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

with Mozart, 166 and Maximilian Stadler claimed that Pasterwitz was acquainted with
“Haydn, Mozart und Salieri.” 167 Sometime between 1785 and 1790, Pasterwitz made a copy
of Mozart’s popular variations on the Fischer minuet K. 179, and a set of parts for the Regina
coeli K. 127 at Kremsmünster has a title page in Pasterwitz’s hand. 168
Mozart’s association with the court was known to church musicians at an early stage.
Figure 3.13 shows the title page to a set of parts by “Münther” of Mozart’s Mass in B-flat K.
275, dated 1793. The parts, which derive from the pilgrimage church of Maria Ponsee in
Lower Austria, describe Mozart as “Maestro di Cappella, di Sua Maestà Imperiale.” 169
Formulations of this sort are common in printed sources and official correspondence, but are
rare in manuscript sources of Mozart’s music, particularly the sacred works. 170 Either
“Münthner” was unusually well-informed about the composer, or was copying from a source
dating in all likelihood from between 1788 and Mozart’s death. The manuscript may be
indicative of an otherwise unknown transmission history for the mass in Vienna.
Between late 1787 and 1791, Mozart began at least five new mass movements. 171
There may have been one more: the first Kyrie (“I A a 1”) in Nissen’s cataloguing scheme of
166 On Lipawsky, see MBA, vi.724.
167 Wagner, ed., Abbé Maximilian Stadler: seine 'Materialien zur Geschichte der Musik unter den Österreichischen
Regenten': Ein Beitrag zum Musikal. Historismus im Vormärzlichen Wien, 154.
168 A-KR, G 50/94 and F 5/115. The Italian paper on which the variations were written has no watermark, but
according to a letter contained with the manuscript and addressed to Kurt von Fischer, the editor of the
variations for the NMA, the copy can be dated to 1785-90 on the basis of Pasterwitz’s handwriting.
169 A-Wgm, I 72746. The origin of the parts is documented in some notes made by the previous owner of the
manuscript, Josef Zehetgruber. Most of the parts are signed at the end “M. [1]793” while the Organo is signed
“JM. [1]793”. The “Münthner” has been crossed out and replaced with “Jos: Schildmayer”. The watermark is
three moons | A over GF over C under a canopy, not equivalent to those in Duda.
170 See Deutsch, Dokumente, 270. An instance missed by Deutsch is the autograph of K. 619, where Mozart
calls himself “kapellmeister und k: k: kam[m]erkompositor.”
171 I shall refer to the individual movements by their classification in the NMA Fragmente. The following is a
concordance of K1 , K6 and the NMA: Kyrie in G, K. Anh. 16/196a/1787a, Kyrie in C, K. Anh.
13/258a/1787b, Gloria in C, K. Anh. 20/323a/1787c, Kyrie in D, K. Anh. 14/422a/1787e, Kyrie in C, K.
Anh. 15/323/1790a.
183