820s by, among others, Felix Mendelssohn. Slightly
less well known, though well-documented, is that Mendelssohn’s famous performance of Bach’s
Matthäus-Passion on March 11, 1829 presented the work in a heavily doctored format and very
romantic interpretation. Mendelssohn eliminated ten arias, four accompagnato recitatives, and
65 six chorales.162 He conducted the piece from the keyboard of a grand piano, which he used to
accompany the secco recitatives, and he replaced the low oboes d’amore and da caccia, which
were scarce in nineteenth-century Germany, with clarinets. Mendelssohn’s copy of the score
contained no figuring, so he penciled in notes regarding his desired harmonization of the
recitatives, often fundamentally different from Bach’s harmonies.163
The performance was by a choir of 150 singers, including women instead of boys. The
score he used in performance, which is preserved in the Bodleian Library, shows evidence of a
romanticized performance with primary focus on the drama. His tempo markings and choral
instructions, especially in the more dramatic choruses, such as “O Mensch, bewein dein Sünde
groß” could make historical performance purists cringe.164
Of course, we are slow to censure Mendelssohn for his handling of this performance. The
authentic performance practice movement was still well over one hundred years away, and the
concert was intended to speak to nineteenth-century Germans. Had this performance failed to
make Bach followers of the Berlin audience, there is no telling whether the Bach revival would
have found a foothold.
Likewise, there can be little criticism of the countless subsequent transcriptions of Bach’s
keyboard works. His D-minor Toccata and Fugue, BWV 565, alone has been transcribed dozens
of times for nearly every combination of instruments, most notably Donald Hunsberger’s wind
ensemble transcription, Leopold Stokowski’s orchestral arrangement, and the arrangement that
Fred Mills made for the Canadian Brass, which has become a staple of the brass quintet
repertoire. As a result, thousands of listeners experience this piece that otherwise would not.
162
Celia Applegate, Bach in Berlin: Nation and Culture in Mendelssohn's Revival of the St. Matthew Passion
(Ithaca: Cornell University Press, 2005), 39.
163
Klaus Winkler, "Romantische Emotionen. Mendelssohns Bearbeitung Von Bachs Matthäus-Passion," takte 1
(2009).
164
R. Larry Todd, Mendelssohn: A Life in Music (Oxford, New York: Oxford University Press, 2003), 197.
66 The contrafacta choruses published by Breitkopf in the first decades of the nineteenth
century belong in this same category. While not presented precisely as Mozart had intended, they
played a vital role in making his music available to Protestants in Germany, England, and even
the United States. Furthermore, these were the few choral works of Mozart that were readily
available to nineteenth-century choirs, as many of his sacred works received their first
publication in the Alte-Mozart Ausgabe. His now-celebrated late piano concertos were largely
unknown, as was his “Jupiter” Symphony. These choral works, along with his Requiem and his
operas, were the music that defined Mozart in the early nineteenth century.
Even considering the cantatas’ vital importance to an understanding of early Mozart
reception, there seem to be only a few applications for their performance today. Cantatas 124 and
125 are based on Marian litanies whose liturgical application is limited to Roman Catholic
churches, so these two cantatas could have something to offer the modern repertoire. Cantata 129
could also find a modern venue, as it is well constructed and mostly paraphrases the original text.
As for the other cantatas, they might find a place in a production designed to replicate a
nineteenth-century concert, or one dealing specifically with early Mozart reception, but failing
that, they are most valuable as reference works to study these two topics. Performing editions of
all of Mozart’s music are now readily available. Very few modern performing organizations or
churches must avoid the use of Latin, so there is no need for the paraphrased liturgical text or the
rather trite and uncreative poetry of the derivative choruses. Also, several of the cantatas were
assembled in such a way that makes little musical or logistical sense, in that they frequently pull
together movements of disparate style and instrumentation.
67 Jahn is certainly correct that these pieces do not represent a use for Mozart’s music that
he would have envisioned, and they were likely “pieced together… by some church musician.”
When considering the role they played in Mozart’s early posthumous performance history,
however, they must be considered highly significant to any serious study of his music.
68 Appendix A
Current Score Locations, K. Anh. 124-130
Score locations were identified using the WorldCat database and Schlager’s 1978
survey,165 then verified with each library’s online catalog. In instances where a catalog provides
provenance or other information, that information has been included in these tables.
Copies listed in Schlager that could not be found in the specified library’s catalog have
still been included in these tables, but notated as such. In most cases, this is due to the libraries in
question listing their rare and manuscript collections in separate catalogs that are not available
online.
Entries marked “unverified” indicate that the author was unable to gain access to the
library’s catalog at all. This was most often the case with archives whose catalogs are not
digitized or available via the Internet.
The tables are organized first by country, then by city, and finally by library name. For
the sake of uniformity, the author has translated all library names into English. The numbering
system used in the tables is intended to provide a simple accounting of quantities and locations.
The letters signify the country where each score is located, following the RISM library sigla
format. The numbers are sequential within each table. For example, the entry “D-4” is the fourth
entry on this list located in Germany.
Heiliger, sieh gnädig, K. Anh. 124
Country
A
A
Library
Melk: Melk Abbey Archive
Vienna: Austrian National Library
A
Vienna: City Library
Records
A-1: Breitkopf: One copy listed in Schlager; unverified
A-2, 3, 4: Breitkopf: Three copies
•
c. 1 Inscription: “Fonds Nr. 24 St. Peter, Wien”
•
c. 3 Provenance: Anthony van Hoboken collection
A-5: Simrock: One copy
A-6: Breitkopf: One copy
165
Schlager and International Association of Music Libraries., Wolfgang Amadeus Mozart, Verzeichnis Von ErstUnd Frühdrucken Bis Etwa 1800.
69 Country
A
CH
CH
CH
CZ
CZ
D
D
D
D
D
D
D
D
D
Library
Vienna: Society of the Friends of
Music
Basel: State Music Academy
Basel: University of Basel Library
Zurich: Swiss Central Library
Prague: Prague Conservatory
Třeboň: State Regional Archives
Berlin: German State Library
Berlin: Hans Sommer Archive
Dresden: Saxon State and
University Library
Halle: University and State Library
of Saxony-Anhalt
Hamburg: State and University
Library
Karlsruhe: Baden State Library
D
Lübeck: City Library
Lüneburg: City Council Library
Mainz: Schott Music Publishers
archive
Munich: Bavarian State Library
D
Munich: City Library
D
Rudolstadt: Thuringian State
Archive
Stuttgart: Württemberg State
Library
Tübingen: University of Tübingen
Wiesbaden: Breitkopf & Härtel
publisher’s archive
Wolfenbüttel: Herzog August
Library
Zwickau: Robert Schumann House
Archive
London: British Library Reference
Collection
London: Guildhall Library
Oxford: Bodleian Library
D
D
D
D
D
GB
GB
GB
I
NL
Naples: Conservatory, Library
Amsterdam: Amsterdam Public
Library, Central Branch
Records
A-7, 8, 9: Breitkopf: Three copies listed in Schlager; unverified
A-10, 11: Simrock: Two copies listed in Schlager; unverified
CH-1, 2, 3: Simrock: Three copies; c. 2 located at Bern campus
CH-4: Simrock: One copy
CH-5: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-6: Simrock: One copy listed in Schlager; cannot be found in library catalog
CZ-1, 2: Breitkopf: Two copies
CZ-3: Breitkopf: One copy. Provenance: Prince Ernst of Schwarzenberg166
D-1: Breitkopf: One copy
D-2: Breitkopf: One copy. Provenance: Hans Sommer, later Wilhelm Meves167
D-3, 4: Breitkopf: Two copies
D-5: Simrock: One copy
D-6: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-7: Breitkopf: One copy
D-8: Breitkopf: One copy. All seven cantatas bound together in single volume. Provenance:
transferred from Princely Fürstenberg Court Library, Donaueschingen
D-9: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-10: Breitkopf: One copy listed in Schlager; unverified
D-11: Breitkopf: One copy listed in Schlager; unverified
D-12: Breitkopf: One copy
D-13, 14: Simrock: Two copies
D-15: Breitkopf: One copy
D-16: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-17: Simrock: One copy listed in Schlager; unverified
D-18: Breitkopf: One copy
D-19: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-20: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-21: Breitkopf: One copy
D-22: Simrock: One copy
D-23: Breitkopf: One copy
GB-1: Breitkopf: One copy
GB-2: Simrock: One copy. Provenance: Paul Hirsch collection
GB-3, 4: Breitkopf: Two copies. Provenance: Gresham College Music Library168
GB-4, 5: Breitkopf: Two copies.
•
c. 1 bound with other items. Provenance: U of Oxford Faculty of Music.
Boosey & Co., London stamp below imprint.
•
c. 2 bound with other items. Provenance: Tenbury manuscript collection
(St. Michael’s College, Worcestershire)
I-1: Breitkopf: One copy
NL-1: Breitkopf: One copy
NL-2, 3: Simrock: Two copies
166
Alternate information source: Pešková, Krumlov, and Záloha, Českokrumlovská Mozartiana: Katalog Skladeb
W.A. Mozarta Z Hudební Sbírky Státního Oblastního Archívu Třeboň, Pobočka Český Krumlov, 84.
167
Alternate information source: RISM
168
Alternate information source regarding provenance of all Guildhall Library copies: Gresham Music Library: A
Catalogue of the Printed Books and Manuscripts Deposited in Guildhall Library, (London: Corporation of
London, 1965), 45-46.
