Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720. Part II: The Wedding Ceremony of Friedrich August and Maria Josepha in Vienna (1719)*

*Part I of this study was published in a Festschrift for Janice B. Stockigt as Szymon Paczkowski, ‘Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720. Part I: Count de Villio and the Non-Musical Activities of Some Viennese Castratos’, Musicology Australia 41/2 (2019): 143–57.

Abstract

In September 1718, Jacob Heinrich von Flemming, the Saxon Field Marshal and the first minister of the Saxon Privy Council, came to Vienna to complete the political negotiations between Austria, Saxony, and Poland that were to lead, inter alia, to the dynastic pact between the Wettins and the Habsburgs. This alliance was embodied in the marriage of Friedrich August (son of August II, king of Poland and elector of Saxony) and Maria Josepha (the eldest daughter of the emperor Joseph I, who died in 1711), which took place in Vienna on 20 August 1719. Flemming spent this time in Vienna not only for the purpose of intense political negotiations, secret meetings, and important public events; he was also actively involved in the social life of the city. He participated in balls, feasts, opera performances, and other entertainments in the salons of the Viennese aristocracy, and he reciprocated the same in his residence. He brought his own private music Capelle from Saxony, which accompanied most social events taking place at his Viennese headquarters. Based on Flemming’s Viennese diaries and other documentation from that time, this article represents the second and final part of a broader study on music and diplomacy through the lens of Flemming’s activities and correspondence. It recreates the musical soundscape surrounding the Saxon marshal in the Austrian capital, showing how Flemming used music as a tool to build trusting relationships (both political and social), and detailing the role the musicians played in fulfilling Flemming’s diplomatic objectives. Archival documents are used to reconstruct hitherto unknown musical aspects of the events surrounding the Vienna wedding of Friedrich August and Maria Josepha, and to provide indications about repertoire performed during Viennese marriage ceremonies of such rank.

Acknowledgements

This article was written as part of a research project conducted by the author titled W cieniu kapeli królewskiej. Muzyka i patronat muzyczny ministrów dworu polsko-saskiego w czasach panowania Augusta II i Augusta III—Jakoba Henryka Flemminga, Christopha Augusta Wackerbartha i Aleksandra Sułkowskiego (In the shadow of the Royal Orchestra. Music and music patronage of ministers of the Polish-Saxon court—Jacob Heinrich Flemming, Christoph August Wackerbarth and Aleksander Sułkowski) financed by the Narodowe Centrum Nauki (National Science Centre, Poland); project registration no: 2017/25/B/HS2/02451.

Notes

*Part I of this study was published in a Festschrift for Janice B. Stockigt as Szymon Paczkowski, ‘Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720. Part I: Count de Villio and the Non-Musical Activities of Some Viennese Castratos’, Musicology Australia 41/2 (2019): 143–57.

1 On the drafting of the alliance, see Urszula Kosińska, Sejm 1719–1720 a sprawa ratyfikacji traktatu wiedeńskiego [The Sejm 1719–1720 and the matter of the ratification of the Vienna Treaty] (Warsaw: Semper, 2003), 39–41.

2 Alina Żórawska-Witkowska, Podróże królewiczów polskich. Cztery studia z dziejów kultury muzycznej XVII i XVIII wieku [The Travels of Polish Princes: Four Studies in the History of Musical Culture of the 17th and 18th Centuries] (Warsaw: Wydawnictwa Uniwersytetu Warszawskiego, 1992), 18–31. See especially p. 27 in Chapter 2, ‘Muzyczna podróż Fryderyka Augusta: Niemcy—Francja—Włochy—Austria (1711–1719)’ [Friedrich August’s Musical Journey: Germany—France—Italy—Austria (1711–1719)]. For an Italian version of the article, see ‘Esperienze musicali del principe polacco Federico Augusto in viaggio attraverso l’Europa (1711–1719)’, Studi Musicali 20 (1991/1), 155–173.

3 D-Dla Geh. Kab. 10026, loc. 3518 Die zwischen Kaiser Karl VI., König Friedrich August und König Georg … errichtete Defensiv-Allianz betreffend, 1718–1723.

