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

part has transposition errors, “die von Mozart eigenhändig korrigiert wurden.” 164 By the
critical report of a decade later, however, this stance had been softened: “Die Orgelstimme
enthält zahlreiche Rasuren und Korrekturen in der Bezifferung, die zum Teil von Mozart
selbst stammen könnten.” The reader is directed to the Einzelbemerkungen for further details,
but only five of the numerous corrections in the organ part are attributed there to Mozart, all
conjecturally. 165
Figure 2.8. Corrections and additions to figuring in the Heilig Kreuz organ part for K. 427. D-As, Hl 10.
Most of the corrections to the organ part are written in what is now a grey-shaded
ink, easily distinguishable from Estlinger’s brown ink; see Figure 2.8. These corrections
appear to be limited to the first four movements of the mass only, for they are not to be
found after the Gratias. Almost all the modifications pertain to the figuring, particularly to
the correction of accidentals that Estlinger had taken over by mistake from a model
apparently notated at Kammerton. Many of the natural signs are atypical of Mozart in their
well-defined, interlocking “L” shape: by this time, Mozart’s natural sign usually had the
lower “L” modified into a curve so that the central part of the sign was essentially triangular,
164 Holl, NMA I/1/1/v, xv.
165 Holl, NMA I/1/1/v KB, 9, 45-8. The corrections in question (Kyrie b. 7-8, Laudamus b. 53-4, 65, 125-6
and Gratias b. 6) are stated to be “(von Mozart?)”. The single numeral “2” in the second row of Figure 2.8 is
included due to Holl’s speculation that it was a later correction, although it is written in a brown ink similar to
Estlinger’s.
117