70 Country
NL
S
S
US
US
US
Library
The Hague: Royal Library of the
Netherlands
Stockholm: National Music and
Theater Library
Stockholm: Swedish Radio Music
Library
Cambridge, Mass.: Loeb Music
Library, Harvard University
New Haven, Conn.: Beinecke
Library, Yale University
Salem, NC: Moravian Music
Foundation Archive
Records
NL-4: Breitkopf: One copy
S-1: Breitkopf: One copy
S-2: Simrock: One copy
S-3: Simrock: One copy listed in Schlager; unverified
US-1: Breitkopf: One copy
US-2: Simrock: One copy bound with other items. Provenance: Lowell Mason Papers
collection
US-3: Breitkopf: One copy. Provenance: Salem Congregation.169 G. Schirmer, New York
stamp below imprint; inscribed “Gemeine Music in Salem ist ausgeschrieben”
Allerbarmer höre, K. Anh. 125
Country
A
A
Library
Melk: Melk Abbey Archive
Vienna: Austrian National Library
A
A
B
CH
Vienna: City Library
Vienna: Society of the Friends of Music
Brussels: Royal Conservatory of Music
Zurich: Swiss Central Library
CZ
D
D
D
D
Třeboň: State Regional Archives
Berlin: Hans Sommer Archive
Bonn: Friedrich-William Univeristy and Rhenish
State Library
Cologne: Institute of Musicology, University of
Cologne
Delitzsch: Heimatmuseum Library
Dresden: Saxon State and University Library
Hamburg: Hamburg Public Library, Department of
Music and Dance
Hamburg: State and University Library
Karlsruhe: Baden State Library
D
D
Leipzig: City Library – Music Library
Lübeck: City Library
D
D
D
D
D
Lüneburg: City Council Library
Mainz: Schott Music Publishers archive
Munich: Bavarian State Library
Münster: Diocesan Library of Münster
Stuttgart: Württemberg State Library
D
D
D
D
Records
A-1: Breitkopf: One copy listed in Schlager; unverified
A-2, 3, 4, 5: Breitkopf: Four copies. c. 3 Provenance: Anthony van Hoboken
collection
A-6: Simrock: One copy
A-7: Breitkopf: One copy
A-8, 9, 10: Breitkopf: Three copies listed in Schlager; unverified
B-1: Simrock: One copy listed in Schlager; cannot be found in library catalog
CH-1: Breitkopf: One copy listed in Schlager; cannot be found in library
catalog
CH-2: Simrock: One copy
CZ-1: Breitkopf: One copy170
D-1: Simrock: One copy171 Provenance: Hans Sommer; later Wilhelm Meves
D-2: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-3: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-4: Breitkopf: One copy listed in Schlager; unverified
D-5: Breitkopf: One copy
D-6: Breitkopf: One copy listed in Schlager: unverified
D-7: Breitkopf: One copy
D-8: Breitkopf: One copy. All seven cantatas bound together in single volume.
Provenance: transferred from Princely Fürstenberg Court Library,
Donaueschingen
D-9: Breitkopf: One copy listed in Schlager; unverified
D-10: Breitkopf: One copy listed in Schlager; unverified
D-11: Simrock: One copy listed in Schlager; unverified
D-12: Breitkopf: One copy listed in Schlager; unverified
D-13: Breitkopf: One copy listed in Schlager; unverified
D-14, 15: Simrock: Two copies
D-16: Simrock: One copy. Provenance: Santini Collection
D-17: Breitkopf: One copy
D-18: Simrock: One copy listed in Schlager; cannot be found in library catalog
169
Alternate information source: Moravian Music Archive card catalog.
Alternate information source: Pešková, Krumlov, and Záloha, Českokrumlovská Mozartiana: Katalog Skladeb
W.A. Mozarta Z Hudební Sbírky Státního Oblastního Archívu Třeboň, Pobočka Český Krumlov.
171
Alternate information source: RISM.
170
71 Country
D
D
D
DK
Library
Waldenburg: Church of St. Bartholomew choir
archive
Wiesbaden: Breitkopf & Härtel publisher’s archive
Wolfenbüttel: Herzog August Library
Copenhagen: National Library of Denmark
GB
GB
GB
GB
GB
Cambridge: Cambridge University Library
Glasgow: University of Glasgow Library
London: British Library
London: Guildhall Library
Oxford: Bodleian Library
I
Bergamo: Gaetano Donizetti Civic Music Institute,
Library
Naples: Conservatory, Library
Amsterdam: Amsterdam Public Library, Central
Branch
Stockholm: National Music and Theater Library
I
NL
S
US
US
US
Cambridge, Mass.: Loeb Music Library, Harvard
University
New Haven, Conn.: Beinecke Library, Yale
University
Salem, NC: Moravian Music Foundation Archive
Records
D-19: Breitkopf: One copy listed in Schlager; unverified
D-20: Breitkopf: One copy
D-21: Simrock: One copy
DK-1: Breitkopf: One copy
DK-2: Simrock: One copy
GB-1: Breitkopf: One copy
GB-2: Simrock: One copy
GB-3: Breitkopf: One copy
GB-4, 5: Breitkopf: Two copies. Provenance: Gresham College
GB-6, 7: Breitkopf: Two copies.
•
c. 1 bound with other items. Provenance: U of Oxford Faculty of
Music. Boosey & Co., London stamp below imprint.
•
c. 2 bound with other items. Provenance: Tenbury manuscript
collection (St. Michael’s College, Worcestershire)
I-1: Breitkopf: One copy listed in Schlager; unverified
I-2: Breitkopf: One copy listed in Schlager; unverified
NL-1: Breitkopf: One copy
S-1: Breitkopf: One copy
S-2: Simrock: One copy
US-1: Breitkopf: One copy
US-2: Simrock: One copy bound with other items. Provenance: Lowell Mason
Papers collection
US-3: Breitkopf: One copy. Provenance: Salem Congregation172
Herr, Herr, vor deinem Throne, K. Anh. 126
Country
A
A
A
A
CH
CH
CZ
D
D
D
D
D
D
Library
Salzburg: Bibliotheca Mozartiana, Mozarteum
Vienna: Austrian National Library
Vienna: City Library
Vienna: Society of the Friends of Music
Solothurn: Central Library, Historic Music
Collection
Zurich: Swiss Central Library
Třeboň: State Regional Archives
Annaberg-Bucholz: Choir Archive, St. Anne’s
Church
Bad Lobenstein: Parish Archive
Dresden: Saxon State and University Library
Ebersbach: Music library of the Evangelical
Lutheran Church of Ebersbach
Freiburg: Hochschule für Muisk Library
Göttingen: Göttingen State and University
Library
Records
A-1: Breitkopf: One copy
A-2, 3: Breitkopf: Two copies. c. 2 Provenance: Anthony van Hoboken collection.
A-4: Breitkopf: One copy
A-5, 6, 7: Breitkopf: Three copies listed in Schlager; unverified
CH-1: Breitkiopf: One copy
CH-2, 3: Simrock: Two copies; c. 2 Provenance: Cleopha Schmidlin
CH-4: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-5: Simrock: One copy listed in Schlager; cannot be found in library catalog
CZ-1: Breitkopf: One copy173
D-1: Breitkopf: One copy listed in Schlager; unverified
D-2: Breitkopf: One copy listed in Schlager; unverified
D-3: Breitkopf: One copy
D-4: Breitkopf: One copy listed in Schlager; unverified
D-5: Schauenburg: One copy
D-6: Schauenburg: One copy
172
Alternate information source: Moravian Music Archive card catalog.
Alternate information source: Pešková, Krumlov, and Záloha, Českokrumlovská Mozartiana: Katalog Skladeb
W.A. Mozarta Z Hudební Sbírky Státního Oblastního Archívu Třeboň, Pobočka Český Krumlov.
173
72 Country
D
D
Library
Hamburg: State and University Library
Karlsruhe: Baden State Library
D
D
Kassel: Musikakademie Library
Lichtenstein: Church of St. Lawrence, choir
Archive
Lübeck: City Library
Lüneburg: City Council Library
Mainz: Schott Music Publishers archive
Munich: Bavarian State Library
D
D
D
D
D
D
D
D
DK
GB
GB
GB
GB
GB
I
NL
NL
S
S
US
US
US
US
US
Schwerin: Mecklenburg-Vorpommern State
Library
Waldenburg: Church of St. Bartholomew choir
archive
Wiesbaden: Breitkopf & Härtel publisher’s
archive
Worms: Municipal Library
Copenhagen: National Library of Denmark
Cambridge, UK: Cambridge University
Library
Glasgow: University of Glasgow Library
London: British Library
London: Guildhall Library
Oxford: Bodleian Library
Naples: Conservatory, Library
Amsterdam: Amsterdam Public Library,
Central Branch
The Hague: Royal Library of the Netherlands
Stockholm: National Music and Theater
Library
Stockholm: Swedish Radio Music Library
Cambridge, Mass.: Loeb Music Library,
Harvard University
Greensboro, NC: Schiffman Music Library,
University of North Carolina at Greensboro
New Haven, Conn.: Beinecke Library, Yale
University
Philadelphia: Van Pelt Library, University of
Pennsylvania
St. Louis, Missouri: Gaylord Music Library,
Washington University
Records
D-7: Breitkopf: One copy
D-8: Breitkopf: One copy. All seven cantatas bound together in single volume.
Provenance: transferred from Princely Fürstenberg Court Library,
Donaueschingen
D-9: Breitkopf: One copy listed in Schlager; unverified
D-10: Breitkopf: One copy listed in Schlager; unverified
D-11: Breitkopf: One copy listed in Schlager; unverified
D-12: Breitkopf: One copy listed in Schlager; unverified
D-13: Breitkopf: One copy listed in Schlager; unverified
D-14: Breitkopf: One copy
D-15, 16: Simrock: Two copies
D-17: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-18: Breitkopf: One copy listed in Schlager; unverified
D-19: Breitkopf: One copy
D-20: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
DK-1: Simrock: One copy
GB-1: Breitkopf: One copy
GB-2: Simrock: One copy
GB-3: Breitkopf: One copy
GB-4, 5: Breitkopf: Two copies. Provenance: Gresham College
GB-6, 7: Breitkopf: Two copies.
•
c.1 bound with other items. Provenance: U of Oxford Faculty of Music.
Boosey & Co., London stamp below imprint.
•
c. 2 bound with other items. Provenance: Tenbury manuscript
collection (St. Michael’s College, Worcestershire)
GB-8: Simrock: One copy
I-1: Breitkopf: One copy listed in Schlager; unverified
NL-1: Breitkopf: One copy
NL-2: Simrock: One copy
NL-3: Breitkopf: One copy
S-1: Breitkopf: One copy
S-2: Simrock: One copy
S-3: Simrock: One copy listed in Schlager; unverified
US-1: Breitkopf: One copy
US-2: Breitkopf: One copy
US-3: Breitkopf: One copy. Provenance: Lowell Mason Papers collection
US-4: Simrock: One copy bound with other items. Provenance: Lowell Mason
Papers collection
US-5: Schauenburg: One copy
US-6: Breitkopf: One copy. Provenance: signed “Stutfield” on title page;
purchased from the library of Alan Tyson
US-7: Simrock: One copy; provenance: purchased from the library of Alan Tyson
73 Ewiger, erbarme dich!, K. Anh. 127
Country
A
A
A
Library
Salzburg: Bibliotheca Mozartiana,
Mozarteum
Vienna: Austrian National Library
Vienna: Society of the Friends of Music
B
CH
Brussels: Royal Conservatory of Music
Zurich: Swiss Central Library
D
D
D
D
Berlin: German State Library
Dresden: Saxon State and University
Library
Dresden: Saxon State and University
Library
Halle: University and State Library of
Saxony-Anhalt
Hamburg: State and University Library
Karlsruhe: Baden State Library
D
D
Leipzig: City Library – Music Library
Munich: Bavarian State Library
D
Wiesbaden: Breitkopf & Härtel publisher’s
archive
Paris: National Library of France
D
D
F
GB
GB
I
NL
NL
S
US
US
US
US
US
Records
A-1: Breitkopf: One copy
A-2: Simrock: One copy
A-3, 4: Breitkopf: Two copies. c. 2 Provenance: Anthony van Hobokken collection.