4 See Flemming’s letter to Bernstorff dated 15 September 1718: D-Dla Geh. Kab. 10026, loc. 680, Des Generalfeldmarschalls Herrn Graf von Flemming mit dem königlich großbritannischen und Kurhannoveraner Etatsminister, Herrn Baron von Bernstorff gehabte Korrespondenz, vol. 10, fol. 93^r: ‘Tomorrow, without fail, I am leaving for Vienna’ (‘Je pars infailliblement demain pour Vienne’) and Flemming’s Vienna diary: D-Dla Geh. Kab. loc. 3301, Journal de Vienne 1718–1719, fol. 1^r.

5 D-Dla Geh. Kab. 10026, loc. 3301/1, Journal de Vienne 1718–1719 and D-Dla Geh. Kab. 10026, loc. 3296/17, Journal de Vienne 1718 pendant le sejour que S.E. le Comte de Flemming y a fait depuis le 16. de Stb: 1718 jusquau 17. Janv. 1719.

6 For instance, Journal de Vienne (D-Dla Geh. Kab. 10026, loc. 3296/17, fol. 59^r) has this entry under 5 November (1718): ‘Fait un jour de Gallas et d’opera’ (‘A day with Gallas and in the opera’). That evening a dramma per musica by Antonio Caldara entitled Ifigenia in Aulide with a libretto by Apostolo Zeno was in fact performed at the Hofburg theatre on the name-day of Emperor Charles VI. See Frank Huss, ‘Die Oper am Wiener Kaiserhof unter den Kaisern Josef I. und Karl VI. Mit einem Spielplan von 1706 bis 1740’ (PhD thesis, Universität Wien and Universität für Musik und Darstellende Kunst in Wien, 2003), 201. One of the inventories of Flemming’s library, prepared c.1730 after his death and titled Catalogi Bibliothecae quondam Flemingianae Supplementum, now in the Central Archives of Historical Records in Warsaw (Pl-Wagad), lists a libretto booklet of Caldara’s opera from that performance in Vienna. See Pl-Wagad AR Rb nr 13, fol. 120^r (item 20). According to Journal de Vienne (D-Dla Geh. Kab. 10026, loc. 3296/17, fol. 68^r), on 24 November 1718 Flemming hunted with the crown prince Friedrich August. They had a meal after their return and in the evening Flemming saw an opera at the court. On that day it was Alceste, a festa teatrale by Giuseppe Porsile with a libretto by Pietro Pariati, first performed on the name-day of Empress Elisabeth on 19 November 1718.

7 ‘a 8.h. du soir: Mad.^elle Sperling joua divinement du Luth’. Journal de Vienne (D-Dla Geh. Kab. 10026, loc. 3296/17, fol. 45^r). This might be a reference to Sophie Getraude née Gnappert, wife of Hans Ernst Sperling (then in the service of Duke Christian von Sachsen-Weißenfels, from 1746 in the service of August III as Königlich Polnischen und Kurfürstlich Sächsischen Oberforst- und Wildmeister). See http://von-sperling.net/docs/geschichte/gesch1.html (accessed 1 April 2019).

8 ‘Le 18 Xbre. […] Le C. Fl. dina chez le Pr. Royal, ou il eut 22. Personnes à table, il y eut le Pr. Eugene, le Nonce, l’Ambassadeur de Vinise et quantité de Dames. Le C. Fl. y joua avec la Comtesse d’Althan femme du favori, la Boudiani et la Comtesse de Windisgratz, il perdit 17 Ducats, mais il s’y divertit bien. Il y eut grande et belle musique, mais elle ennuia à la fin les Dames.’ See D-Dla Geh. Kab. 10026, loc. 3301/1, Journal de Vienne de Ao: 1718, 1719, fol. 46^r-v.

9 ‘Mr: Pantalon se fut entendre, et toute la compagnie en fut fort satisfaite.’ D-Dla Geh. Kab. 10026, loc. 3296/17, Journal de Vienne 1718, 1719, fol. 86^v. In Flemming's private accounts of his stay in Vienna, it was noted that Pantaleon’s instrument was brought to the Viennese residence of the marshal on 14 December 1718 by six porters, for which the host paid them three florins. The instrument was taken from there for the same amount and a small tip on 19 January 1719 (the day before Flemming’s departure from Vienna to Wschowa [Germ. Fraustadt] in Poland). See National Historical Archives of Belarus in Minsk (BY-MInhab) F. 694, op. 6 d. 191, fol. 213^r.

