MOZART AND THE PRACTICE OF SACRED MUSIC, 1781-91 a ...

at St. Stephan had however been removed by unclear means before the bombing and became
Privatbesitz. The Fischer score of K. 243 seen by Buff was donated by “H. Voigt” to the
Mozartgemeinde in Augsburg, 147 but some of the material was eventually obtained by Erich
Gackowski. Gackowski gave Fischer’s score of K. 140 to the Staats- und Stadtbibliothek in
Augsburg, where the Heilig Kreuz collection is now held on deposit, 148 but retained at least
one item, Fischer’s score of K. 317. As a result of the division of the collection and its
subsequent dispersal, one of the most important early sources for Mozart’s sacred music has
suffered substantial losses.
The organ part for K. 427 in the Heilig Kreuz collection is in the hand of Joseph
Estlinger, while the trombones are in the hand of Felix Hofstätter. Estlinger was the Mozarts’
preferred copyist in Salzburg, while Hofstätter worked as a tenor and violinist at the court,
making a Salzburg origin for the parts very likely. 149 Given the limited distribution of K. 427
and the likely provenance of the manuscripts through Nannerl, there would seem to be a
good prima facie case for the proposition that these parts were part of the original
performance material used at St. Peter’s. There are, however, some unusual features of the
parts that call for comment.
The first curiosity concerns the pitch. As is well known, both the organ and
trombone parts are notated a tone lower than Mozart’s score. Such a disposition is familiar
from the conventions of J. S. Bach’s Leipzig, for example, where the parts for the Chorton
organ and trombones were transposed down to match the Cammerton woodwinds and
strings. Although the performance practice of Mozart’s Salzburg church music is in need of
further investigation, it appears that an organ tuned a tone higher than the other instruments
147 Senn, “Die Mozart-Überlieferung im Stift Heilig Kreuz zu Augsburg,” 336n9.
148 Gackowski’s transfer of the score is noted in the catalogue of the Heilig Kreuz collection kept in D-As.
149 See Cliff Eisen, “The Mozarts' Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style, and
Performance Practice,” in Mozart Studies, ed. Cliff Eisen (Oxford: Clarendon Press, 1991), 259-65.
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