A-5, 6, 7: Breitkopf: Three copies listed in Schlager; unverified
A-8, 9: Simrock: Two copies listed in Schlager; unverified
B-1: Simrock: One copy listed in Schlager; cannot be found in library catalog
CH-1: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-2: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-1: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-2: Breitkopf: One copy
D-3: Breitkopf: One copy
D-4: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-5: Breitkopf: One copy
D-6: Breitkopf: One copy. All seven cantatas bound together in single volume.
Provenance: transferred from Princely Fürstenberg Court Library, Donaueschingen
D-7: Breitkopf: One copy listed in Schlager; unverified
D-8: Breitkopf: One copy
D-9, 10, 11: Simrock: Three copies
D-12: Breitkopf: One copy
F-1: Breitkopf: One copy. Provenance: Ancien Choron, former owner
F-2: Simrock: One copy
GB-1: Breitkopf: One copy
GB-2, 3: Breitkopf: Two copies. Provenance: Gresham College
I-1: Breitkopf: One copy listed in Schlager; unverified
NL-1: Breitkopf: One copy
NL-2: Simrock: One copy
NL-3: Breitkopf: One copy
NL-4: Simrock: One copy
S-1: Breitkopf: Two copies
S-2: Simrock: One copy
US-1: Breitkopf: One copy. Provenance: Edwin Bachmann collection
London: British Library
London: Guildhall Library
Naples: Conservatory, Library
Amsterdam: Amsterdam Public Library,
Central Branch
The Hague: Royal Library of the
Netherlands
Stockholm: National Music and Theater
Library
Austin, Texas: Harry Ransom Center Book
Collection
New Haven, Conn.: Beinicke Library, Yale
University
US-2: Breitkopf: One copy. Provenance: Lowell Mason Papers collection
US-3: Simrock: One copy bound with other items. Provenance: Lowell Mason Papers
collection
US-4: Breitkopf: One copy. Provenance: Mary Flagler Cary Music Collection
US-5: Breitkopf: One copy
New York, NY: Pierpont Morgan Library
Philadelphia: Rare Book & Manuscript
Library, University of Pennsylvania
St. Louis, Missouri: Gaylord Music
Library, Washington University
US-6: Breitkopf: One copy. Provenance: purchased from the library of Alan Tyson
Mächtigster, Heiligster, K. Anh. 128
Country
A
A
Library
Salzburg: Bibliotheca Mozartiana,
Mozarteum
Vienna: Austrian National Library
Records
A-1: Breitkopf: One copy
A-2, 3: Breitkopf: Two copies. c. 2 Provenance: Anthony van Hobokken collection.
74 Country
A
A
B
CH
CH
Library
Vienna: City Library
Vienna: Society of the Friends of Music
Brussels: Royal Conservatory of Music
Basel: Private library of Werner Christen
Zurich: Swiss Central Library
D
Annaberg-Bucholz: Choir Archive, St.
Anne’s Church
Dresden: Saxon State and University
Library
Göttingen: Göttingen State and
University Library
Halle: University and State Library of
Saxony-Anhalt
Hamburg: State and University Library
Karlsruhe: Baden State Library
D
D
D
D
D
D
D
DK
GB
GB
H
I
NL
NL
S
US
US
US
Leipzig: City Library – Music Library
Munich: Bavarian State Library
Copenhagen: National Library of
Denmark
London: British Library
London: Guildhall Library
Pannonhalma: Central Library of the
High Order of St. Benedict
Naples: Conservatory, Library
Amsterdam: Amsterdam Public Library,
Central Branch
The Hague: Royal Library of the
Netherlands
Stockholm: National Music and Theater
Library
Louisville, Kentucky: Southern Baptist
Theological Seminary Library
New Haven, Conn.: Beinicke Library,
Yale University
St. Louis, Missouri: Gaylord Music
Library, Washington University
Records
A-4: Breitkopf: One copy
A-5, 6, 7: Breitkopf: Three copies listed in Schlager; unverified
B-1: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-1: Breitkopf: One copy listed in Schlager; unverified
CH-2: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-3: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-1: Breitkopf: One copy listed in Schlager; unverified
D-2: Breitkopf: One copy
D-3, 4: Breitkopf: Two copies. c.1 includes two chorus scores and a libretto, partially
handwritten.
D-5: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-6: Breitkopf: One copy
D-7: Breitkopf: One copy. All seven cantatas bound together in single volume.
Provenance: transferred from Princely Fürstenberg Court Library, Donaueschingen
D-8: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-9, 10: Simrock: Two copies
DK-1: Simrock: One copy
GB-1: Breitkopf: One copy
GB-2, 3: Breitkopf: Two copies. Provenance: Gresham College Music Library
H-1: SimrockL One copy listed in Schlager; unverified
I-1: Breitkopf: One copy listed in Schlager; unverified
NL-1: Breitkopf: One copy
NL-2: Simrock: One copy
NL-3: Breitkopf: One copy
NL-4: Simrock: One copy
S-1: Breitkopf: One copy
US-2: Simrock: One copy
US-3: Breitkopf: One copy. Provenance: Lowell Mason Papers collection
US-4: Simrock: One copy bound with other items. Provenance: Lowell Mason Papers
collection
US-5: Breitkopf: One copy. Provenance: purchased from the library of Alan Tyson
Hoch vom Heiligthume, K. Anh. 129
Country
A
A
A
A
B
CH
Library
Salzburg: Bibliotheca Mozartiana,
Mozarteum
Vienna: Austrian National Library
Vienna: City Library
Vienna: Society of the Friends of
Music
Brussels: Royal Conservatory of
Music
Einsiedeln: Einsiedeln Monastery
music library
Records
A-1: Breitkopf: One copy
A-2, 3: Breitkopf: Two copies. c. 2 Provenance: Anthony van Hobokken collection.
A-4: Breitkopf: One copy
A-5, 6, 7: Breitkopf: Three copies listed in Schlager; unverified
A-8, 9: Simrock: Two copies listed in Schlager; unverified
B-1: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-1: Simrock: One copy listed in Schlager; unverified
75 Country
CH
Library
Zurich: Swiss Central Library
D
Bonn: Friedrich-William Univeristy
and Rhenish State Library
Hamburg: State and University
Library
Karlsruhe: Baden State Library
D
D
D
D
D
D
D
F
GB
GB
I
NL
NL
S
S
US
US
US
Leipzig: City Library – Music Library
Lübeck: City Library
Munich: Bavarian State Library
Reichenbach: Parish Church of Sts.
Peter and Paul
Wiesbaden: Breitkopf & Härtel
publisher’s archive
Paris: National Library of France
London: British Library
London: Guildhall Library
Naples: Conservatory, Library
Amsterdam: Amsterdam Public
Library, Central Branch
The Hague: Royal Library of the
Netherlands
Stockholm: National Music and
Theater Library
Stockholm: Swedish Radio Music
Library
Cambridge, Mass.: Loeb Music
Library, Harvard University
New Haven, Conn.: Beinicke Library,
Yale University
New York: New York Public Library
Records
CH-2: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-3, 4: Simrock: Two copies listed in Schlager; cannot be found in library catalog
D-1: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-2: Breitkopf: One copy
D-3: Breitkopf: One copy. All seven cantatas bound together in single volume.
Provenance: transferred from Princely Fürstenberg Court Library, Donaueschingen
D-4: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
D-5: Breitkopf: One copy listed in Schlager; unverified
D-6: Breitkopf: One copy
D-7: Breitkopf: One copy listed in Schlager; unverified
D-8: Breitkopf: One copy
F-1: Breitkopf: One copy. Provenance: Ancien Choron, former owner
GB-1: Breitkopf: One copy
GB-2: Simrock: One copy listed in Schlager; cannot be found in library catalog
GB-3, 4: Breitkopf: Two copies. Provenance: Gresham College
I-1: Breitkopf: One copy listed in Schlager; unverified
NL-1: Breitkopf: One copy
NL-2: Breitkopf: One copy
NL-3: Simrock: One copy
S-1: Breitkopf: One copy
S-2: Simrock: One copy listed in Schlager; unverified
US-1: Breitkopf: One copy
US-2: Simrock: One copy bound with other items. Provenance: Lowell Mason Papers
collection
US-3: Breitkopf: One copy. Provenance: Bruno Walter papers collection; inscription to
Walter from Carl Friedberg, NY, Sept. 1946
Herr, auf den wir schauen, K. Anh. 130
Country
A
A
A
A
Library
Salzburg: Bibliotheca Mozartiana,
Mozarteum
Vienna: Austrian National Library
Vienna: City Library
Vienna: Society of the Friends of Music
CH
CH
CH
Basel: Private library of Werner Christen
Basel: University of Basel Library
Zurich: Swiss Central Library
D
D
D
Berlin: German State Library
Bremen: State and University Library
Dresden: Saxon State and University
Library
Hamburg: State and University Library
D
Records
A-1, 2: Breitkopf: Two copies
A-3, 4: Breitkopf: Two copies. c. 2 Provenance: Anthony van Hobokken collection.
