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

Figure 3.15. Entries for the Kyrie K. 341 in the Andre-Gleissner catalogue and the “Gesamtverzeichnis.”
The Kyrie does not appear in the printed catalogue of 1841, and did not figure in the
division of Mozart autographs among André’s children in 1854. 198 The entry for the Kyrie in
the 1833 catalogue includes a note reading “NB. An Herrn Schelble überlaßen”, referring to
the Bach enthusiast Johann Nepomuk Schelble, director of the Frankfurt Cäcilienverein. 199
Schelble must have obtained the manuscript at some time in the 1830s, but there is no
further trace of it after his death in 1837. 200
In the absence of an autograph or any other supporting evidence, one must rely for
the dating on internal characteristics. The traditional ascription to 1779-80 around the time
of Idomeneo is due to Otto Jahn, who wrote that the character of the composition and the
198 See Wolfgang Rehm, Mozarts Nachlass und die Andrés. Dokumente zur Verteilung und Verlosung von 1854
(Offenbach am Main: Musikverlag Johann André, 1999).
199 GB-Lbl, Add. Ms. 32412.
200 The transmission of Schelble’s estate is complex: the Cäcilienverein collection is now in D-F, but much of
Schelble’s music was inherited by his student F. X. Gleichauf and then dispersed. Some of it went to the
Mozart-Verein in Frankfurt, whose collection is now almost entirely lost. A source for K. 341 unknown to the
NMA is I-Fc, E-VII-245. This is a nineteenth-century score copy headed “Kyrie/a Quattro voci con
Orchestra/di/W. A. Mozart.” The score is in ink, but the barlines are ruled in pencil. The watermark of the
paper is a heart-shaped crest enclosing the letters AC or AG.
194