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

orchestrates the first few bars, the Kyrie has more claim than the other fragments to be a true
“work in progress.”
The dating of the D minor Kyrie K. 341 is one of the classic unsolved problems of
Mozart research. The autograph of the work was among the materials shipped by Constanze
to Andre in early 1800, and an entry for it appears in the first catalogues of the collection. 195
Evidently the manuscript bore no date, since none is mentioned in these catalogues and
André and his assistants were usually careful to note autograph dates in their ongoing
attempts to construct a chronological list of Mozart’s work. At some point early in the
nineteenth-century, the Thomaskantor A. E. Müller gained access to the autograph and made
a copy of it headed simply “Kÿrie...di Mozart” together with the note, “Nach Mozarts
Handschrift copirt. Die Original-Partitur besitzt H Capellm André”; see Figure 3.14. 196 In
1825, André published the Kyrie, in an edition “nach dem hinterlassenen Original
Manuscript.” Only a few years later, however, André seems to have been no longer in
possession of the autograph. Although it appears unmodified in the 1833 Thematisches
Verzeichnis, the entry for the Kyrie has been heavily deleted in the draft of the
“Gesamtverzeichnis” prepared sometime after 1833; see Figure 3.15. 197
195 See MVC, 1028-30 and Wolfgang Plath, “Chronlogie als Problem der Mozartforschung,” in Mozart-
Schriften: Ausgewählte Aufsätze, ed. Marianne Danckwardt (Kassel: Bärenreiter, 1991), 333-34.
196 Holl in the NMA dates this copy “ca. 1810”, without supporting evidence; NMA KB I/1/vi, 32.
197 A number of other works in this catalogue were also deleted, including Sancta Maria, mater dei K. 273,
which Andre gave to Pölchau, and Mozart’s copy of Ligniville’s Stabat Mater.
192