A-5: Breitkopf: One copy
A-6, 7, 8: Breitkopf: Three copies listed in Schlager; unverified
A-9, 10: Simrock: Two copies listed in Schlager; unverified
CH-1: Breitkopf: One copy listed in Schlager; unverified
CH-2: Simrock: One copy
CH-3: Breitkopf: One copy listed in Schlager; cannot be found in library catalog
CH-4: Simrock: One copy listed in Schlager; cannot be found in library catalog
D-1: Simrock: One copy
D-2: Breitkopf: One copy
D-3, 4: Simrock: Two copies
D-5: Breitkopf: One copy
76 Country
D
Library
Karlsruhe: Baden State Library
D
Lichtenstein: Church of St. Lawrence,
choir Archive
Lüneburg: City Council Library
Munich: Bavarian State Library
D
D
D
DK
F
GB
GB
I
NL
NL
S
US
US
US
Sonderhausen: City Church of
Sonderhausen (St. Trinitatis)
Copenhagen: National Library of
Denmark
Paris: National Library of France
London: British Library
London: Guildhall Library
Naples: Conservatory, Library
Amsterdam: Amsterdam Public Library,
Central Branch
The Hague: Royal Library of the
Netherlands
Stockholm: National Music and Theater
Library
Austin, Texas: Harry Ransom Center
Book Collection
New Haven, Conn.: Beinicke Library,
Yale University
St. Louis, Missouri: Gaylord Music
Library, Washington University
Records
D-6: Breitkopf: One copy. All seven cantatas bound together in single volume.
Provenance: transferred from Princely Fürstenberg Court Library, Donaueschingen
D-7: Breitkopf: One copy listed in Schlager; unverified
D-8: Breitkopf: One copy listed in Schlager; unverified
D-9, 10: Breitkopf: Two copies
D-11: Simrock: One copy
D-12: Breitkopf: One copy listed in Schlager; unverified
DK-1: Breitkopf: One copy
F-1: Breitkopf: One copy. Provenance: Ancien Choron, former owner
GB-1: Breitkopf: One copy
GB-2: Simrock: One copy listed in Schlager; cannot locate in library catalog
GB-3, 4: Breitkopf: Two copies. Provenance: Gresham College Music Library
I-1: Breitkopf: One copy listed in Schlager; unverified
NL-1: Breitkopf: One copy
NL-2: Breitkopf: One copy
NL-3: Simrock: One copy
S-1: Breitkopf: One copy
S-2: Simrock: One copy
US-1: Breitkopf: One copy; provenance: Edwin Bachmann collection
US-2: Simrock: One copy bound with other items. Provenance: Lowell Mason Papers
collection
US-3: Breitkopf: One copy. Provenance: purchased from the library of Alan Tyson
77 Appendix B
Performance Materials, K. Anh. 124-130
Locations of the following performance materials were identified using the “RISM Series
A/II: Music Manuscripts after 1600” database, except where noted. In instances where the
database provides provenance or other information, that information has been included in these
tables.
The tables are organized first by country, then by location. The author has translated all
library names into English for consistency.
Heiliger, sieh gnädig, K. Anh. 124
Country
CH
CH
CH
CZ
CZ
Location and Provenance
Bern: Bern University of the Arts,
Music Library
Solothurn: Central Library, Music
Department
Provenance: See notes.
Zug: St. Michael’s Parish Archive
Prague: National museum –
Czech Museum of Music, music
archive
Provenance: Brothers of Charity
Hospital, Kuks
Třeboň: State Regional Archives
D
Annaberg-Bucholz: St. Anne’s
Church choir archive
D
Augustusburg: Evangelical
Lutheran Parish Church of St.
Peter
Provenance: Adolph Friedrich
Göhler
Burgstädt: Choir archive
D
D
Crimmitschau: St. Laurentius
City Church, music archive
Notes
13 parts (complete instrumental parts, no vocal parts); movement 1 only; no copyist or date
identified
17 parts (strings, org, 2 fl, 2 ob, 2 fg, 2 cn, 2 cno, timp – no vocal parts); provenance: St. Ursus
Cathedral, Solothurn; copyist not identified
1 vocal part in a collection; provenance and copyist: Cleopha Schmidlin, date between 1831
and 1856
17 parts (complete, plus 2 fl); no copyist or date identified
16 parts (complete set); copyist: Franz Xaver Rücker, 1843
4 parts (S, A, T, B, no instrumental parts) filed with Breitkopf score; no copyist or date
identified
1 manuscript score and 45 parts in four sets
•
set 1 complete; copyist: Christian Gottlieb Neubert, no date
•
set 2 voice parts only; copyist: possibly Gustav Ehberdt, no date
•
set 3 voice parts only; no copyist identified, approx. 1830
•
set 4 multiple voice parts and violins; multiple copyists identified, one part possibly
dated 1873
21 parts (complete set); copyist: Adolph Friedrich Göhler; RISM dates the manuscript “19th
century, second third,” but one vocal score is dated “9.6.22”
Five partial sets:
•
1 manuscript score; copyist: Heinrich Moritz Jost, between 1825 and 1849
•
18 parts (no trumpets or tenor solo, otherwise complete); copyist: A. Bergt, between
1833 and 1865
•
3 parts (S, A solo and coro, B); copyist not identified, between 1875 and 1899
•
2 parts (T solo and coro, S coro); copyist: Winter, between 1825 and 1849
•
2 parts (S coro x2); copyist not identified, between 1850 and 1874
1 score and 36 parts (complete set); copyist: Johann Friedrich Wilfert, Cantor of Crimmitschau,
1860
78 Country
D
D
D
D
D
DK
H
PL
Location and Provenance
Hannover: City Library, Music
Department
Provenance: Musical Society of
Hannover
Tübingen : Swabian National
Music Archive
Provenance: Herrenberg
(Stiftskirche?)
Wasserburg am Inn: St. Jacob’s
Parish Choir archive
Weimar: Franz Liszt School of
Music, Thuringian State Music
Archive
Provenance: Vogelsberg,
Adjuvantenarchiv
Weißenfels : Ephoral Library
Provenance: Weißenfels Kantorei
Christiansfeld: Moravian
(Herrnhut) community
Béla Bartók Performing Arts
Secondary School Library
Wroclaw: University Library
Provenance: St. Elizabeth Church,
Breslau
US
Bethlehem, Penn.: Moravian
Music Foundation Northern
Archives
Provenance: See notes.
US
New Haven, Conn.: Beinecke
Library, Yale University
Salem, NC: Moravian Music
Archive
Provenance: Salem Congregation
US
Notes
66 parts (tenor solo, chorus, and string parts only); c. 1838, copyist not identified
Printed score and 27 parts (complete, plus Vln. 3 (same as viola), 2 fl, 2 cl (same as fl, a-trb);
copyist not identified, before 1850
15 parts (complete set); copyist: “Copyist 9,” c. 1810 – watermark indicates that paper dates
from 1808-1840. Notes on part indicate that the collection formerly included a score, which has
been lost.
1 manuscript score and 17 parts (no timp, otherwise complete); copyist: ? Seifert, before 1835
19 parts (complete set); copyist not identified
5 parts (S, A, B, Vln. 1, 2); copyist not identified
1 manuscript score (60 pages); c. 1830, copyist not identified
1 manuscript score (52 pages); copyist: Christian Gottfried Hermann or Johann Carl Pohsner, c.
1812
Performance notes on page 52:
•
Nov. 4, 1812, festival for the swearing in of the Mayor – sung before the sermon
•
Thanksgiving (Erndtefeste – probably October 3), 1813
•
Bible festival, 1820
•
Mosesc hen Musik, 1824
Three separate sets:174
•
Set one, provenance: Lititz Congregation; copyist and date unknown.
o
Set of parts together in a file with Jaeschke: Ihr Töchter Jerusalems freut
euch!; movement 1 only
o
36 parts (complete set + fl., loosely based upon vln. I part); one soprano
part written later in a different hand and filed separately
•
Set two, provenance: Philharmonic Society of Bethlehem; copyist: Johann Christian
Till; date unknown
o
Collection titled “Collection of Cantatas and Choruses,” fifteen titles
including Cantatas 124 and 125 and all three motets
o
Fourteen orchestral books, complete set of parts for Mozart cantatas;
books for which Mozart pieces are not scored do not include these works
o
One complete set of parts for SATB
o
Complete set of keyboard reductions
•
Set three, provenance: Bethlehem Congregation; copyist and date unknown
o
Part books, bound together with Haydn: Lass auf diesem [dunklen]
Pfade
o
Movement 1 only; begins at the Adagio (vocal entrance)
o
23 parts (tpt., timp. missing) and short score
4 sets of voice parts175
15 parts (tpt., timp. missing); no copyist or date identified176
174
Alternate information source: Moravian Music Archive card catalog.
Alternate information source: Library notation in Lowell Mason Simrock score.
176
Alternate information source: Moravian Music Archive card catalog.
175
79 Allerbarmer höre, K. Anh. 125
Country
A
CH
CH
CZ
D
D
Location and Provenance
St. Floran (Linz): St. Florian Monastery library
and music archive
Solothurn: Central Library, Music Department
Provenance: Cleopha Schmidlin
Zug: St. Michael’s Parish Archive
Třeboň: State Regional Archives
Notes
8 parts (complete set); no copyist identified, c. 1820 (based upon watermark)
Halle: Martin Luther University and State Library
of Saxony-Anhalt
Provenance: Johann Christian Dauterstaedt,
Kantor at Bad Düben from 1786 to 1843
Kaufbeuren: Trinity Lutheran Church archive
DK
US
Christiansfeld: Moravian (Herrnhut) community
Bethlehem, Penn.: Moravian Music Foundation
Northern Archives
Provenance: Philharmonic Society of Bethlehem
US
New Haven, Conn.: Beinecke Library, Yale
University
Salem, NC: Moravian Music Archives
Provenance: Salem Congregation
US
1 vocal part in a collection; copyist: Cleopha Schmidlin, date between 1831
and 1856
10 parts (complete set); no copyist or date identified
4 parts (S, A, T, B, no instrumental parts) filed with Breitkopf score; no
copyist or date identified
1 score (possibly Breitkopf) and 9 parts (complete set); copyist: J.C.
