The Beginnings of the Mozart Cult in Salzburg: The Cathedral Music Association and Mozarteum,

Transcription

1 The Beginnings of the Mozart Cult in Salzburg: The Cathedral Music Association and Mozarteum, Special Exhibition Mozart Residence (Salzburg, Makartplatz 8) from September 25, 2016 KuratorInnen: Armin Brinzing (Leitung Bibliotheca Mozartiana) und Johanna Senigl (Bibliotheca Mozartiana) In Zusammenarbeit mit Gabriele Ramsauer (Leitung Mozart-Museen) und Sabine Greger- Amanshauser (Mozart-Archiv) Kontakt: Bibliotheca Mozartiana Schwarzstr Salzburg 0662 / / 14 bibliothek@mozarteum.at

2 The Beginnings of the Mozart Cult in Salzburg The Cathedral Music Association and Mozarteum, Chronology 1841 Founding of the Cathedral Music Association and Mozarteum The purpose of the association is the advancement of music in all its branches, and in particular church music in Salzburg Musicians are employed who are responsible especially for the church music at Salzburg Cathedral and in the other churches; in addition concerts are also organized The affiliated music school Mozarteum serves to train young talented musicians Mozart s widow Constanze Mozart-Nissen and her sons Franz Xaver Wolfgang and Carl Thomas were honorary members of the association and supported its work Presents and legacies from the Mozart Family form the basis of the major historical collection (original manuscripts by Mozart, paintings, musical instruments and other memorabilia) In 1880 the Cathedral Music Association as a church music institute was separated from the Mozarteum which was taken over as a music school by the newly founded International Mozarteum Foundation 2

3 Music is in indeed in a very sad state of decay in this, the very birthplace of the most enchanting composer that ever existed, wrote the Mozart admirer from England Vincent Novello in his diary when he visited Salzburg in In 1841 the Cathedral Music Association and Mozarteum was founded so as to restore the status of music in the city. According to the statutes the purpose of the association was the advancement of music in all its branches, and in particular church music in Salzburg. The ruling archbishop of Salzburg stood at the head of the association as the Protector ; the secretary appointed by him was in charge of the association s business matters. He was assisted by the representatives as board members. Seven of them were determined by virtue of their office as church functionaries, eight were elected by the members of the association. As the archbishop had a casting vote, the dominance of the church within the association was firmly established. The main duties of the association were the refinement of church music and the training of young talented musicians in the affiliated Mozarteum. In the very first year 100 pupils attended the Mozarteum. The Cathedral Music Association was above all responsible for the musical planning of church services in the cathedral and the other churches in Salzburg; moreover, concerts were also organized. 25 instrumentalists and 15 singers were employed, of whom many also worked as teachers at the Mozarteum. 10 choir boys, advanced pupils and about 30 amateur musicians from the circle of practising members also took part in the association s performances. Funding was secured mainly by contributions from the Salzburg churches, as well as membership fees, donations and (to a modest degree) the pupils tuition fees. Many pupils were taught free of charge. The first kapellmeister, cathedral conductor, as well as director of the Mozarteum was Alois Taux. Franz Xaver Wolfgang Mozart was appointed honorary kapellmeister; he, his mother and his brother Carl Thomas were also honorary members of the association. Constanze Mozart-Nissen donated an autograph manuscript by Wolfgang Amadé Mozart, various books and sheet music as well as 400 florins to the association. In the following years Mozart s sons Franz Xaver Wolfgang and Carl Thomas gave or bequeathed valuable original manuscripts, books, music, the fortepiano, the clavichord and art objects to the association. These form the basis of the present-day collections of the International Mozarteum Foundation. In 1880 the Cathedral Music Association as a church music institute and the Mozarteum were separated. The Mozarteum was taken over as a music school by the newly founded International Foundation: Mozarteum. The museum objects of the Cathedral Music Association and Mozarteum and the autograph manuscripts went to the International Mozarteum Foundation which still exists nowadays; the remaining collection of music and books were divided between it and the newly founded Cathedral Music Association. Its collections are now preserved in the archives of the Salzburg archdiocese. In a joint project headed by the International Mozarteum Foundation, the entire collection is at present being catalogued, some of its most valuable parts digitalized and thus brought together again in the virtual world. 3

