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

and the continuo figuring differs significantly between the two sources. 131 Various other
differences, such as the inconsistent vocal slurring and the divergence between the
Hofkapelle’s “sustenebit?” and Mozart’s “sustenebit,” lead to a similar conclusion. The
uneven spacing in the Mozart source does suggest the composer was copying from parts, and
it is conceivable that differing readings arose through intentional or unintentional
modifications to the exemplar. Taken collectively, however, the variants suggest that Mozart
was not copying from the Hofkapelle source. Where, then, did the composer obtain these
pieces? Pfannhauser knew of further sources in Vienna at the Priesterseminar, St. Stephen’s
Cathedral and the Schottenstift. 132 Those at the Priesterseminar and St. Stephen’s are no
longer extant, but there are further sources in Florence. 133 If a source for the psalms was
found that matched Mozart’s score more closely, it would indicate a previously unknown
relationship between Mozart and one or more churches in Vienna. Liturgically, Mozart’s
interest in the psalms had no practical outcome, as the Gottesdienstordnung lacked provision
for instrumentally-accompanied vespers. Still, the homophonic texture in both works placed
them closer to the Josephinian ideal than most of Reutter’s other music.
The mass (Hofer Messen 80), one of Reutter’s more ambitious efforts, is scored
mostly for four-part choir but expands for the Amen of the Gloria into eight parts
(SATBSATB). 134 In contrast to the shadowy performance history of the two psalms, the mass
enjoyed great popularity at the Hofkapelle during the 1780s, and was heard on New Year’s
Day (twice), Christmas Day (twice), Easter Sunday and the feasts of the Annunciation,
131 For example, figuring is entirely absent from the HK source in b. 33-44, while Mozart’s score contains
figuring throughout.
132 Pfannhauser, “Mozarts Kirchenmusikalische Studien,” 14.
133 I-Fa, 164 (Memento domine only) and possibly I-Fc, FP Ch 791. The St. Stephen’s parts, now destroyed, are
listed in the Cathedral’s catalogue, A-Wda, s.s., 128. On the St. Stephen’s music collection, see the following
chapter.
134 The Kyrie copied by Mozart is reused in the Dona nobis. The copy of the Kyrie and Gloria in A-H, II c calls
the mass “Missa St. Theresiae.”
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