10 ‘Il regala à diner le C. Etienne de Kinsky et Madame, le C. Franc de Starhemberg et Madame, le C. de Sternstein et Madame, le C. de Hamilton et Madame, et le C. de Lutzelbourg. Mr. Pantalon y joua mais étant sou il ne fit rien qui vaille. On y joua aprés diner comme à l’ordinaire.’ D-Dla Geh. Keb. 10026, loc. 3301/1, Journal de Vienne de Ao: 1718, 1719, fol. 46^v.

11 This is most likely a reference to Caroline von Fuchs née Mollard, wife of Count Christoph Ernst von Fuchs, until 1710 a lady of the court of Archduchess Maria Anna (daughter of Leopold I, future Queen of Portugal), governess of the daughter of Charles VI, the future Empress Maria Theresa.

12 ‘Nous sommes a la fin arrivez icy en bonne santé, et nous avons restitué en bonne santé la Dame aussi bien que demi dame a la Maison. Nous aurons l’honneur de boire dans ce moment a votre santé, car je les attends à Dîner; J’ay fait una finezza al Signore Pantalone dont il est tres content; en chemin faisant j’ay dispose le recitatif et plus a la Musique, et je vous l’envoye come il est corrige. Je fais venir le Clavessin pour le chanter methodiquement…’ D-Dla Geh. Kab. 10026, loc. 3301/2, Correspondance du Feld-maréchal Comte de Flemming avec quelques dames de la cour de Vienne à l'occasion du mariage de l'archiduchesse Marie Josépha avec le Prince Royal (unpaginated).

13 Flemming’s letter to Petronilla Melusine von Schulenburg in Dresden (6 November 1719): D-Dla Geh. Kab. 10026, loc. 704/7, Korrespondenz des Generall-Feldmarschalls von Flemming mit … , fol. 219: ‘Je vous envoye cy joint l’operette de Vienne dont j’ay eu l’honneur de vous parler. Je n’ay pas pu avoir encore les opera d’icy, car on est si rare avec, qu’on n’en laisse par meme les roles aux chanteurs et chanteuses, dont ceux cy enragent.’ (‘Enclosed I am sending you an opera from Vienna, which I had the honour of mentioning to you. The operas here [in Dresden] are unattainable because the material is so rare that sometimes there is not enough for the singers, which they find infuriating’). What Flemming most likely had in mind were not scores but, rather, libretto booklets.

14 See, for example, Flemming’s bills including expenses relating to accommodation for his musicians in Vienna from September 1718 to March 1719 (LT-Vlvia, F. 459/1 no. 1632, fol. 14; BY-MInhab, F. 694 op. 6, d. 109 fol. 39^v; Pl-Wagad, Archiwum Radziwiłłów [Radziwiłł Archive], Section X ‘Dokumenty domów obcych—Papiery Flemmingów z lat 1697–1730’ [Documents of foreign houses—Flemming papers from 1697–1730], 353, fols. 11, 27, 44, 63.

15 See, among others, Flemming’s bills including expenses relating to four musicians in Vienna in June 1719 (LT-Vlvia, F. 459 op. 1 no. 1621 fol. 5^v), transportation costs of four musicians in Vienna in July 1719 (LT-Vlvia, F. 459/1 no. 1621, fol. 6^v), new liveries for four musicians in July 1719 in Vienna (LT-Vlvia, F. 459/1 no. 1621, fol. 9^v), payments to musicians and lackey-oboists in Vienna in August 1719 (LT-Vlvia, F. 459/1 no. 1625, fol. 3^r) and in October 1718 (LT-Vlvia, F. 459/1 no 1641, fol. 4^r).