4 [Vitrine I] 1 Statutes of the Cathedral Music Association in Salzburg. Salzburg Title page, pp. 3, 26 and 27 The purpose of the association was the advancement of music in all its branches, and in particular church music in Salzburg. The music staff were responsible mainly for music in the churches in Salzburg but in some cases also taught at the affiliated music school known as the Mozarteum. No musical knowledge was necessary to be accepted there, it was sufficient to have successfully completed the first class of normal school. 2 Wolfgang Amadé Mozart. Incomplete Kyrie in E flat major, K. 322, with a dedication by Constanze Mozart-Nissen to the Cathedral Music Association and Mozarteum. Salzburg, 15 October Facsimile of the autograph manuscript Mozart s widow Constanze supported the newly founded association by donating objects and money. The most valuable present was this autograph manuscript by Mozart. Constanze Mozart lived in Salzburg from Two weeks after the Cathedral Music Association was founded, she donated various books and music. The most valuable item was an original manuscript by Wolfgang Amadé Mozart, his incomplete Kyrie in E flat major, K In her letter of dedication to the Cathedral Music Association and Mozarteum she commented on it as follows: I think it will probably be of particular interest for the Mozarteum in Salzburg to own a manuscript of my late husband W. A. Mozart in remembrance of him. So as to give the association proof of my active involvement, I thus hand over the Kyrie in E flat major of an incomplete mass written in the own hand of my late husband W. A. Mozart in the hope that this manuscript will constantly be kept in the music library of the association in remembrance of him and that it may be used to benefit it. 3 Ludwig Schwanthaler ( ). Sketch for the Mozart statue. Pencil sketch based on the portrait by Joseph Lange ( ). Munich, ca With an inscription by Schwanthaler: W. A. Mozart. Based on a picture owned by Madame Nissen née Mozart. Plans for the Mozart statue were made a few years before the founding of the Cathedral Music Association and Mozarteum, but the association and the monument committee were closely linked as regards personnel. Here you can see two designs by the Munich sculptor Ludwig Schwanthaler, who in 1838 was commissioned to design the statue (No. 3 and No. 7 on the wall). Mozart s widow fully supported this project. Not only did she make portraits which she owned available, but she also contributed to the funding by trying to acquire donations from all over Europe. However, she died half a year before the statue was consecrated. There was a clear surplus of donations for the statue which was used by the Mozarteum to benefit Mozart s intellectual monument. 4

5 4 Intelligenz-Blatt zur kaiserl. königl. privilegirten Salzburger-Zeitung, No. 71 from 5 September 1842, pp. 950 and 951 The first music festival was held in Salzburg from 4 to 6 September 1842 when the Mozart statue was consecrated. These advertisements in the Salzburger Zeitung illustrate the varied range of objects on offer for visitors. These pages with advertisements from the Salzburger Zeitung illustrate how the business world here reacted to the visitors who were so enthusiastic about Mozart. Books about Mozart, travel guides and printed views of Salzburg were on offer. It was even possible to purchase the Festive Chorus for the consecration of the Mozart statue, which Mozart s son Franz Xaver Wolfgang had arranged from works by his father. [An der Wand über Vitrine I] 5 Friedrich Fürst Schwarzenberg ( ), Archbishop of Salzburg. Lithograph by Ignaz Fertig ( ). Munich, ca As the so-called Protector, the archbishop supervised the work of the association and appointed its secretary. According to the statutes the cathedral in Salzburg was the first and most exemplary true supporting member of the association. 6 Franz Edler von Hilleprandt ( ). Oil painting by Sebastian Stief ( ). Salzburg 1847 The lawyer Hilleprandt, who came from Vienna, was the initiator and first executive secretary of the Cathedral Music Association and Mozarteum, the statutes of which can be seen on the table beside him. 7 Ludwig Schwanthaler ( ). Sketch for the Mozart statue. Coloured pen and ink drawing. Munich, probably 1840 In his right hand Mozart is holding a quill, on the scroll of music in his left hand the beginning of the Tuba mirum from the Requiem is clearly recognizable. [Vitrine IIa] 8 Alois Taux. Funeral song for Mozart s widow. Performed by musicians of the Mozarteum at the funeral of Mozart s widow in Salzburg on 8 March Special print from the Allgemeine Wiener Musik-Zeitung, No. 43, 9 April 1842 Constanze Mozart-Nissen died on 6 March 1842 in Salzburg and was buried two days later in the St. Sebastian cemetery. This composition for male quartet, mixed chorus and brass by the kapellmeister Alois Taux was performed. A newspaper report stated that the composition had, through its noble simplicity and soulful ardency produced the most powerful emotions among all those present. 5

