Catholic sacred music in Austria

Jen-yen Chen

doi:10.1017/CHOL9780521663199.004

3 - Catholic sacred music in Austria

from PART I - MUSIC FOR THE CHURCH

Published online by Cambridge University Press: 28 March 2011

Jen-yen Chen

Edited by

Simon P. Keefe

Show author details

Simon P. Keefe: Affiliation:
University of Sheffield

Book contents

Get access

Summary

Some idea of the centrality of religious music in eighteenth-century life in Austria and southern Germany can be garnered from the following passage from Charles Burney’s description of his visit to Vienna in 1772:

there is scarce a church or convent in Vienna, which has not every morning its mass in music: that is, a great portion of the church service of the day, set in parts, and performed with voices, accompanied by at least three or four violins, a tenor and base, besides the organ, and as the churches here are daily crowded, this music, though not of the most exquisite kind, must in some degree form the ear of the inhabitants.

Undoubtedly a principal reason for this prevalence of musica da chiesa was the intimate association of the Roman Catholic faith with the political rule of the Holy Roman Emperors, whose cultural and ideological imprint radiated outwards from the Austrian capital to far-flung territories of the Empire as well as to lands with close ties to Vienna, such as Salzburg, Bavaria and Saxony. Therefore the concept of an ‘imperial style’ (Reichstil) broadly characterizes the subject matter of the present chapter, though it is not intended to deny the regional and institutional diversity of sacred music practices and repertories.

Type: Chapter
Information: The Cambridge History of Eighteenth-Century Music , pp. 59 - 112

DOI: https://doi.org/10.1017/CHOL9780521663199.004 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Armstrong, James, Jr. ‘Towards a History of the Esterházy Church Music Archive’. In Feder, Georg (ed.), Internationales Musikwissenschaftliches Symposium ‘Dokumentarische Grundlagen in der Haydnforschung’. Tutzing, 2006 –41Google Scholar

Biba, Otto. ‘Die Wienerkirchenmusik um 1783’. Jahrbuch für Österreichische Kulturgeschichte, 1/2 (1971) –79Google Scholar

Biba, Otto. ‘Die kirchenmusikalischen Werke Haydns’. In Mraz, GerdaMraz, Gottfried and Schlag, Gerald (eds.), Joseph Haydn in seiner Zeit. Eisenstadt, 1982 –51Google Scholar

Biba, Otto. ‘Mozarts Wiener Kirchenmusikkompositionen’. In Fuchs, Ingrid (ed.), Internationaler musikwissenschaftlicher Kongreß zum Mozartjahr 1991. 2 vols., Tutzing, 1993, vol. 1 –55Google Scholar

Chusid, Martin. ‘Some Observations on Liturgy, Text, and Structure in Haydn’s Late Masses’. In Landon, H. C. Robbins and Chapman, Roger E. (eds.), Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His Seventieth Birthday. London, 1970 –35Google Scholar

Croll, Gerhard. ‘Mitteilungen über die Schöpfung und die Jahreszeiten aus dem Schwarzenberg-Archiv’. In Feder, Georg (ed.), Haydn-Studien 3. Munich, 1973–4 –92Google Scholar

Fellerer, Karl Gustav. ‘Liturgische Grundlagen der Kirchenmusik Mozarts’. In Egg, Erich (ed.), Festschrift Walter Senn zum 70. Geburtstag. Munich and Salzburg, 1975 –74Google Scholar

Fellerer, Karl Gustav. ‘Die Enzyklika “Annus qui” des Papstes Benedict XIV’. In Fellerer, Karl Gustav (ed.), Geschichte der katholischen Kirchenmusik. 2 vols., Kassel, 1976, vol. 2 –52Google Scholar

Fritz-Hilscher, Elizabeth Theresia. ‘Die Privatisierung der kaiserlichen Hofmusikkapelle unter Maria Theresia 1751–1772’. In Antonicek, Theophil, Hilscher, Elizabeth Theresia and Krones, Hartmut (eds.), Die Wiener Hofmusikkapelle I: Georg von Slatkonia und die Wiener Hofmusikkapelle. Vienna, 1999 –70Google Scholar

Heartz, Daniel. Haydn, Mozart and the Viennese School 1740–1780. New York and London, 1995Google Scholar

Holl, Monika. ‘Nochmals: “Mozart hat kopiert!”’, Acta mozartiana, 30 (1983) –6Google Scholar