16 We do not know how many musicians were employed by Wackerbarth during his mission in Vienna in 1717–1718. Accounts relating to Friedrich August’s stay in Vienna include an expense of 200 thalers on Wackerbarth’s musicians for services rendered to the crown prince. See D-Dla Geh. Kab. 10026, loc. 763/8, Des Königlichen Prinzen Herrn Friedrich August, Hoheit, Hoffkassenrechnungen 1719, 1722, 1725, 1734, fol. 47^r: ‘Grafen von Wackerbarts, Musicanten so öffters Music gemacht’ (‘Wackerbarth’s musicians, who so often made music’). See also: Herbert Seifert, ‘Zelenka in Wien’, in Wolfgang Reich and Günter Gattermann (eds.), Zelenka-Studien II. Referate und Materialien der 2. Internationalen Fachkonferenz Jan Dismas Zelenka, Dresden und Prag 1995 (= Deutsche Musik im Osten 12) (Sankt Augustin: Academia Verlag, 1997), 184. In 1719, Wackerbarth’s Cammer-Musique comprised at least five musicians: Johann Gottfried Stiebner (harpsichordist), oboists Johann Christoph Reinhard (Reinhardt) and Johann Wilhelm Hugo, the bassoon player Johann B. Lincke and the Italian cellist Arcangelo Califano. See Janice B. Stockigt and Jóhannes Ágústsson, ‘Reflections and Recent Findings on the Life and Music of Jan Dismas Zelenka (1679–1745)’, Clavibus unitis 4 (2015) (= ‘Jan Dismas Zelenka’s Life and Music Reconsidered (Zelenka Conference Prague 2015)’), 7–48, esp. 14. See also Szymon Paczkowski, ‘Christoph August von Wackerbarth (1662–1734) and his Cammer-Musique’, in Jolanta Guzy-Pasiak and Aneta Markuszewska (eds.), Music Migration in the Early Modern Age: Centres and Peripheries—People, Works, Styles, Paths of Dissemination and Influence (Warsaw: Liber pro Arte, 2016), 109–126.

17 D-Dla Finanzarchiv 10036, loc. 39800 Rep. XV Gen. No. 16, Pässe vom Martio Anno 1715 an usque 1719; document ‘Pass vor Hoff-Musicanten nach Wien’ from 23 August 1718 (unpaginated).

18 See Szymon Paczkowski, ‘The Polish-Saxon Episode in the Life of Gregor Joseph Werner’, Eighteenth-Century Music 16 (2019), 161. The first known documents in which Werner was noted on the payout lists for musicians are from March and April 1719 (BY-MInhab, F. 694, op. 6, d. 109 fols. 4^r and 39^v).

19 Memoires et Journeause de mon voyage de Fraustadt, et ensuite de mon retour à Vienne 1719, D-Dla Geh. Kab. 10026, loc. 3288/10. Urszula Kosińska points out that Flemming’s second mission did not only involve finalizing the dynastic agreement; that was primarily a pretext for smoothing out difficulties with the ratification of the 5 January agreement by the Polish Sejm (Parliament). See Kosińska, Sejm 1719–1720, 102.

20 D-Dla Geh. Kab. 10026, loc. 760/5, Acta Ihrer Hoheit, des Königl. Prinzens Friedrich Augusts Vermählung mit der ältesten Kaÿserl: Josephinischen Prinzessin Marien Josephen, Königl. Hoheit betr. Ao. 1719, fol. 294^r: ‘Unterm Hymnus Te Deum laudamus, werden von der Start aus 30. Stück gelöset, und hinzu von der Guarde durch eine Salve aus ihren Musqueten das Zeichen geben werden.’ (‘During the hymn Te Deum laudamus, 30 gun salutes will be fired upon the Guard’s signal, to be given by firing their muskets’).

21 ‘On me dit que les noces pourroient bien se trainer jusqu’en aoust; l’Empereur voulant à l’Exemple de V. Mté regaler le Prince Royal d’une fête, on prepare un Opera, mais je crains qu’on n’y mette trop de tems.’ D-Dla Geh. Kab. 10026, loc. 761/6, Die in Ihrer Hoheit des Königlichen Prinzens Mariagesache zwischen des Herrn Generalfeldmarschalls Grafens von Flemming und des Kabinettsministers Grafens von Watzdorf, Exzellenz, Exzellenz, gepflogene Korrespondenz, fol. 73^v.

22 ‘Le deux Archi-Duchesses s’étant un jour entretenu des divertissements, qu’il y auroit à Dresden, la cadette doit avoir dit, ma soeur, quand vous serés là, vous m’écrirés souvent, et vous me dires, nous avons dançé jusqu’à telle heure, nous avons été à l’Opera, à la chasse, nous nous sommes bien diverti, et moy je vous écrirai, J’ay été à tel cloître, j’ay diné ou soupé, ches l’Empereur, ou telle Imperatrice.’ Ibid., fol. 81^r.

