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REVALUING POLITICAL CHORAL MUSIC FOR MODERN PERFORMANCE

contribution to the Requiem completion. University of California Press, 1993), 28.
Beyond its considerable historical and musicological 15 Keefe, “Die Ochsen am Berge,” 6-7.
value, the score pulses with life and drama worthy of 16 Ibid.

modern performances. Energies expended in prepa- 17 “Mozart’s and Süssmayr’s different contributions were
ration of a thoughtful pre-concert lecture or engaging fairly well known at the performance of the Requiem in
program notes will bear rich dividends, drawing con- Jahn’s Hall in Vienna on 2 January 1793, and the news
temporary listeners into the compelling circumstances traveled quickly to Munich and Prague, where at the

surrounding its creation. first performance…no secret was made of the fact that
the Sanctus was composed by Süssmayr’” [Keefe, “‘Die
Ochsen am Berge,’” 11].
NOTES 18 Friedrich Blume and Nathan Broder, “Requiem but No
Peace,” The Musical Quarterly 47, no. 2 (April 1961): 147.
1 Translation: “Farewell Song to Vienna’s Citizens.” 19 William Watson and C. B. Oldman, “An Astounding
2 Translation: “Lines from the Battle of the Nile.” Forgery,” Music & Letters 8, no. 1 (January 1927): 64.
3 Translation: “Chorus of the Allied Princes.” 20 (1753-1812). Clarinetist remembered today for his
4 Translation: “The Glorious Moment.” development of the bassett clarinet. Renowned during
5 2 Flutes, 2 Oboes, 2 Clarinets, 1 English horn, 2 Bassoons, 2 his career for his sweet tone, virtuosity, and extraordinary
Horns in C, 2 Horns in E-flat, 4 Trumpets in C, Timpani, command of the extremes of the instrument’s range.

extensive percussion (Ratchet, Military Drum, 2 Bass 21 Pamela L. Poulin, “Anton Stadler’s Basset Clarinet: Recent
drums), Strings. Discoveries in Riga,” Journal of the American Musical
6 A piano/vocal score is available at jwpepper.com. For Instruments Society 22 (1996): 123-4.
information on obtaining the full orchestral score, contact 22 Ibid. It is a reasonable assumption that the performance
the author: manabholz@gmail.com. materials went missing at the same time as those of a
7 Linda Tyler and Caryl Clark. “Süßmayr, Franz Xaver,” Grove Mozart concerto and other works Stadler carried with
Music Online, http://www.oxfordmusiconline.com/ him on the tour.
subscriber/article/grove/music/27151 (accessed April 23 Dieter Klöcker, Liner notes for Franz Xaver Süßmayr: Der Spiegel
6, 2010). von Arkadien, trans. Susan Marie Praeder, performed
8 Jane Schatkin Hettrick and John A. Rice, “Salieri, Antonio,” by Consortium Classicum, MDG 301 1380-2, 2006.
Grove Music Online, http://www.oxfordmusiconline.com/ Compact disc.
subscriber/article/grove/music/24378 (accessed April 24 Thomas Bauman, ed. Franz Xaver Süßmayr, Der Spiegel Von
6, 2010). Arkadien (New York: Garland, 1986), 1.
9 Tyler, “Süssmayr, Franz Xaver,” Grove Music Online. 25 Klöcker, “Der Spiegel von Arkadien.”
10 Ibid. 26 Henry H. Hausner, Franz Xaver Süssmayr (Wien: Bergland,
11 Michael Freyhan, “Toward the Original Text of Mozart’s 1964), 72.
‘Die Zauberfl öte,’” Journal of the American Musicological 27 Bauman, 2.
Society 39, no. 2 (Summer 1986): 378-380. 28 Ibid., 4.
12 Simon P. Keefe, “‘Die Ochsen am Berge’: Franz Xaver 29 John A. Rice, Antonio Salieri and Viennese Opera (Chicago:
Süssmayr and the Orchestration of Mozart’s Requiem, University of Chicago Press, 1998), 562. Rice’s date of
K. 626,” Journal of the American Musicological Society 61, no. Süßmayr’s appointment to the post is disputed in the
1 (April 2008): 4. biographical article in the Grove Dictionary of Music and
13 The youngest son, Franz Xaver Wolfgang Mozart (1791- Musicians, where the date “May 1794” is used. Erich Duda

1844), was only five months old at the time of his father’s [Das Musikalische Werk Franz Xaver Süssmayrs: Thematisches
death. Werkverzeichnis. Bärenreiter, 2000] dates it to July 9, 1794,
14 Christoff Wolff , Mozart’s Requiem: Historical and Analytical but provides no source.
Studies, Documents, and Score, trans. Mary Whittall (Berkeley: 30 Hausner, 78.

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