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

not square. 166 Both the organ part from the Domine Deus onwards and the three trombone
parts were in need of equal critical attention, for they all contain figuring and transposition
errors that would have impacted on a performance. 167 Why further corrections in grey ink
were never made is a matter of speculation: perhaps time was short or a decision was made
not to use the surviving parts. There do however appear to a small number of further
corrections in pencil and brown ink in the organ part. 168 Clearly, the question of the identity
of the additional hand or hands in this manuscript is far from settled, and the argument for
the presence of Mozart’s hand rests for the moment on Senn’s original, unsupported
statement. The identification of precisely which corrections were written by Mozart, if any, is
a desideratum for future research.
A final challenge to the accepted view of the Heilig Kreuz parts appeared in 1991
with the publication of Cliff Eisen’s important article on the Mozart’s Salzburg copyists.
According to Eisen, the two watermark designs found in the parts have not been found in
dated manuscripts earlier than 1784, and no earlier than June of that year in manuscripts
with more precise dates. 169 Two Salzburg sources share the precise paper-types of the K. 427
parts: a set of parts for a mass by Gatti, dated 1784, and a set of parts partially in the hand of
Estlinger for Michael Haydn’s gradual Effuderunt sanguinem MH 392, the autograph of
which was completed on 11 December 1784. 170 Other paper-types including the two
166 See MVC, 279 and Richard Maunder, Mozart's Requiem: On Preparing a New Edition (Oxford: Clarendon
Press, 1988), 125.
167 do See, for example, the Trombone 2 part for the Qui tollis, which has transposition errors in b. 37-39 and a
tenor clef notated throughout, even though the pitches themselves are written correctly as if an alto clef were
present.
168 Examples include an additional “slash” 6 in brown ink in b. 5 of the Gratias, and pencil corrections in b. 19
of the Qui tollis and b. 88 of the Quoniam.
169 Eisen, “The Mozarts' Salzburg Copyists,” 307. The two watermarks are two different forms of a design
consisting of GFA under a canopy | three moons over REAL. One form is found in the outermost bifolium of
the organ and f. 3-4 of the third trombone part, while the other is found in the remaining bifolia.
170 A-Sd, A 615 and A-Ssp, Hay 525.1. The detailed information in this paragraph on the watermarks and
paper-types was supplied by Cliff Eisen (personal communication), to whom I am very grateful.
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