By Janet K. Page
Janet web page explores the interplay of track and piety, courtroom and church, as visible throughout the dating among the Habsburg courtroom and Vienna's convents. For a interval of a few twenty-five years, encompassing the tip of the reign of Emperor Leopold I and that of his elder son, Joseph I, the court's emphasis on piety and song meshed completely with the musical practices of Viennese convents. This at the same time valuable organization disintegrated throughout the eighteenth century, and the altering courting of courtroom and convents unearths whatever of the complicated connections one of the Habsburg courtroom, the Roman Catholic Church, and Viennese society. picking out and discussing many musical works played in convents, together with oratorios, performs with tune, feste teatrali, sepolcri, and different church song, web page finds a golden age of convent tune in Vienna and sheds mild at the convents' amazing engagement with modern politics.
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Additional resources for Convent Music and Politics in Eighteenth-Century Vienna
22v); “Kaiser Zimmer . . Hammerl zum Instrument stimmen” (fol. 28v); “Sing Stuben . . ] Clavicon” (fol. 30v). “Closter berrechnung von 16 Decembris 1741 biß letzten December 1742,” fol. 15 (St. Nikola), A1/15: “dem Orgl Macher einen auß zügl bezallt . . ” Appendix 2, no. 3. A bürgerliches girl to the organ maker, payment of his bill for the year 1743 . . ]46 Jun. 1744: to the organ maker, for cleaning the organ, his bill for the year 1744 . . ]47 Feb. 1751: to the organ maker, for the year 1750 .
15 (St. Nikola), A1/2, no. 21: “Deme nach ich Endes unterschriebenen, in den Hochlieblichen Closter S. Nicolaus in Wienn, bey denen Ehrwürdigen Closter Jungfrauen, durch das jahr 1776. die Orgel überstimet habe, in allen 2 mal, nemlich das Positiv zum S. Clara Fest, und die große Orgel zum Advent, so vor jedesmal per 1 ﬂ. 30 xr. zweymal, macht zusammen . . 3 ﬂ. / idest 3 ﬂ. ” Günter Lade, Orgeln in Wien (Vienna: author, 1990), 214, and Beatrix Darmstädter, “Orgelmacher und Instrumentendiener am Wiener Hof im 18.
Haydn himself, as a singer in the choir at St. Stephen’s in the 1740s and 1750s,58 might well have performed at this convent. In later life Haydn recalled having composed some music for the entrance of his sister-in-law into the convent. ”59 The Double Concerto in F, Hob. XVIII:6, is Haydn’s only known work for this combination. In January 1804, Haydn also mentioned a concerto for organ and a Salve Regina as among his earliest works. He was unable to 54 55 56 57 58 59 “Haupt Inventarium,” fol. 15 (St.