23 ‘Le 10e du courrant, jour de nom de l’Imperatrice Amalie, l’Empereur et toutte la Cour Imper: fut tout le jour à Schönbrun et il y eut un concert chanté par les archiduchesses et les Dames de leurs Cours. L’archiduchesse Marie s’y est le plus distinguée par les manieres, quoyque Sa Voit soit faible; Celle de la cadette est plus forte, mais n’a pas les aggrements de celle de l’ainée. La C-sse Salins nee Lichtenstein a Assi brille dans ce koncert, Assi bien que les deux […] qui accompagneront Mad l’archiduchesse les C-sses Konigel et Schaffenberg. Pour la jeune C-sse Salm, comme Elle a la voix forte, elle a bien crié, et chanté hardiment, mais l’aggrement n’y est pas encore J’ay cru faire plaisir a V. A. Royale de luy detailler ce koncert, ou d’une commune Voit l’archidu-sse Marie a rem porte le prix, et je me sers de cette occasion pour remercier tres humblement Votre Al.-sse Royale des marquer de son gracieux souvenir dont Elle m’a fait assurer par M le C de Watzdorff. […] qu’elle a gagné aussi Je suis avec un tres profond respect.’ D-Dla Geh. Kab. 10026, loc. 13542/63, Schreiben des Feldmarschalls Jakob Heinrich Grafen von Flemming an Kurprinz Friedrich August von Sachsen; Flemming’s letter to King August II in Vienna, 13 July. Jóhannes Ágústsson drew attention to that document in his article ‘Giovanni Alberto Ristori at the Court of Naples, 1738–1740’, in Claudio Bacciagaluppi, Hans-Gunter Ottenberg and Luca Zoppelli (eds.), Studi Pergolesiani 8 (Bern: Peter Lang, 2012), 59, note 21.

24 See Robert Prölls, Geschichte des Hoftheaters zu Dresden. Von seinen Anfängen bis zum Jahre 1862 (Dresden: Wilhelm Baensch Verlagshandlung, 1878), 130. The musical collections of the Sächsische Landesbibliothek — Staats- und Universitätsbibliothek Dresden (SLUB) contain a manuscript copy of a score for a serenata (componimento per musica) with music by Porsile to text by Pietro Pariati, Il Giorno Natalizio della Sacra Cesarea e Reale Maestà di Willhelmina Amalia Imperadrice de Romani (D-Dl Mus. 2196-L-1). This source was written by an unknown Viennese copyist marked in RISM as ‘S Dl 268’ and dated ‘ca. 1717’. See RISM online: https://opac.rism.info/metaopac/search?View=rism&id=212006873 (accessed 23 April 2020). The title and content of this serenata would indicate the birthday of Empress Wilhelmina Amalia (widow of Joseph I), which fell on 21 April, as the likely date of performance. However, the performers of individual roles listed on fol. 2 of the manuscript include both the princesses and the other three ladies mentioned in the Flemming letter from July 13 (La Gloria, Maria [Josepha]; La Fama, [Maria] Amalia; La Primavera, Salm; L’Aurora, Schaffenberg; Flora, Künigel [Königel]). If the coincidence of the names specified by Flemming with those listed on this source is purely accidental, it would mean that the two young princesses and the other young ladies performed together more often than previously thought. It is also possible that the serenata was performed on both occasions. Ágústsson treats this manuscript as an example of one of several possible works that Porsile ‘specially customized’ for Maria Josepha and her younger sister Maria Amalia. See Jóhannes Ágústsson, ‘The Musical Entries in the Dresden Account Books of Saxon Electress and Polish Queen Maria Josepha, 1720–1757’, Musicology Australia 41/2 (2019), 237.

25 Paczkowski, ‘Music and Diplomacy,’ 153–54.

26 D-Dla Geh. Kab. 10026, loc. 3288/11, Mémoires et Journal pendant que Son Excellence (le Feld-maréchal Comte de Flemming) a fait ses fonctions à Vienne, fol. 24^v. ‘Pour celui qui a enseigné la musique à l’archiduchesse—fl. 100.’ See Paczkowski, ‘Music and Diplomacy’, 153.

27 D-Dla Geh. Kab. 10026, loc. 3288/11, Mémoires et Journal pendant que Son Excellence (le Feld-maréchal Comte de Flemming) a fait ses fonctions à Vienne, fol. 1^r-3^v.