6 9 Constanze Nissen ( ), the widow of Mozart (?). Detail from a contemporary photograph, ca Reproduction (the original is in the Altötting town archives) This photo was allegedly made outside the home of the composer Max Keller in Altötting. Whether Constanze Nissen is indeed portrayed is a matter of controversial discussion. 10 Carl Moyses. Systematic catalogue of all autographs and other relics of W. A. Mozart to be found in the Mozarteum archives in Salzburg. Salzburg 1862 Moyses was the administrator of the city pawnshop and also took part as a practising member in the performances of the Cathedral Music Association and Mozarteum. This is the first printed catalogue of the autographs, documents, pictures and musical instruments that were in the association s archives. 11 Alois Taux. Des Meisters ernste Scheidestunde for male chorus, text by Ludwig Mielichhofer. Salzburg Autograph This chorus was performed on 6 December 1842 during a commemorative celebration by the association in the Mozart Room of the Golden Stag inn. Taux dedicated the autograph to his friend Mielichhofer, when he moved early in 1843 to Vienna. [An der Wand über Vitrine IIa] 12 Alois Taux ( ). Lithograph by Michael Bisenius (1809 after 1873). Vienna 1847 Taux was the first kapellmeister and director of the Cathedral Music Association and Mozarteum from 1841 to In 1847 he founded the male choral society known as the Salzburger Liedertafel and also worked as a composer. [Vitrine IIb] 13 Wolfgang Amadé Mozart. Chamber music movement, K. 452b (supplement 55). Facsimile of the autograph This original manuscript is from the bequest made by Mozart s son Franz Xaver Wolfgang ( ) to the Cathedral Music Association and Mozarteum. Before his death, Mozart s youngest son, Franz Xaver Wolfgang, had stipulated that his music library, including all original manuscripts from his father and other members of the family, and other memorabilia should be given to the Cathedral Music Association and Mozarteum. This legacy now forms the basis of the historic collections of the International Mozarteum Foundation. This also includes this incomplete movement of chamber music in D major for piano, 2 violins, 2 horns and double bass. 6

7 14 Franz Xaver Jelinek ( ). Oil painting. Reproduction (original owned by the Salzburger Liedertafel) From 1841 until 1879 Jelinek was the association s first oboist and a teacher at the Mozarteum. Later he was also director of the cathedral choir and concert master. As an archivist he took care of the collection of original manuscripts of the Mozart Family. 15 Wolfgang Amadé Mozart. Chamber music movement, K. 452b (supplement 55). Copy by Franz Xaver Jelinek ( ) Jelinek made several handwritten copies of Mozart autograph manuscripts. On this manuscript he noted: NB: this fragment copy is an imitation of the original handwriting of Mozart. Later on some of these imitations were issued as originals. [An der Wand über Vitrine IIb] 16 Ludwig Mielichhofer ( ). Lithograph by August Prinzhofer ( ) with a handwritten dedication by Mielichhofer: To my friend Alois Taux. Vienna, 1847 The journalist who worked in Vienna and Salzburg was an honorary member of the association from He carried out important organisational and publicity work by setting up contacts with significant musicians and composers, and by writing articles about the association s achievements in the national press. [Vitrine III] 17 Mozart s Birthplace with the decorated façade on the occasion of Wolfgang Amadé Mozart s 100 th birthday. Photograph A grand music festival took place in Salzburg to commemorate Mozart s 100 th birthday. About 200 practising musicians from throughout the Austrian monarchy and from Germany, as well as 500 singers from many choral societies took part in the performances. 18 Mozart Secular Festival on 6, 7, 8 and 9 September 1856 in Salzburg. Salzburg 1856, pp. 8 and 9 The first exhibition in Mozart s Birthplace is described in this detailed programme booklet for the music festival commemorating Mozart s 100 th birthday. Valuable originals owned by the association were temporarily shown there. During the music festival to commemorate Mozart s 100th birthday in 1856 an exhibition was held for the first time in Mozart s Birthplace. Visitors could see several of the portraits, musical instruments and original manuscripts that can still be admired nowadays in the Mozart museums. Julius André from Offenbach had provided some valuable items on loan, including the autograph manuscript of The Magic Flute and the Jupiter Symphony. In 1799, André s father Johann Anton had purchased the musical estate of her late husband from Constanze Mozart. 7