Jones, David Wyn. ‘Haydn’s Missa Sunt bona mixta malis and the a cappella Tradition’. In Jones, (ed.), Music in Eighteenth-Century Austria. Cambridge, 1996 –111Google Scholar

Köchel, Ludwig von. Die kaiserliche Hof-Musikkapelle in Wien von 1543 bis 1867 nach urkundlichen Forschungen. Vienna, 1869Google Scholar

Keefe, Simon P. ‘“Die Ochsen am Berge”: Franz Xaver Süssmayr’s Orchestration of Mozart’s Requiem, K. 626’. Journal of the American Musicological Society, 61 (2008) –65CrossRef Google Scholar

Krombach, Gabrielle. Die Vertonungen liturgischer Sonntagsoffertorien am Wiener Hof. Munich and Salzburg, 1986Google Scholar

Leopold, Silke. ‘Händels Geist in Mozarts Händen: Zum Qui tollis aus der c-Moll Messe KV 427’. Mozart-Jahrbuch 1994 –111Google Scholar

MacIntyre, Bruce. The Viennese Concerted Mass of the Early Classic Period. Ann Arbor, MI, 1986Google Scholar

MacIntyre, Bruce. ‘Johann Baptist Vanhal and the Pastoral Mass Tradition’. In Jones, David Wyn (ed.), Music in Eighteenth-Century Austria. Cambridge, 1995 –32Google Scholar

Pauly, Reinhard. ‘The Reforms of Church Music Under Joseph II’. The Musical Quarterly, 43 (1957) –82Google Scholar

Pfannhauser, Karl. ‘Mozart hat kopiert!’, Acta mozartiana, 1 (1954) –5, 38–41Google Scholar

Pohl, Carl Ferdinand. Denkschrift aus Anlass des hundertjährigen Bestehens der Tonkünstler-Societät. Vienna, 1871Google Scholar

Riedel, Friedrich Wilhelm. ‘Der “Reichstil” in der deutschen Musikgeschichte des 18. Jahrhunderts’. In Reichert, Georg and Just, Martin (eds.), Bericht über der Internationalen Musikwissenschaftlichen Kongress Kassel 1962. Kassel, 1963 –6Google Scholar

Riedel, Friedrich Wilhelm. Kirchenmusik am Hofe Karls VI. (1711–1740). Munich and Salzburg, 1977Google Scholar

Riedel, Friedrich Wilhelm. ‘Liturgie und Kirchenmusik’. In Mraz, GerdaMraz, Gottfried and Schlag, Gerald (eds.), Joseph Haydn in seiner Zeit. Eisenstadt, 1982 –33Google Scholar

Riedel, Friedrich Wilhelm. ‘Joseph Haydns Sinfonien als liturgische Musik’. In Schlager, Karlheinz (ed.), Festschrift Hubert Unverricht zum 65. Geburtstag. Tutzing, 1992 –20Google Scholar

Schmid, Manfred Hermann. ‘Mozart und die Salzburger Kirchenmusik’. Mozart-Jahrbuch 1978–79 –9Google Scholar

Temperley, Nicholas. Haydn: The Creation. Cambridge, 1991CrossRef Google Scholar

Walter, Rudolf. ‘Bemerkungen zu den Kompositionen von Johann Joseph Fux zum Offertorium’. In White, Harry (ed.), Johann Joseph Fux and the Austro-Italian Baroque. Aldershot, 1992 –61Google Scholar

Webster, James. ‘The Creation, Haydn’s Late Vocal Music, and the Musical Sublime’. In Sisman, Elaine (ed.), Haydn and His World. Princeton, NJ, 1997 –102Google Scholar

White, Harry. ‘The Sepolcro Oratorios of Fux: An Assessment’. In White, (ed.), Johann Joseph Fux and the Austro-Italian Baroque. Aldershot, 1992 –230Google Scholar

Wolff, Christoph. Mozart’s Requiem. Trans. Whittall, Mary, Berkeley and Los Angeles, 1994Google Scholar

Zaslaw, Neal. ‘Mozart, Haydn, and the Sinfonia da Chiesa’. The Journal of Musicology, 1/1 (1982) –124Google Scholar

Book contents

3 - Catholic sacred music in Austria

Summary

Access options

References

Save book to Kindle

Save book to Dropbox

Save book to Google Drive