Dauterstaedt, before 1843
12 parts (complete set, plus 2 ob., 2 cl. (same as ob), 2 cn.; no copyist or date
identified; listing might indicate the presence of a Breitkopf score as well
3 parts (S, A, B); no copyist or date identified
Set of parts; copyist: Johann Christian Till, date unknown
•
Collection titled “Collection of Cantatas and Choruses,” fifteen
titles including Cantatas 124 and 125 and all three motets
•
Fourteen orchestral books, complete set of parts for Mozart
cantatas; books for which Mozart pieces are not scored do not
include these works
•
One complete set of parts for SATB
•
Complete set of keyboard reductions177
4 sets of voice parts178
8 parts (complete set including organ reduction); copyist and date unknown179
Herr, Herr, vor deinem Throne, K. Anh. 126
Country
CH
CH
D
D
D
D
Location and Provenance
Solothurn: Central Library, Music
Department
Provenance: Cleopha Schmidlin
Zug: St. Michael’s Parish Archive
Burgstädt: Cantorei-Archiv
Provenance: Heinrich Moritz Jost
Halle: Martin Luther University and State
Library of Saxony-Anhalt
Provenance: Bad Düben Kantorei; later
Arno Werner
Halle: Martin Luther University and State
Library of Saxony-Anhalt
Provenance: Johann Christian Dauterstaedt,
Kantor at Bad Düben from 1786 to 1843;
later Arno Werner
Kaufbeuren: Trinity Lutheran Church
archive
Notes
1 vocal part in a collection; copyist: Cleopha Schmidlin, date between 1831 and
1856
1 short score (vocal parts, no text) bound together with Cantata 129; 16 parts
(complete set); several copyists, no date specified
1 score (manuscript) and 13 parts (complete set); copyist: J.G. Adam, 1820. Second
set of parts in another hand; Sop. and vla. only (vla created by copyist).
1 score (manuscript) and 11 parts (bc and timp missing); copyist: C. Köppel, date
unknown; title page: “…Chr, Quartett u. Chor aus einer Messe von Mozart”
1 score (manuscript) and 13 parts (complete set); copyist: J.C. Dauterstaedt, before
1843; title page includes subitile “Cantate Festo Purificat. Mariae.,” possibly
indicating a performance date of Feburary 2, but no year is given.
14 parts (complete set); no copyist or date identified
177
Alternate information source: Moravian Music Foundation card catalog.
Alternate information source: Library notation in Lowell Mason Simrock score.
179
Alternate information source: Moravian Music Foundation card catalog.
178
80 Country
D
D
DK
US
Location and Provenance
Metten: Metten Abbey library
Weißenfels: Ephoral Library
Provenance: Johann August Gärtner,
Weienfels Kantorei
Christiansfeld: Moravian (Herrnhut)
community
New Haven, Conn.: Beinecke Library, Yale
University
Notes
10 parts (complete set); copyist: Jos. Joseph, 1831
1 score (manuscript); copyist: Sachse, October 21, 1821
10 parts (S, A, B, Vln. 1, 2, cb, ob. 1, 2, tpt. 1, 2); copyist and date unknown
4 sets of voice parts180
Ewiger, erbarme dich!, K. Anh. 127
Country
CH
Location and Provenance
Basel: Archives of the Evangelical Brethren
CH
D
D
Winterthur: City Library
Crimmitschau: St. Laurentius City Church,
music archive
Waldenburg: St. Bartholomew’s Church
archive
Provenance: Johann Daniel Jacob, Cantor,
later property of the church
PL
Wroclaw: University Library
Notes
21 parts, movement 2 only (complete set plus 2 fl., 2 cl., 2cn.); copyist unidentified,
May 1825
1 manuscript score; no copyist or date identified
1 score and 6 parts (voice parts only); copyist: Johann Friedrich Wilfert, Cantor of
Crimmitschau, 1860
1 manuscript score and 24 parts in two sets:
•
First set 20 parts (chorus A and cor. 1 missing); copyist: Ludwig Mallder,
date unknown
•
Second set 4 parts (solo S, chorus S, chorus A, org); other copyists,
unidentified
1 manuscript short score (p/v), movement 2 only; title page: “Quartetto aus Mozarts
‘Ewiger erbarme dich;’” copyist and date unknown
Mächtigster, Heiligster, K. Anh. 128
Country
CH
Location and Provenance
Solothurn: Central Library, Music
Department
Provenance: See notes.
CH
Zug: St. Michael’s Parish Archive
Provenance: M. Schwärzmann
Burgstädt: Choir archive
Crimmitschau: St. Laurentius City
Church, music archive
Göttingen: State and University
Library
Provenance: Possibly St. Nicholas
Church in Bösenrode
Waldenburg: St. Bartholomew’s
Church archive
Provenance: Ludwig Malder, later
property of the church
D
D
D
D
Notes
17 parts (complete set of instrumental parts; no voice parts); provenance: St. Ursus
Cathedral, Solothurn; copyist and date unknown
1 vocal part in a collection; provenance and copyist: Cleopha Schmidlin, date between 1831
and 1856
15 parts (complete set, cn. parts instead of tpt.; fg. added); copyist and date unlisted;
possibly the same as Cantata 129 entry.
1 manuscript score and 16 parts (complete set); copyist unknown, date listed as 1825–1849
1 score and 39 parts (complete set); copyist: Johann Friedrich Willfert, 1860; written in
pencil inside title page: “9-10 Min.”
1 vocal score (short score) and 21 parts (complete set; 2 cn. and timp added later); copyist:
Böhme (?), date unknown; also 30 copies of cantata text (handwritten)
1 manuscript score and 17 parts in two sets:
•
16 parts (complete set); copyist: Ludwig Mallder, date unknown
•
1 part (org.); unknown later hand
180
Alternate information source: Library notation in Lowell Mason Simrock score.
81 Hoch vom Heiligthume, K. Anh. 129
Country
CH
Location and Provenance
Solothurn: Central Library, Music
Department
Provenance: See notes.
CH
Zug: St. Michael’s Parish Archive
Provenance: M. Schwärzmann
Zurich: Central Library, music department
Prague: National museum – Czech Museum
of Music, music archive
Provenance: Brothers of Charity Hospital,
Kuks
Glauchau: St. Gregory Church music archive
Provenance: Pezold (?), later property of the
church
CH
CZ
D
Notes
17 parts (complete set of instrumental parts; no voice parts); provenance: St. Ursus
Cathedral, Solothurn; copyist and date unknown
1 vocal part in a collection; provenance and copyist: Cleopha Schmidlin, date
between 1831 and 1856
12 parts (complete set); copyist M. Schwärtzmann, 1841
1 manuscript score; copyist and date unknown
11 parts (complete set); copyist: Franz Xaver Rücker, 1843
1 manuscript score; copyist: probably former owner (Pezold), 1821
Herr, auf den wir schauen, K. Anh. 130
Country
CH
CH
D
Location and Provenance
Einsiedeln: Einsiedeln Abbey, music
library
Solothurn: Central Library, Music
Department
Provenance: See notes
Waldenburg: St. Bartholomew’s
Church archive
Provenance: Ludwig Malder, later
property of the church
Notes
1 score (possibly Breitkopf) in a bound collection of Church Cantatas; possibly movement
1 only
17 parts (complete set of instrumental parts plus 2 fl., 2fg.; no voice parts); provenance: St.
Ursus Cathedral, Solothurn; copyist and date unknown
1 vocal part in a collection; provenance and copyist: Cleopha Schmidlin, date between
1831 and 1856
1 manuscript score and 20 parts in two sets:
•
3 parts (Chorus A, T, B); copyist: K.H., date unknown
•
17 parts (complete set); copyist: Ludwig Mallder, date unknown
82 Appendix C
Texts and Translations
Heiliger, sieh gnädig, K. Anh. 124
Heiliger sieh gnädig hernieder!
Höre unsre Lieder!
Auf zu Dir empor
steiget froher Psalmen Chor!
Preisend Opfer Dir zu weihen
Sieh, wie sich Deiner Alle, Deiner freuen!
Alles singt Dir mit lauten Dank.
Alles singt, Vater, Der den Lobgesang!
Alles mit heisem Dank
singet Dir Lobgesang
Wie sich Alle Deiner freuen!
Alles singet Dir Lobgesang.
Holy one! Look graciously down!
Hear our songs!
Up to you rises
our joyful Psalm chorus!
Praises offered and dedicated to you.
Look how all your (people) are so happy!
All sing to you with loud thanks.
Father, to you all sing a hymn of praise.
All with overflowing thanks
sing hymns to you.
How happy are all your people!
All sing hymns to you.
Du, allgütiger Vater
eilst uns Wonne zu bereiten;
segnend aus des Lebens Pfad,
Streust Du immer neue Freuden.
Nur Deine Huld ist, Deine Kraft
die uns zu frohen Menschenschaft.
Du der Gott der Liebe,
reichst das Glück mit Vater händen,
selbst des Lebens Leiden weist
Du uns zum Heil
O, allgütiger Vater!
Du streust uns segnend
auf des Lebens Pfade
Stets neue Freuden.
You, all-good father,
made haste to grant us bliss
our life’s paths have been sprinkled
always with new joy.
Your love is what strengthens
our joyful human race.
You, God of love,
gives us happiness with your fatherly hands,
even the life you suffered
points us to salvation.
Oh, all-good father,
You’ve sprinkled blessings
on our life’s paths
always new joy.
Anbetung Dir!
Erhabner, Dir seider Dank geweiht!
Dir, dem Vater, Dir dem Schöpfer Aller!
Betend sinken wir vor im Staub vor Dir.
Dir, Herr, del Welten!
Ertön’ ein Lobgesang, Hallelujah!
Dich, Herr und Schöpfer,
Dich preist der Jubeldank in Ewigkeit.
Amen.
We worship you!
Sublime one, to you thanks is concentrated.
To you, father, to you, creator of all!
Praying, we fall in the dust for you.
(To) you, Lord of the world,
(we) sing a hymn of praise. Hallelujah!
(To) you, Lord and Creator,
Praise and Thanks forever.
Amen.
83 Allerbarmer höre, K. Anh. 125
Allerbarmer! höre deiner Kinder Flehen!
Sieh unser Sehnen diese Thränen;
lass Erbarmen, Herr, uns finden.
Du, der gern verzeiht, sieh unser tiefes Leid
lass uns Verzeihung finden.
Ach gütiger Vater!
Dein Sohn versöhnte uns mit Dir
Nein, nich trostlos hoffen wir.
Heiliger Gott! erbarme dich unser!
Allerbarmer! höre deiner Kinder flehen!
Most gracious! Hear your children plead!
See our longing, and these tears;
Let your mercy, Lord, find us.
You, who are forgiving, see our deep sorrow
Let us find forgiveness.
Ah, benevolent father
Your son has reconciled us with you.
No, no longer inconsolable, we have hope.
Holy God, have mercy on us.
Most gracious! Hear your children plead!
Dir, Welten Heiland, nahn wir uns Sünder
Du, vom Mitleid tief gerührt
hast dem Vater zuge führt uns verlohrne Kinder.
Hoher Mittler! du erneust das heilige Band;
du eilst mit milder Hand uns dem,
der dich gestandt ganz aus zu söhnen
Du wonne der Erlösten
uns liebe voll zu Trösten, war dein hohes Streben
Du, hoher Menschenfreund,
der ein Heiland uns erscheint, hör unser Flehen!