8 As noted in the programme, the revenue from the entrance fees was dedicated to the Mozarteum in Salzburg, as the living monument of the great master. 19 In memory of Mozart s Birthplace. Secular Festival in Salzburg. Lithograph by Josef Stiessberger ( ). Salzburg 1856 Visitors to Mozart s Birthplace received this page with a facsimile of the autograph of the String Quartet fragment, K. 458b (supplement 71), owned by the Cathedral Music Association and Mozarteum as a souvenir. 20 Carl Thomas Mozart ( ). Page in Ludwig Mielichhofer s album. Salzburg, 15 September 1856 The older son of Mozart, Carl Thomas, who lived in Milan, visited Salzburg in 1856 for the music festival and immortalised himself in the album of the Salzburg journalist Ludwig Mielichhofer. Carl Thomas Mozart was the most eminent guest of honour at the music festival that was organized in Salzburg to commemorate the 100th birthday of his father in For the journalist from Salzburg, Ludwig Mielichhofer, he wrote the following lines as a memento in his album: The good fortune to have made the acquaintance, and how I flatter myself to have acquired the benevolence of such a witty and kind man as you are, my dear Mr. Mielichhofer! I consider to be one of the most excellent and pleasing things I was able to partake of during the recent ceremony of honour here in beautiful Salzburg to commemorate my father. With affection and holding you in high esteem, yours, Carl Mozart Salzburg, 15 September Ludwig Alois Friedrich Ritter von Köchel ( ). Anonymous oil painting. 2 nd half of the 19 th century Köchel lived in Salzburg from 1850 to He was a member of the association from 1854 and belonged to its representatives (association board). His pioneering catalogue of the works of W. A. Mozart, still used nowadays, was published in 1862 in Leipzig. 22 Ludwig Alois Friedrich Ritter von Köchel. Mozart: For his Centenary Celebration in Poems. Salzburg 1856 Köchel studied law, but he also made major contributions in the fields of musicology, botany and geology. The revenue from this collection of poems about Mozart benefited the Mozarteum archives. 23 The exhibition room of the Mozart archives in the Chiemseehof. Photograph by Ludwig Hardtmuth ( ), probably between 1864 and 1867 From 1846 the association was able to use some rooms in the Chiemseehof. That was also where the archives containing the valuable original manuscripts, paintings and musical instruments were located and were accessible to visitors. 8

