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Mozart and the practice of sacred mu...

Harvard University.

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Mozart and the practice of sacred music, 1781--1791.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Mozart and the practice of sacred music, 1781--1791./
作者:	Black, David Ian.
面頁冊數:	454 p.
附註:	Adviser: Christoph Wolff.
Contained By:	Dissertation Abstracts International68-05A.
標題:	History, Church. -
電子資源:	http://0-pqdd.sinica.edu.tw.lib1.npue.edu.tw/twdaoapp/servlet/advanced?query=3264914
ISBN:	9780549035237

Mozart and the practice of sacred music, 1781--1791.
Black, David Ian.

Mozart and the practice of sacred music, 1781--1791. - 454 p.

Adviser: Christoph Wolff.

Thesis (Ph.D.)--Harvard University, 2007.

Traditional accounts of Mozart's oeuvre have regarded the final decade of the composer's life as a fallow period for the composition of sacred music, broken only by the production of two divergent large-scale works and a small motet. While a number of articles have challenged this picture through the redating of various fragments and copies, there has yet to be a comprehensive study that integrates these discussions with recent developments in the assessment of non-autograph sources. The present thesis attempts to provide a detailed re-evaluation of the place of sacred music in Mozart's thinking during his residence in Vienna.

ISBN: 9780549035237Subjects--Topical Terms:

1020179
History, Church.

Mozart and the practice of sacred music, 1781--1791.
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502 $a Thesis (Ph.D.)--Harvard University, 2007.
520 $a Traditional accounts of Mozart's oeuvre have regarded the final decade of the composer's life as a fallow period for the composition of sacred music, broken only by the production of two divergent large-scale works and a small motet. While a number of articles have challenged this picture through the redating of various fragments and copies, there has yet to be a comprehensive study that integrates these discussions with recent developments in the assessment of non-autograph sources. The present thesis attempts to provide a detailed re-evaluation of the place of sacred music in Mozart's thinking during his residence in Vienna.
520 $a A common explanation for Mozart's apparent silence is the introduction in 1783 of a city-wide Gottesdienstordnung by the Emperor Joseph II, reducing the number of services at which instrumentally-accompanied sacred music could be performed. The severity of the restrictions has been exaggerated, and there is evidence to suggest that the provisions of the Gottesdienstordnung were ignored at prominent churches in Vienna, including St. Stephen's Cathedral. In its scale and technical demands, the contemporary Mass in C minor, K. 427 is a telling indication of where Mozart's aesthetic sensibilities lay.
520 $a Mozart's associations with the Hofkapelle and St. Stephen's Cathedral are the most important examples of the composer's interest in sacred music in Vienna. A number of previously inaccessible sources from both institutions provide new evidence on the origins of the "Coronation" Mass K. 317 and the context of Mozart's petition to become adjunct Kapellmeister at the Cathedral in 1791.
520 $a The early textural history of the Requiem K. 626 has been widely misunderstood, and the development of the work is reconsidered within the framework of the obsequies for Mozart held on 10 December 1791, an occasion at which part of the Requiem is said to have been performed. Newly uncovered documentary and musical sources provide evidence for the dissemination of Mozart's sacred music during the composer's lifetime, and suggest that Mozart may have been associated with St. Michael's, the church where the composer's obsequies were eventually held.
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