Herr, wir flehen voller Reue,
lass aufs neue Gnad uns finden.
Du, der das Leben, neu uns gegeben,
Du, der Menschen Retter du,
schenk dem Herzen neue Ruh,
uns neues Leben!
Dir, der welt Heiland,
nahn wir uns Sünder,
höre ihr Flehen!
To You, the world’s savior, let us sinners draw near,
deeply moved by your compassion,
we lost children have been fed by the Father.
High priest! You renew the sacred bond;
You treated us with a gentle hand,
and sent one to reconcile us all.
You, delight of the redeemed,
to give us loving comfort was your high aspiration.
You, high philanthropist
who appears to us as Savior, hear our prayer!
Lord, we pray full of remorse,
let us find new grace
You have given us new life.
You, our deliverer,
given our hearts the gift of new peace,
a new life!
To You, the world’s savior,
let us sinners draw near,
hear our prayer!
Ja, wir sind erhöret,
versöhnet ist unser Vater!
Herr der Welten!
Ja, gewähret hast du des Herzens Flehen.
Du neigst dich mit gnädigen Blicken,
erfreust uns mit hohem Entzücken,
nimm des Herzens heisen Dank.
Yes, we have been heard;
we are reconciled with the Father!
Lord of the world!
Yes, you have granted our heart’s prayer.
You look upon us graciously,
fill us with glad delight,
take the heart’s highest thanks.
Ein neues selges Leben wird frei die Brust erheben.
Sie stärket inn’re Kraft.
Des Vaters heiligen Willen mit Freude zu erfüllen
geibst du selbst Muth und Kraft.
Gebieter unsers Lebens,
du zeigst uns nicht Vergebens
Hofnüng, der Hofnung sanftes Licht.
Du hörst uns gnädig wieder,
versöhnt siehst du hernieder.
Verworfen sind wir nicht.
A new and blissful life has freely entered our bosom.
It has restored our inner strength.
The Father’s holy will with joy has been fulfilled
and granted us courage and strength.
Ruler of our life,
You have shown us it is not in vain
that we reach toward your soft light.
Graciously hear us again,
look down with reconciliation.
We are not discarded.
Herr Erlöser! Du söhntest unsre Sünden.
Gnade, Gnade lass uns finden.
Ach! leicht straucheln wir
Herr Erlöser, leicht straucheln wir vor Dir,
Wenn wir sinken, hilf gnädig!
Wenn wir fallen, erbarme dich unser!
Lord Savior! You have forgiven our sins.
Let us find grace.
Oh, we stumble slightly,
Lord Savior, we stumble in front of you,
When we fail, help graciously.
When we fall, have mercy on us!
84 Herr, Herr vor deinem Thröne, K. Anh. 126
Herr! Herr! vor deinem Throne, dankt dir der Erlössten Geschlecht.
Tönet ihr Hallen, füllet den Tempel, heilige Lieder; den gross ist sein
Name und seine Herrlichkeit. Seine Name ist mächtig, ihm jauchzen
alle Völker. Er wohnet in allen Herzen, ihm schlägt ein jeder
Pulsschlag, ihm hebt sich freudig jede Brust.
Lord! Lord! Before your throne the Savior’s redeemed offer their
thanks. Their halls ring, the temple is filled with sacred songs, for great
is His name and His glory. His name is mighty, all peoples rejoice in
Him. He lives in every heart, every heartbeat shall envelop Him, every
breast rise joyfully to Him.
Selig wer in dem Tempel der Gottheit frohes Herzens sich erhebet und
freudig sich ihrem Dienste weiht. Heil und Segen wird dem Manne der
wandelt die Pfade des Herrn.
Blessed is he who lifts up a glad heart to God in the temple and
joyfully consecrates himself to Your service. Grace and blessings are
his, who walks in the paths of the Lord.
Seeligkeit füllet alle herzen, die sich freuen seiner Wahrheit heiligen
Verheisung. Sein heilig Wort hebt uns freudig empor, gibt uns Trost
und Muth und f¨hret uns zum Ziel, tröstet uns, leitet uns zum schönsten
Ziele.
Bliss fills every heart that rejoices in the truth of His holy promise. His
holy word lifts us up in joy, gives us comfort and courage and leads us
to the goal; comforts us, leads us to the most beautiful goal.
Herr deine Weisheit übertrift jegliches Wissen der Erde. Herr nur bei
dir wohnet die Wahrheit, wohn’t Herr nur in dir die Fülle der Klarheit,
vergebens ist Forschen nach Erden Weisheit! Erden Licht ist
Finsternis, wo du nicht erleuchtest, suchet kein Licht in Finsternis in
der Welt; den Weisheit ist einzig nur in Gottes Worte. Außer ihm ist
Finsternis. Herr bei dir ist Warheit, Weisheit, Stärke, Seligkeit, Freud
und Wonne, deine Weisheit gibt uns Leben, Kraft und Wonne und
Seligkeit.
Lord, your wisdom surpasses all earthly knowledge. Lord, the truth
dwells only in you. Only in you, Lord, lives the fullness of clarity;
striving for earthly wisdom is purposeless! Earthly light is gloom;
where you do not illuminate, one should seek no light in the darkness
of the world, for wisdom exists only in the word of God. Except for
Him all is darkness. Lord, within you are truth, wisdom, strength,
salvation, joy, and delight; your wisdom gives us life, vigor and delight
and salvation.
Ausgegangen von Ewigkeit, strahlt leuchtet heiliger Glaube in der
Menschen Herzen, doch sie erkannten es nicht, den noch schlief die
Götterkreft. Ungewecket sie ahnet höhre Klarheit süß wie in
Morgenträumen, im Traume sanfte Dämmerung ein heit’res
Morgenroth kündigt einen schönen Tag, strahlt und verkündigt ein
froheres Leben, es füllet jedes Herz. Süße Ahnung eines schönen
Tages, ein heit’res Morgenroth nährt die Hoffnung einen schönen
Tages.
Emanating from eternity, the light of holy faith has shined into the
hearts of mankind, but they did not recognize it because the power of
God still slept. Unawakened, it sensed a sublime clarity, sweet as in
morning dreams, as at a soft dawn in bright sunrise foretells a beautiful
day. Shining and proclaiming a happier life, it fills every heart. Sweet
portent of a beautiful day, a bright sunrise nourishes the hope of a
beautiful day.
Siehe, da erscheinet der Menschheit Erlöser, siehe, da erscheint er und
lehret die Völker Wahrheit. Ausgegangen von Ewigkeit strahlt leuchtet
heilige Wahrheit, ins Dunkel der ahnenden Schöpfung strahlt das Licht
der Wahrheit. Ins Dunkel der Schöpfung noch schlief die Götterkraft
ungewecket, sie ahnt nur höhre Klarheit, süß wie in Morgenträumen,
sanfte Dämmerung, ein heit’res Morgenroth blüht leuchtend schon in
Osten, kündigt einen schönen Tag.
Behold, humankind’s Redeemer appears, behold, he appears and
teaches truth to the people. Emanating from eternity the light of holy
truth shines forth, into the darkness of the waiting creation the light of
truth streams forth. In the dark of creation the power of God slept still
unawakened, sensing only a sublime clarity, sweet as in morning
dreams, as in the soft down a bright sunrise blooming luminously in
the east proclaims the beauteous day.
Siehe da erscheinet der Menschheit Erlöser, siehe da erscheint er und
lehret die Völker Wahrheit. Durch den Glauben hoch erleuchten an
seine Worte alle Völker, es strahlet in die Schöpfung, sein heil’ges
Licht. Durch sein Wort der den Offenbahrung, sind wir hoch begandet,
erleuchtet von seinem Lichte.
Behold, humankind’s Redeemer appears, behold, he appears and
teaches truth to the people. Through faith brightly illuminated by his
word to all peoples, it streams into creation, his holy light. Through his
word, the manifestation, we are greatly favored, illuminated by His
light.
Freut euch, ihr Christen! Von ihm erkohret zum ewigen Lichte der
Wahrheit des Heils zu seiner Herrlichkeit. Hell strahlt euch des
Glaubens Licht. Seine Weisheit hat er durch seinen Sohn euch
offenbahrt und durch seine Gnade euch zu Kindern auserwählt.
Klarheit dem Geiste, dem Herzen Fröhlichkeit ruhig wallt ihr durch’s
Erden Leben. Von des Glaubens Lichte hellen sich die dunkeln Pfade,
ebnen sich die Wüsten ein, erglänzen uns Welten dem Auge des
Rejoice, you Christians! He called you by the eternal light of the truth
of salvation to his glory. The light of faith beams brightly on you. God
manifested his wisdom to you through his son, and through his mercy
chose you as his children. Clarity of the spirit, happiness of the heart is
your earthly pilgrimage. By the light of faith the dark paths are
illuminated, the rough places are leveled, worlds gleam for us which
are hidden from the earthly eye, brilliant ones obscured by the illusion
85 Straubes verborgen, die blendend des Wahnes Dämmerschein bedeckt.
of twilight.
Des Grabes Finsternis hellst du mit Hoffnung. Trösterin in Leiden,
reichst Gläubigen Seelen den Stab. Süße Hoffnung, du des Himmels
Tochter, des Glaubens frische Blüthe duftest süß vom Grab’ uns zu
und bess’res leben winkt übern Urnen. Himmlische Klarheit dringt ins
Dunkel des Grabes, hebet das Herz empor, gibt Muth im harten Lebens
Kampf und reicht uns die Palme des Sieges, der Grabes Nacht.
Unvergängliches Heil blüht den Erwählten.
You lighten the gloom of the grave with hope. Comforter in sorrow,
you extend your staff to the souls of the faithful. Sweet hope, daughter
of heaven, fresh bloom of faith, you waft sweetly to us from the grave,
a better life beckons to us beyond the casket. Heavenly clarity pierces
the darkness of the grave, lifts up the heart, gives courage for the hard
battle of life and offers us victory over the night of the grave.
Unending salvation opens to the elect.
Darum danket dem Herrn, der euch erwählt zu Kindern des Lichtes aus
der Knechtschaft Ketten, aus den Banden der Finsternis, der euch
schenkte sein Erbtheil, gab sein Erbtheil zum ewigen Leben. Heil uns
Erlössten die er sich auserwählt zu seinen Kindern im Himmerreich
auf, preiset ihn! Der uns erlöset aus der Knechtschaft Banden, seine
Theuren, der uns einstens, nach der Erde Leiden, aus den Gräbern, zu
seiner ewigen Herrlichkeit, führt zum Lohne, der uns führet, zu seiner
Herrlichkeit.
