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The Beginnings of the Mozart Cult in
Salzburg:
The ‘Cathedral Music Association and
Mozarteum’, 1841–1880
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 GregerAmanshauser (Mozart-Archiv)
Kontakt:
Bibliotheca Mozartiana
Schwarzstr. 26
5020 Salzburg
0662 / 88940–13 / 14
[email protected]
The Beginnings of the Mozart Cult in Salzburg
The ‘Cathedral Music Association and Mozarteum’, 1841–1880
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
“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 1829. 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
[Vitrine I]
1
Statutes of the Cathedral Music Association in Salzburg. Salzburg 1841. 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 1841. 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.
[Audioguide]
Constanze Mozart lived in Salzburg from 1824. 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. 322. 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 (1802–1848). Sketch for the Mozart statue. Pencil
sketch based on the portrait by Joseph Lange (1751–1831). Munich, ca. 1840
With an inscription by Schwanthaler: “W. A. Mozart. Based on a picture owned by
Madame Nissen née Mozart”.
[Audioguide]
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
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.
[Audioguide]
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 (1809–1885), Archbishop of Salzburg.
Lithograph by Ignaz Fertig (1809–1858). Munich, ca. 1845
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 (1796–1871). Oil painting by Sebastian Stief
(1811–1889). 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 (1802–1848). 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 1842. Special
print from the Allgemeine Wiener Musik-Zeitung, No. 43, 9 April 1842
[Audioguide]
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
9
Constanze Nissen (1762–1842), the widow of Mozart (?). Detail from a
contemporary photograph, ca 1840. 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 1843. 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 (1817–1861). 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 1861. 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
(1791–1844) to the Cathedral Music Association and Mozarteum.
[Audioguide]
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
14
Franz Xaver Jelinek (1818–1880). 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 (1818–1880)
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 (1814–1892). Lithograph by August Prinzhofer (1817–
1885) 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 1842. 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 100th birthday. Photograph. 1856
A grand music festival took place in Salzburg to commemorate Mozart’s 100th 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 100th birthday. Valuable originals
owned by the association were temporarily shown there.
[Audioguide]
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
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 (1802–1872). 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 (1784–1858). 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.
[Audioguide]
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 1856. 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 1856
21
Ludwig Alois Friedrich Ritter von Köchel (1800–1877). Anonymous oil
painting. 2nd half of the 19th century
Köchel lived in Salzburg from 1850 to 1863. 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 1856. 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 (1826–1875), 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
[An der Wand über Vitrine III]
24
Carl Thomas Mozart (1784–1858). Photograph by Franz Segl (1814–1880).
Salzburg 1856
This photo was made following the celebrations in Salzburg to commemorate W. A.
Mozart’s 100th 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 1926.
26
Joseph Stummer (1813–1866). Portrait by Karl Ludwig Philippot (1801–
1859). Miniature on ivory. 1834
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 (1809–1847) 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
30
Programme of the concert by Clara Schumann on 18 April 1866 in the
Salzburg Town Hall
Clara Schumann (1819–1896) 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 (1820–1885). Lithograph by Eduard Kaiser (1820–
1895). Vienna 1858. 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 (1833–1893). 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 (1824–1896). Letter to the Cathedral Music Association and
Mozarteum. Linz, 4 April 1868. 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.
[Audioguide]
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 1868. Yet once again his application
was rejected. Nevertheless, he was made an honorary member.
10
35
Otto Nicolai (1810–1849). Chorus from the opera Die Heimkehr des
Verbannten. Vienna, April 1844. 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 1842.
36
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 1780.
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