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

into the domestic life of the family. Of particular interest for our purposes is the final
sentence of Preisler’s account, which appears in the main body of Dokumente in German
translation: “Er [Mozart] produziert in Wien Kirchen-Musik, und da die Operette zu Ende
gekommen ist, hat er nichts mit dem Theater zu tun.” Preisler’s Danish original reads “I
Wien opförer Han Kirke-Musiker, og da Operetten er gaaet ind, saa har han Inet med
Theatret at bestille.” 114 The crucial word here is “opförer” (modern opfører), rendered by
Deutsch’s anonymous translator as “produziert,” which has the same imprecise implication
as the English “produces.” It is thus not clear, according to Preisler’s account, whether
Mozart is writing church music or performing it. Deutsch suggested that Preisler was referring
to Mozart’s work for van Swieten, which by this date had consisted solely of the
performances of C. P. E. Bach’s Auferstehung in February and March 1788. 115 The first of the
Händel arrangements, Acis und Galathea K. 566, was not entered by Mozart in the
Verzeichnis until December.
Die Auferstehung is certainly “religious” music, and Mozart contributed to the shape
of the performances not only through his participation but also through minor revisions in
one aria (K. 537d) and additional figuring in the performing score. 116 It is however difficult
to believe that Preisler, who describes himself as a “kongelig Skuespiller og Accompagnist i
Orchestret,” would not know the difference between religious oratorios and genuine “Kirke-
Musiker.” Perhaps had Mozart told the actor of his current projects, or Preisler saw the score
114 Deutsch, Dokumente, 285, 515.
115 Ibid., 273.
116 The performing score is in A-Wgm, III 14232/Q 678. The parts are in A-Wgm, III 14232, with the
exception of Aloysia Lange’s part (marked “Mad: Lang”) which is in III 14232/Q 679. Some of the score and
many of the parts are in the hand of Peter Rampl; see MVC, 1185-88. Watermarks in these sources include
Tyson 74, 100, 101 and 102. On Mozart’s arrangement see Andreas Holschneider, “C.Ph.E. Bachs Kantate
Auferstehung und Himmelfahrt Jesu und Mozarts Aufführung des Jahres 1788,” in Mozart-Jahrbuch 1968/70
(Salzburg: 1970), 264-80.
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