Therefore thank the Lord, who elected you to be children of the light
out of the chains of servitude, out of the bonds of darkness, who
bestowed on you his portion, gave his inheritance of eternal life.
Salvation to us redeemed, whom he elected his children in the
kingdom of heaven, glory to him! He who redeems us, his purchase,
from the bonds of slavery, once and for all time by his sorrows on
earth, leads us from our graves to his eternal glory, leads to the reward,
guides us to his glory.
86 Ewiger, erbarme dich, K. Anh. 127
Ewiger, erbarme dich, Vater Menschen!
Christus, erbarme dich! Erlöser der gefallnen Menschen.
Fried’ auf Erden sey und den Sterblichen Heil und Wohlgefallen!
Wir loben dich.
Ja, wir rühmen dich o Herr,
wir verehren dich,
anbetend preisen wir dich,
danken dir Schöpfer!
Alle Welt ist deiner Ehre voll!
Urquell des Lebens, Unerschaff’ner, der du warst von Ewigkeit,
und du, Erlöser! Ein geborener!
Jesus Christus, Heiland der Menschen,
Licht vom Lichte, erhabner Gottes sohn der schuldlos der Menschen
Sünden getragen, o erbarme dich unser!
Höre uns wenn wir demuthsvoll dich flehen,
du Mittler am Throne des Vaters,
Herr erbarme dich unser!
Denn du schützest deine Christenheit,
dein Geist vertritt uns, deine Liebe umfasset uns Jesus Christus.
Dir sey Preis zur Ehre Gottes des Vaters, Amen.
Lord, have mercy, father of men!
Christ, have mercy, Savior of the fallen people.
Peace on earth and to mortals, health and goodwill!
We praise you,
yes, we extol you, o Lord,
we worship you,
with adoration we praise you,
and thank the Creator!
All the world is full of your glory!
Fountainhead of life, uncreated, you who were from everlasting,
and thou, Redeemer! A natural-born (man)!
Jesus Christ, the Savior of men,
Light from light, God’s blameless Son who has made the people
blameless, borne our sins, O have mercy on us!
Hear us when we humbly beseech thee,
Thou intermediary before the throne of the Father,
Lord have mercy on us!
Because you are the salvation of your Christians,
Your spirit represents us, your love provides for us, Jesus Christ.
To you be praise for the glory of God the Father. Amen.
Der du Leid und Sehnsucht stillest
und das Herz mit Trost erfüllest,
das sich reuvoll seiner Schuld bewußt,
ach, ich bin des Wogens müde,
banger Schmerzen, unruhvoller Lust;
Geist vom Himmel, Gottes Friede,
komm und who’ in meiner Brust!
You who ease suffering and longing
and fill with solace the heart that,
overcome with remorse, is conscious of its guilt,
ah, I am weary of upheaval,
fearful anguish and restless desire!
Spirit from Heaven, God’s peace,
come and dwell within my breast.181
Das Sterblichen Auge bedecks du mit heiligem Dunkel,
bis ihm der Tag der Erleuchtung kommt,
leite uns, Herr, durch das umnachte te Erdenthal!
The mortal eye you cover with holy darkness,
to him the day of enlightenment comes,
guide us, Lord through the benighted valley of earth.
Lass in der Andacht Entzükken freudig mich nahen,
Höchster deinem Heiligthum!
Löse mir, o lose die Räthseldes Lebens
wenn in Dunkel mein Schicksal in Nacht verhüllet,
Lass mich in Andacht mich nahen!
Denn eskommt von dir, Gott, des Lebens,
des Segens Fülle, den von dir, o Höchster,
kommt des Segens Fülle, von dir.
Let me delight in your service and joyfully draw near
the heights of your sanctuary.
Solve for me the riddle of life.
When my fate is bound in night,
let me draw near to worship!
For there comes from you, O God of life,
fullness of blessings; O most high,
fullness of blessing comes from you.
Lob, Ehr’ und Preis sey dem Unendlichen!
Alles was Odem hat, erhebe den Höchsten,
der Leben gibt und volle Gnüge.
Denn seine Gnade, seine Barm herzigkeit hat nie ein Ende.
Sing’t dem Herr, preis und Ehre und lobet seinen Namen,
predigt einen Tag am andern sein Heil!
Erzählet unter den Völkern, wie grosser ist!
Es stehet herrlich und prächtig vor ihm
und es geht gewaltig zu und löblich in seinem Heiligthum.
Blessing, honor and glory be to the infinite Lord!182
Everything that has breath, praise the Most High,183
He who gives life and grace.
For his mercy never ends.
Sing to the Lord, praise, honor, and bless his name.
Tell all day of his salvation!
Declare among the nations that he is great!184
Honor and majesty are before him.
Strength and beauty are in his sanctuary.185
181
Translation by Stewart Spencer in Abert, Spencer, and Eisen, W. A. Mozart, 1356.
Revelation 5:13.
183
Psalm 150:6.
184
Psalm 96:2-3.
185
Psalm 96:6.
182
87 Er übt Gewalt mit seinem Arm
und dem Frevler, und schleudert die Stolzen von vermessner Höhe,
Der Herr ist nahe allen, die ihn an rufen,
Und richtet auf die Traurigen,
Der Herr behütet die, so ihn fürchten,
die Unrecht thun, macht er zu Schanden.
Sein Reich ist gegründet ewiglich
Und er richtet die Erde mit Gerechtigkeit, die Völker mit Wahrheit.
Bringet dem Herrn die Ehre, seinem Namen
und preiset ihm in Ewigkeit.
Alles, was Odem hat, lobe den Herrn und sey frölich!
Wie es vom Anfang war, und nun, und immer!
Und in alle Ewigkeiten, Amen.
He has shown strength with his arm
and the wicked and proud he has scattered from their heights.186
The Lord is near to all who call on him,
and he rights that sorrowful.187
The Lord watches over those who fear him,
the wrongdoers he puts to shame.188
His kingdom will be established forever.189
He shall judge the earth in righteousness, the people with truth.190
Ascribe unto the Lord the glory due his name
and glorify him for ever.191
Everything that has breath praise the Lord and be joyful!192
As it was in the beginning, and now, and always!
And for all eternity. Amen.193
Mächtigster, Heiligster, K. Anh. 128
Mächtigster, Heiligster erhöre uns, tief in Staub anbeten wir.
Unser Flehen, dringt auf zu dir.
Blick auf uns hernieder!
Sei uns gnädig wieder!
Durch des Raumes Schranke schwingt sich der Gedanke empor zu dir,
dem Quell des Lichts!
Höre uns bitten, erhöre uns, Herr, o Herr erhör’ uns.
Empfange gnädig o Vater die Kinder!
Du, voll Gnade selbst gegen Sünder.
Herr, erhöre uns.
Most powerful, most holy one, hear us, deep in the dust we worship.
Our supplications break forth unto you.
Look down upon us!
Be gracious to us again!
Throughout the confines of our world our thanks resonates aloft to
You, the source of all light!
Hear our pleas, hear us, Lord, O Lord hear us.
Graciously receive your children, O Father!
You, full of grace even to sinners,
Lord, hear us.
Klagend und sehnsuchts voll erhebt sich die Seele,
ringend nach Erlösung auf zu dem ewigen Licht.
Gläubig blicken wir in jene Fernen, zum Vater über’n Sternen,
Der uns ruft zu seiner Herrlichkeit.
Über dem Grabe dämmert der Morgen des ewigen Lebens,
Frei vom Dienst des vergänglichen Wesens,
schwingt sich der Geist, zur Vollendung auf,
das ängstliche Erwarten der Creatur verwandelt sich
in Wonne himmlischer Gewährung und Freiheit der Kinder Gottes.
Duldet muthig vergängliche Leiden,
ewig sind des Himmels Freuden!
Ja duldet muthig vergängliche Leiden,
sie führen zur Vollkommenheit!
Vertrauet der trösten den Hoffnung,
sie geleitet uns zur Ewigkeit,
durch das Erdenleben und die Gefilde des Todes!
Preis dem Sohne, der vom Himmel hernieder kam und Leben
und Unsterblichkeit an’s Licht gebracht!
Preis dem Sohne, der in Allem gleich den Brüdern,
Mühe und Leiden übernommen,
Plaintive and full of longing rises the soul,
struggling for redemption at the eternal light.
With faith we look to the heights, the father over the stars,
who calls us to His glory.
Over the grave dawns the morning of eternal life,
free from the bondage of corruption,
soars the spirit to its completion,
the anxious expectations of the creature transform
in heavenly bliss and grant freedom to the children of God.
Who bravely endures the mortal suffering,
is eternally joyful in heaven.
Yes, courageously endure the fleeting suffering,
it will bring you to perfection!
Believing in the comfort of hope,
they guided us to eternity,
through mortality and the realm of death!
Praise the Son, who came down from heaven and lived
and brought immortality to light.
Praise the Son, who for all the brethren,
has undertaken the pain and suffering,
186
Luke 1:51.
Psalm 34:18.
188
Psalm 34:16-17.
189
Luke 1:33.
190
Psalm 96:13.
191
Psalm 96:8-9.
192
Psalm 150:6.
193
Lesser Doxology.
187
88 und ein Beispiel uns gegeben, zu überwinden die Welt!
Osanna in der Höhe!
and provided an example for overcoming the world!
Hosanna in the highest!
Welterlöser, du lehrtest Ergebung und Liebe die Menschen.
Stärke uns, die wir hienieden wallen, dass wir nicht ermüden,
Schenk uns deinen Frieden.
Gieb uns deinen Frieden.
Senke in unsre Herzen deinen Geist der Liebe,
dass wir dulden, lieben in deinem Geist.
Redeemer of the world, you taught us devotion and love of the people.
Strengthen us as we sojourn here below, that we will not tire,
Grant us your peace.
Give us your peace.
Lower into our hearts your spirit of love,
that we condone, love in your spirit.
Gottes Geist lebt in uns,
mächtig ist sein Walten,
allen Herzen Friede und Ruh weht der Geist der Liebe zu.
Des Lebens Quell fleusst rein
Dahin Liebe und Glaube leiten ihn zu ewiger Seligkeit.
Folget ihm auf seinen Wegen,
denn sie führen uns zur Herrlichkeit und zu ewigem Frieden.
