Nineteenth-Century Repertoire of the Vienna Court Musical Ensemble

By Hettrick, Jane Schatkin | The American Organist, July 2006 | Go to article overview

Nineteenth-Century Repertoire of the Vienna Court Musical Ensemble


Hettrick, Jane Schatkin, The American Organist


NINETEENTH-CENTURY REPERTOIRE OF THE VIENNA COURT MUSICAL ENSEMBLE Richard Steurer, Das Repertoire der Wiener Hofmusikkapelle im neunzehnten Jahrhundert. Publikationen des Instituts für Österreichische Musikdokumentation, 22, herausgegeben von Günter Brosche. Tutzing: Hans Schneider, 1998, 674 pp.

IN THE preface to this study, Richard Steurer states that this book (which originated as his dissertation at the University of Vienna) is an attempt to document and interpret the musical culture of the Vienna Hofmusikkapelle [court chapel musical ensemble) in the 19th century. This institution, which the author describes as "probably the pre-eminent church music establishment," indeed boasts a long and distinguished history. Founded in 1498 by Holy Roman Emperor Maximilian I, the Vienna Hofmusikkapelle provided music for the imperial household and noble guests continuously until the end of the monarchy in 1918, after which it endured as a musical organization that includes the Vienna Choir Boys. Having celebrated its 500th anniversary in 1998, the former imperial chapel presents a full orchestral Mass most Sundays according to the liturgical year, attracting a large attendance of visitors from all over the world as well as local residents. As with many musical performances in Vienna, students and frugal fans avail themselves of inexpensive standing-room tickets.

Das Repertoire der Wiener Hofmusikkapelle im neunzehnten Jahrhundert (The Repertoire of the Vienna Court Musical Ensemble in the 19th Century) assembles a number of original sources that give detailed information about liturgical and musical practice in the Hofkapelle during the 19th century. The most extensive of these (occupying over 450 pages of the book) is the historical record of music performed in the Hofkapelle. reproduced from archival records of musical performance kept by court scribes. These records, which survive in manuscript books from 1820 through the end of the 19th century (and beyond), document the musical contents of every service held in the Hofkapelle and also of services held in the several other churches (e.g., St. Augustine's, St. Michael's, St. Stephen's, and the Invalidenhaus), where the imperial family also worshiped on certain occasions. Organized in columns like a ledger, these records give the following data: date, liturgical day or event, composer, work, and remarks.

The information contained in these records testifies to the rich musical and religious life of the Hapsburg court in this period, although the quality of the music programmed varied with the individual Kapellmeister. The "liturgical day or event" includes regular Sundays, major feasts, Vigils, and Vespers, as well as numerous saint's days, Requiems and anniversary Requiems for deceased members of the imperial family, masses for fraternal service Orders (e.g., Golden Fleece), and memorial rites for military battles. The heading "works" lists the compositions performed on the date in question. For most services, the music consists of the standard musical components of the Mass, that is, a Mass Ordinary, Gradual, and Offertory. Typically, the three pieces were by two or sometimes three different composers, although the Kapellmeister sometimes scheduled an entire service of music by a single composer, a practice that became more common in the later decades. Under the column "remarks," the scribe entered additional comments, some of which pertain to the music (e.g., a first performance, a guest director, an insertion of a movement by another composer into the listed work, etc.) and occasionally to non-musical matters (e.g., different location of service, illness or death of important pursonagu, etc.). As tho century progressed, commentary tended to diminish.

Steurer supplements these 80 years of records with related documents and historical background and analysis. Constituting Part I of the book, four sections, each subdivided into chapters, deal with the topics of Aufführungspraxis (performance practice), Die Einflussnahme des Hofes auf den Spielplan (the influence of the court on the performance schedule), die liturgischen Aufführungen der Hofkapelle im Spiegel der Wiener Musikzeitungen (liturgical performances in the court chapel as reflected in the Viennese musical press), and Stilistischen Grundzüge (stylistic foundations). …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

Nineteenth-Century Repertoire of the Vienna Court Musical Ensemble
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this article
  • Highlights & Notes
  • Citations
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.