28 Ausführliche Beschreibung der solennen Audienz, welche am 13. Augusti Anno 1719. der Königl. Polnische und Churfürstl. Sächsische Gevollmächtigste Ministre, Herr Jacob Heinrich, Graf von Flemming bey denen Regierend- und Verwittibten Kayserlichen Majestäten gehabt, worinnen er um die durchlauchtigste Josephin. Erz-Herzogin, Maria Josepha, vor Ihre Hoheit den kön. Poln. und Chu-Sächsischen Prinzen ange- und die Kayserl. Allerhöchste Einwilligung dessentwegen erhalten (Regensburg, nach dem zu Wien in der Kayserl. Reichs- und Hof-Buchdruckerey gedruckten Exemplar [1719]). Johann Christian Lünig provided an almost identical account in his Theatrum Ceremoniale Historico-Politicum, Oder Historisch- und Politischer Schau-Platz Aller Ceremonien, welche So wohl an Europäischen Höfen, als auch sonsten bey vielen Illustren Fällen beobachtet werden (Leipzig: Moritz Georg Weidmann, 1720), vol. 2, 487–89; see also Jacek Staszewski, August III Sas (Wrocław: Zakład Narodowy im. Ossolińskich, 1989), 92.

29 Interestingly, Flemming’s diaries did not mention the fact that he gave a great ball to Viennese aristocracy to mark the dynastic alliance on 15 August. This ball became the subject of one of the drawings by Raymond Leplat commissioned in 1728 by the Dresden court, which is today available in the Kunstsammlungen collection in Dresden (Kupferstich-Kabinett C 6730). See https://skd-online-collection.skd.museum/Details/Index/1119491 (accessed 23 April 2020). The theme of illustrations ordered from Leplat also included the fireworks during the festival at the Flemming residence in Vienna, the scene of wedding in the Favorita chapel and the gala dinner that followed the wedding.

30 The detailed description of the wedding celebrations is based on D-Dla Geh. Kab. 10026, loc. 3288/11, Mémoires et Journal, fol. 16^r–18^v and Lünig, Theatrum ceremoniale historico-politicum, 490–93.

31 Ibid., 490.

32 D-Dla Geh. Kab. 10026, loc. 3288/11, fol. 17^v. ‘La Musique étoit rangée sur la loge, on y avoit ménagé à coté, des places separèes pour l’Ambassadeur Turc et Sa suite, et le reste de la loge ètoit occupè, par des Dames de la Cour et de la Ville.’

33 It is unclear why Friedrich W. Riedel assumed that the service was a silent mass (stille Messe). See Friedrich W. Riedel, Musikpflege am kaiserlichen Hof in Wien von 1716 bis 1719, in Zelenka-Studien II, 476, esp. Table 2‚ ‘Musikalische Aufführungen am kaiserlichen Hof in Wien 1716–1719’.

34 A copy of the score of Caldara’s Sirita made in 1719 in the hand of an unidentified Viennese copyist was most likely originally part of Maria Josepha’s private music collection (D-Dl Bibl. Arch. III Hb 787^c), probably as a souvenir of the wedding in Vienna; later it was listed in the Catalogo della Musica, e de’Libretti di S. M. Augusto III [Catalogue of the collection of August III] (D-Dl Bibl.-Arch. III Hb 787^h). Today the manuscript is held at D-Dl Mus. 2170-F-1.

35 Pl-Wagad AR Rb nr 13 (see fn. 6, above), Catalogi Bibliothecae quondam Flemingianae Supplementum, now in the Central Archives of Historical Records in Warsaw. The libretto booklet of Sirita from the Vienna performance of 21 August 1719 is recorded on fol. 120^r (item 19).

36 For Flemming’s diary entries of August 1719 see D-Dla Geh. Kab. 10026, loc. 3288/11. See also LT-Vlvia F. 459/1 no. 1672 fol. 2^r: Presente—Augustus 1719 àl occasion du Mariage (as ‘Gantze Musici – a Borcilli [sic!] 100 fl., a Tognini – 60 fl., pour toute la Musique de l’Empr. – 600 fl., Mons. Contini – 100 fl.’).

37 Paczkowski, ‘Music and Diplomacy’, 153–57.

38 D-Dla Geh. Kab. 10026, loc. 3288/11, fol. 24^r, 26^r i 29^r.

39 Paczkowski, ‘Music and Diplomacy’, 153.

40 Ibid., fol. 26^r, ‘Mr. Contini de qui le P. Royal a demandé des airs’. See Paczkowski, ‘Music and Diplomacy’, 153.

41 D-Dl Mus. 2190-I-1; see also RISM, http://www.rism.info/index.php?id=31&L=0 (accessed 14 April 2019); see also Janice B. Stockigt, ‘The Court of Saxony-Dresden’, in Samantha Owens, Barbara M. Reul, Janice B. Stockigt (eds.), Music at German Courts, 1715–1760: Changing Artistic Priorities (Woodbridge: The Boydell Press, 2011), 34.