Heiland, du Fürst des Lebens,
der Liebe, der du uns ein Vorbild gelassen hast.
Wandelnd auf Erden, liebend und demuthsvoll,
zeigst du die Pfade zum ewigen Glück.
Du lehrtest Ergebung und Liebe.
Stärke uns in Kampf der Leiden.
Gieb, dass wir die Palme erringen,
die dem Dulder lohnet.
Du bist in den Schwachen mächtig,
auf dich vertrauen wir, führ’ uns, wir folgen dir, auf zum Ziele!
Dann schwindet jeder Schmerz,
es hebt sich himmelwärts der Geist mit entbundenen Schwingen!
Amen!
God’s Spirit lives in us,
His rule is powerful,
the peaceful rest of all hearts is blown by the love of the Spirit.
The source of life is flowing clean
then love and faith lead him to eternal bliss.
Follow him in his ways,
because they lead us to glory and peace,
Savior, thou prince of life,
You left us an example of love.
Walking on the earth, lovingly and humbly,
You showed the path to eternal happiness.
You taught devotion and love.
Strengthen us in the struggle of suffering.
Give, that we will win the palm
of which the sufferer is worthy.
You were made perfect in weakness,
we trust in you to lead us; we follow you on to the goal!
Then vanishes all pain,
it rises heavenward when the Spirit comes down!
Amen!
Hoch vom Heiligthume, K. Anh. 129
Hoch vom Heiligthum tönt’ es hernieder:
herrsche zu meiner Rechten,
bis ich lege deine Feinde zum Schemel deiner Füsse,
und dir Scepter ewiger Macht erblüht aus Zion.
Nach dem siege wird williglich dein Volk dir opfern
im heiligen Schmuck.
Und deines Reiches Kinder werden dir geboren!
Wie der Thau aus der Morgenröthe,
wie der Blumen Morgen thau in Sonnenstral!
So sprach der Ewige, Worte der Verheissung,
und es wird ihn nicht gereuen,
du bist sein Priester nun und immer,
sein Priester nach der Art Melchisedech,
und er wird zerschmettern zu deiner Rechten die Götzen,
und ihrer Tempel Dienst vernichten.
Er wird bringen die Völker zum Gericht;
er wird richten sie mit Gerechtigkeit,
und erfüllen alle Land emit den Wundern seiner Macht, seiner Stärke.
Es wird trinken vom Bach des Weges,
der Held wird trinken, und dann gestärkt erheben sein Haupt erheben.
Preis sei dir, der du warest Gott vom Anbeginn,
und nun und immer,
und in alle Ewigkeiten, Amen.
Resounding down from on high:
rule at my right hand,
until I make your enemies your footstool,
your eternal power and scepter will blossom fro Zion.
After the victory thy people shall make willing sacrifices
in the beauty of holiness.
And of your kingdom children will be born!
As the dew of the dawn,
like the flowers in the morning sunbeam!
Thus spoke the Lord, words of promise,
and he will not repent,
you are his priest now and always,
a priest after the order of Melchizedek,
and he will smash their idols with his right hand,
and destroy their temples.
He will bring the people to justice;
he will judge with righteousness,
and fulfill all the land emitting the wonders of his power, his strength.
He will drink from the brook in the path,
and then strengthened, lift up the head.
Praise to you, who were God from the beginning,
and now and always,
and for all eternity. Amen.
89 Erhebt den Allmächtigen, alle Völker,
lobe den Schöpfer alles, was Odem hat.
Mit Danken erheb’ ihn o mein Geist!
Denn er hat erfüllet was er verheissen hat,
und seine Gnade hat nie ein Ende.
Ja, seine Güte reicht so weit die Wolken gehen;
erhebt ihn, ihr Völker, preist den Allmächtigen,
lobe den Schöpfer alles, was Odem hat.
Wie es war vom Anbeginn, und nun und immer,
in alle Ewigkeit. Amen.
Lift up the Almighty, all people,
all that breathes praise to the Creator.
With thanksgiving raise him up, o my spirit!
For he has fulfilled what he promised,
and his mercy is without end.
Yes, his goodness extends as far as the clouds;
raise him up, ye people, praise the Almighty,
praise to the creator of all that breathes.
As it was in the beginning, and now and always,
for all eternity. Amen.
Dem Ewigen, Allwaltenden, Preis sey ihm nun und immer dar,
und alle Zungen müssen sein Lob, seinen Ruhm verkündigen;
weil er gnädig hat angesehen des Menschen Niedrigkeit;
denn von nun an war den ihn anbeten alle Nationen,
er hat Grosses gethan; er, der da mächtig, almachtig ist,
und dessen Name, heilig ist,
und seine Barmherzigkeit währtewig über die, so ihn fürchten.
Seine Gnade waltet für und für.
Er übt Gewalt mit seinem Arm;
und die Stolzen zerwirst er in ihres Herzens Dünkel;
er stürzt herab die Mächtigen vom Stuhle,
und hebt empor die Niedrigen;
er spende volle Güter den Armen, und last die Reichen leer,
er sandte seinem Volk Erlösung,
eingedenk der Fülle seines Erbarmens,
wie er verheissen hat vom Anfang, vom Anbeginn, ewiglich,
Ehre dem Vater, Ehre dem Sohne und dem heiligen Geiste,
wie’s vom Anfang war, und nun und immer,
und in alle Ewigkeit. Amen.
The eternal, all-ruling, praise be to him now and always,
and every tongue must praise, proclaim his glory;
because he has looked graciously on man’s lowliness;
from henceforth, all nations will worship Him,
He that is mighty has done great things,
and holy is his name,
and his mercy is everlasting upon them that fear him.
His mercy endures for ever and ever.
He has shown strength with his arm;
and the proud he has (scattered) in the conceit of their hearts;
He puts down the mighty from their seats,
and lifts up the lowly;
He will fill the hungry with goods, and the rich empty their load,
He sent redemption to his people,
mindful of the fullness of his mercy,
as he has promised from the beginning and for ever.
Glory to the Father, the Son and the Holy Spirit,
As it was from the beginning, is now and always,
And for all eternity. Amen.
Herr, auf den wir schauen, K. Anh. 130
Herr, auf den wir schauen,
Stärk uns in Vertrauen,
Dass wir auf dich bauen
Bis in den Tod.
Still’ uns selbst die Klagen,
Will unsre Brust verzagen;
Rett’ in schweren Tagen
Aus Angst und Noth.
Lord, to you we look,
strengthen us in the trust
that we build for you
until our death.
Silence our complaints,
our hearts’ despair;
save us in days of hardship
from fear and distress.
Herr der Stärke
Deine Werke
Erlössen von Jammer und tilgen die Schuld.
Dein Erbarmen
Erquicket die Armen
Und bürgt uns für des Vaters Huld.
O Christe! Gelobt sei in der Höhe!
Lord of strength
your works
loosen the misery and repay the debt.
Your mercy
restores the poor
and guarantees for us the Father’s grace.
Oh, Christ! Praise in the highest!
Auf vom Staub der Erde,
Von des Trugs Beschwerde
Hebt des Glaubens Macht.
Auf von den Sorgen,
Zu seinem Morgen
Empor aus banger Nacht.
Zu hellern Sonnen,
From the dust of the earth,
among deceitful appeals
rises the power of faith.
On from the cares,
to his morning,
rise up from an anxious night.
To brighter suns,
90 Zu ew’gen Wonnen
Hebt uns der Liebe Macht.
to eternal bliss
the power of love lifts us.
O Lamm Gottes, das trägt der Sünden Menge,
Rett, o rett uns aus der Welt Gedränge,
Ach erbarm dich unser!
O Lamm Gottes, geopfert für die Sünden,
Vergieb den Schwachen, und lass uns Gnade finden.
O Lamb of God, who takes away all sins,
save, o save us from the world’s throng,
oh, have mercy on us!
O Lamb of God, sacrificed for sins,
forgive the weak, and let us find grace.
Leit’ uns alle, Geist der Wahrheit,
Hilf aus Dunkel uns zur Klarheit,
Führ’ uns zum Lichte, himmlischer Schein!
Will ein Grauen uns umwalten,
Gieb, dass fest wir an ihm halten,
Führ uns zum Leben ein.
Guide us all, Spirit of truth,
help us move from darkness to clarity,
lead us to the light, heavenly light!
When horror envelops us
grant that we will hold firmly to him,
lead us to life.
Himmel und Erde, sie werden vergehen,
Doch, Herr, dein Wort, es bleibet stehen
Von Ewigkeit zu Ewigkeit.
Dann vor deinen Ungewittern
Wird der Hölle Macht erzittern,
Und schaudernd werden sie ihn sehen,
Den Herrn der Herrlichkeit.
Dann im Glanz wirst du den Deinen
Voll Erbarmung mild erscheinen.
Und zu dem lichtumstrahlten Throne
Fleht zagend alles Volk: Ach Herr, verschone!
Herr, geh nicht ins Gericht,
Und lass uns nicht verderben;
Lass uns deinen Himmel erben
Und denke unsrer Sünden nicht.
Versöhner, der für uns ans Kreuz geschlagen,
Du hast unsre Schuld getragen;
In dir verstummen unsre Klagen,
Durch dich sind wir gerecht vor Gott.
Rein durch deine heiligen Wunden,
Sind uns die Schrecken des Gerichts entschwunden.
Der Versöhnung ewgen Frieden
Hast du deinem Volk beschieden.
Der Sieger Krone
Wird durch dich
Ewiglich
Uns zum Lohne.
Preis sei dem Vater und dem Sohne
Samt dem Geist, der auf dem Throne
Mit beyden herrscht in gleicher Herrlichkeit
Von Ewigkeit zu Ewigkeit. Amen!
Heaven and earth, they will pass away,
but, Lord, your word will abide
from eternity to eternity.
Then in your tempests
where Hell trembles at your power
and shuddering they will see him,
the Lord of glory.
Then the full luster
and mildness of your mercy will appear.
And as the light shines around your throne
trembling, they will beg: O Lord, spare us!
Lord, judge us not,
and let us not be spoiled;
let us inherit thy heavens
and remember not our sins.
Reconciler, who was beaten for us on the cross,
you carried our guilt;
in your silence, our complaints
through you were justified before God.
Purely by your holy wounds,
have the terrors of the earth vanished.
By your reconciliation, eternal peace
have you granted your people.
The victor’s crown
is through you
forever
our reward.
Glory be to the Father and the Son
together with the Spirit on the throne
with both reigns in equal glory
from eternity to eternity. Amen!
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