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

sent her brother any material in response to his request, and this is in any case Mozart’s last
surviving letter to her.
Why was Mozart interested in sacred music in 1788? The fact that he specifically
requested scores from Nannerl, not parts, suggests that the works were intended for study,
not performance. 120 Three copies that Mozart made about this time of works by Reutter
provide concrete evidence that the composer was interested in assimilating a specifically
Viennese tradition of sacred music. De Profundis (Hofer Psalmen und Cantica 123), copied
by Mozart as K. 93/Anh. A.22, was first identified as the work of Reutter by Pfannhauser in
1948; see Figure 3.9. 121 Memento domine David (Hofer Psalmen und Cantica 124), copied as
K. 93a/Anh. A.23, was likewise identified by Pfannhauser. 122 The second Kyrie from the
Missa in D (Hofer Messen 80), copied as K. 91/186i was identified by Monika Holl in
1983; see Figure 3.10. 123 All three copies are “incomplete”: in the De profundis, Mozart
copied the vocal parts and continuo in their entirety but did not fill in the violin parts. In
Memento domine, Mozart omitted the text and violin parts, and abandoned work on the
manuscript after 32 bars. 124 In the Kyrie, Mozart left out the trumpet and timpani parts and
broke off copying entirely after 32 bars. 125 Plath had already noted in 1964 that the
120 Beller-McKenna, “Mozart's Kyrie Fragments,” 83.
121 Pfannhauser, “Mozart Hat Kopiert!.” Part of the article had already appeared in Die Österreichische Furche on
29 August 1953. See also Pfannhauser, “Mozarts Kirchenmusikalische Studien,” 9-16.
122 A facsimile appears in Konrad, Skizzen, 1787γ.
123 Monika Holl, “Nochmals: "Mozart Hat Kopiert!"” Acta mozartiana 30 (1983): 33-6. There are multiple
inaccuracies in Heartz’s statement that “Mozart...copied out two Psalm settings by [Reutter], a quiet
homophonic setting a 4 of Psalm 131, Memento Domine David, and a fugal setting a 4 of Psalm 150, In te
Domine speravi.” Heartz, Haydn, Mozart, and the Viennese School, 84. See also Hellmut Federhofer, “Georg
Reutter d. J. als Mittler Zwischen Johann Joseph Fux und Wolfgang Amadeus Mozart,” Österreichische
Akademie der Wissenschaften. Anzeiger der phil.-hist. Klasse (1983): 51-8.
124 The continuo drops out in the last system. Mozart later used two blank staves on the verso to a write a
sketch (Sk 1787l) once thought to be associated with the fourth movement of the symphony K. 551.
125 Mozart’s autograph contains a completion by Maximilian Stadler, although the piece as composed by
Reutter was of course already “complete”; Holl, “Nochmals: "Mozart Hat Kopiert!"”: 33. Stadler described the
copy as “Kyrie in D dur vierstimmig mit Violino unisono fugirt allegro besteht aus 32 Takten“; quoted in
Ludwig Finscher, “Maximilian Stadler und Mozarts Nachlass,” in Mozart-Jahrbuch 1960/61 (Salzburg: 1961),
171.
169