9 [An der Wand über Vitrine III] 24 Carl Thomas Mozart ( ). Photograph by Franz Segl ( ). Salzburg 1856 This photo was made following the celebrations in Salzburg to commemorate W. A. Mozart s 100 th birthday, in which his older son Carl Thomas had taken part as the most important guest of honour. For this occasion he gave his father s fortepiano to the association. [Vitrine IV] 25 Christian Laschenzky. Catalogue of all the singers, musicians and bellows treaders employed since the founding of the Cathedral Music Association. Handwriting on paper From 1870 to 1917 Laschenzky was employed as a double bass player. The catalogue goes back to the founding in 1841, covers the time until 1917 and was continued by an unknown person until Joseph Stummer ( ). Portrait by Karl Ludwig Philippot ( ). Miniature on ivory From 1841 Stummer was the first violinist and teacher of the Cathedral Music Association and Mozarteum. From 1847 until his retirement in 1864 he used the title of an orchestra director. 27 Wolfgang Amadé Mozart. Fragment of a quintet movement, K. 613a (supplement 81). Facsimile of the autograph The collection of Mozart autographs from Franz Xaver Mozart s estate which came to the association and is kept safe nowadays by the International Mozarteum contains for the most part unfinished works. Several of these fragments were later completed by other composers. 28 Wolfgang Amadé Mozart. QUINTET based on an original sketch by Mozart to be found in the archives of the Mozarteum in Salzburg executed by O. BACH. Artist. Director at the Mozarteum with a handwritten dedication by Bach. Leipzig [1872] Otto Bach, who directed the Mozarteum for 12 years, completed several of Mozart s fragments which were kept safe in the association s archives, including this quintet, K. 613a. 29 Programme booklet of the commemorative concert for Felix Mendelssohn Bartholdy on 26 February 1848 in the Salzburg Town Hall From 1846 Felix Mendelssohn Bartholdy ( ) was an honorary member of the association; his works were frequently performed in Salzburg. A few months after his death this commemorative concert took place conducted by Alois Taux. 9

10 30 Programme of the concert by Clara Schumann on 18 April 1866 in the Salzburg Town Hall Clara Schumann ( ) performed in Salzburg together with the Singakademie. This mixed choir had close ties with the Cathedral Music Association and at this time had 75 members. [An der Wand über Vitrine IV] 31 Hans Johann Schläger ( ). Lithograph by Eduard Kaiser ( ). Vienna Reproduction As Alois Taux s successor Schläger was kapellmeister of the association from 1861 until 1868 and director of the Mozarteum; in addition he also directed the Salzburger Liedertafel. 32 Otto Bach ( ). Photograph. Reproduction As Schläger s successor Bach was kapellmeister and director of the Mozarteum from 1868 until 1880; like Schläger before him, when Bach applied for the post, he was chosen in preference to Anton Bruckner. 33 Poster for an orchestral concert by the Cathedral Music Association and Mozarteum directed by Otto Bach on 21 September 1869 The association regularly organized concerts, the revenue from which benefited its retired musicians or their bereaved dependants. [Vitrine V] 34 Anton Bruckner ( ). Letter to the Cathedral Music Association and Mozarteum. Linz, 4 April Autograph At the request of the association, together with this letter Bruckner sent his first Mass in D minor to Salzburg. A few days previously he had applied for the job of cathedral conductor and director of the Mozarteum. Enclosed with this letter, dated 4 April 1868, Anton Bruckner sent his first Mass in D minor to the association so that it could be performed in Salzburg. He writes: I take the liberty of following up on a wish frequently expressed, and thus send the praiseworthy Mozarteum my Mass No. 1 in D which was very well received last year in the Imperial and Royal Court Chapel in Vienna [ ]. As early as 1861 Bruckner had applied in vain for the post of Cathedral Conductor and Director of the Mozarteum, then again a few days before this letter, on 29 March Yet once again his application was rejected. Nevertheless, he was made an honorary member. 10

11 35 Otto Nicolai ( ). Chorus from the opera Die Heimkehr des Verbannten. Vienna, April Score with a dedication by the composer to the Mozarteum and a choral part The successful composer, kapellmeister of the Vienna Court Opera and founder of the Vienna Philharmonic was an honorary member of the association from Inventory of the Mozart relicts extant in the Mozart archives in Salzburg Salzburg, 20 July 1880 In 1880 the Cathedral Music Association and Mozarteum was disbanded, the Cathedral Music Association was continued as an independent organisation. The archives recorded in this inventory containing valuable original manuscripts by Mozart, paintings, musical instruments and other memorabilia ultimately passed into the ownership of the newly founded International Mozarteum Foundation. 37 Stamp Dom-Musick-Verein u. Mozarteum and Internationale Stiftung: Mozarteum 1881 on a letter of Wolfgang Amadé Mozart from 22 November Reproduction (excerpt) After the Cathedral Music Association and Mozarteum was disbanded in 1880, Mozart s original autograph manuscripts were taken over by the newly founded International Mozarteum Foundation and given new stamps designating the ownership. 11