42 Paczkowski, ‘Music and Diplomacy’, 153. I thank Václav Kapsa for informing me of a later performance by Tonino in Prague’s St. Vitus cathedral, during a service honouring St. John of Nepomuk. The performance was reported on 30 August 1721 in Pražské poštovské noviny [Prague Post Newspaper]: ‘při ofertorium císařský Castrat Pán Tonniny voce sola cum instrumentis slyšeti se dal’ [during the offertory, the imperial castrato, Mr. Toninno, was heard voce sola cum instrumentis]. See Jiří Berkovec, Musicalia v pražském periodickém tisku 18. Století. Výběr aktuálních zpráv o hudbě [Music in Prague periodical press of the 18th century. Selected current musical news] (Prague: Státní knihovna ČSR, 1989), 43. I also thank Dr Kapsa for informing me in private correspondence about a further performance by Tonino in an opera in December 1721. This apparently took place at the court of Count František Josef Czernin, and Tonino was paid ‘50 cremnitzer ducaten’. Researchers are familiar with the composer Bernardo Tonini from Verona (c.1666–d. after 1726), whose several collections of instrumental compositions were printed at the turn of the seventeenth and eighteenth centuries in the publishing houses of Giuseppe Sala in Venice or Estienne Roger in Amsterdam. However, the sources do not suggest any reason to identify him as castrato Tonino. See, Claudio Sartori, ‘Un catalogo di Giuseppe Sala del 1715,’ Fontes Artis Musicae 13 (1966 No. 1), 112–16.

43 D-Dla Geh. Kab. 10026, loc. 3288/11, fol. 29^r.

44 D-Dl Mus. 2367-D-1.

45 See Gerhard Poppe, ‘Joseph Schuster und seine Musikaliensammlung. Über Möglichkeiten und Grenzen einer Rekonstruktion und Untersuchung‘, in Gerhard Poppe and Steffen Voss (eds.), Joseph Schuster in der Musik des ausgehenden 18. Jahrhunderts (Beeskow: Ortus Musikverlag, 2015), 327; Wolfgang Horn, Die Dresdner Hofkirchenmusik 1720–1745: Studien zu ihren Voraussetzungen und ihrem Repertoire (Stuttgart: Carus Verlag, 1987), 166–173. See also RISM: https://opac.rism.info/metaopac/search?db=251&View=rism&q=rism212009091 (accessed 23 April 2020).

46 Riedel, Musikpflege, 453–69.

47 For a musical and formal analysis of the work based on the Dresden copy of Conti’s Missa con Trombe (D-Dl Mus. 2367-D-1) see Horn, Die Dresdner Hofkirchenmusik, 171–73; see also Hermine Weigel Williams, Francesco Bartolomeo Conti: His Life and Music (London and New York: Routledge, 1999), 241–45.

48 Friedrich W. Riedel, Kirchenmusik am Hofe Karls VI. (1711–1740). Untersuchungen zum Verhältnis von Zeremoniell und musikalischem Still im Barockzeitalter (Munich and Salzburg: Katzbichler, 1977), 200.

49 See fn. 28, above.

50 Riedel, Kirchenmusik am Hofe Karls VI., 204. In 1719, the Te Deum with an artillery salute was only sung in Vienna on two other occasions: 23 April (the consecration of Ignaz von Lovin, Bishop of Wiener Neustadt) and 5 September (the taking of Messina).

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Szymon Paczkowski

Szymon Paczkowski is a professor at the Institute of Musicology at the University of Warsaw. He has authored numerous publications, including Polish Style in the Music of Johann Sebastian Bach, first published in Polish in 2011, then translated into English and published by Rowman & Littlefield in the series Contextual Bach Studies in 2017. His research focuses on issues of theory and aesthetics in baroque music, on various aspects of the history of musical culture in the seventeenth to nineteenth centuries, and especially on the musical culture of Poland and Saxony in the time of the so-called Polish-Saxon Union during the reigns of August II and August III. He is a member of the Bach Network Council.

E-mail: [email protected]