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

probably a “z,” leading to the possibility that the work was used at one of the numerous
Imperial coronations of the early 1790s. One could certainly explain the discrepancy
between Mosel’s account and the autograph date “1790” by proposing that Salieri did indeed
write the Te Deum for Joseph’s return in 1788, and then recast it for the coronations of
Leopold II or Franz II, deleting his original date and annotations as he went. The sources for
the mass, on the other hand, suggest a later date. The watermarks in the score cannot be
matched to any in Mozart’s autographs, and the design was probably not available in Vienna
until the 1790s. 59 The watermarks in the parts, which likewise cannot be matched to any in
Mozart’s autographs, seem to suggest a date in the later 1790s or even post-1800. 60 In its
present state, the mass is unlikely to have been written in 1788.
Early in the 1790s, Salieri began to expand the repertoire of the Hofkapelle, acquiring
and possibly commissioning works from court musicians such as Albrechtsberger, Umlauf,
Krottendorfer and Summer. The most significant new presence, however, was P. Georg
Pasterwitz (1730-1803), the teacher of Franz Xaver Süssmayr. 61 From 1767, Pasterwitz
served as regens chori at Stift Kremsmünster, but resigned in 1783 due to the effects of Joseph
II’s reforms. From 1785 to 1795, Pasterwitz was resident in Vienna as Hofmeister, a kind of
ambassador for the monastery. P. Beda Plank, abbot of Kremsmünster, later wrote that “das
Band der engen Freundschaft, das [Pasterwitz] mit dem hochberühmten k. k. Kapellmeister
59 The watermarks are difficult to make out, but consist, firstly, of three moons | two letters (perhaps FV or FL)
under a canopy. Near the end of the Credo, the design changes to three moons | RGA under a canopy, perhaps
equivalent to Duda RGA-2 or RGA-3 (found in Süssmayr scores from 1794-99). Finally, with the exception of
its outer bifolium, the alternative setting of the Dona nobis at the end of the manuscript has a design consisting
of three moons | OA over C, similar but probably not equivalent to Duda OA/C-2 (found in a score of 1796.)
Hettrick’s case for the priority of the first Dona nobis does not take into account the evidence of the
watermarks; Hettrick, ed., Mass in D Major, xx-xxii.
60 The three designs consist of three moons | AM under bow-and-arrow, man-in-the-moon | AM under bowand-arrow,
and man-in-the-moon | VB (possibly equivalent to Duda VB, found in a Süssmayr score of 1800.)
The presence of the man-in-the-moon strongly suggests a date after 1795. The first copy of Violino Primo is
marked “Sigre Scheidl,” referring to Joseph Scheidl (c. 1751-1819), violinist in the Hofkapelle since 1789.
61 On Pasterwitz, see Altman Kellner, Musikgeschichte des Stiftes Kremsmünster (Kassel: Bärenreiter, 1956), 436-
531.
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