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

pages bound in, and an account of their development is beyond the scope of this study. It
does however seem that for some the later entries, Salieri’s copy served as a model for the
ÖNB copy, and it is likely that the latter was the copy regularly consulted by the Hofkapelle’s
music librarians Wraveci, Umlauf and Spangler. A comparison of the two catalogues shows
that while Salieri’s copy is laid out in a more luxuriant fashion, with much blank space, the
Hofkapelle copy has consolidated entries by two or more composers onto the same page. This
process may be seen in the two catalogues’ entries for works by Mozart; see Figure 3.25.
Salieri’s copy has a full page intended for Mozart, although only K. 337 is listed. The
Hofkapelle copy, on the other hand, has K. 337 and K. 317 on a page originally intended for
works by Ulbrich, with the words “e Wolf. Mozart” squeezed in. The entry for K. 317 in the
Hofkapelle copy is in a different hand to the entry for K. 337, and this combined with the
absence of K. 317 in Salieri’s copy adds support to the idea that the works were not acquired
at the same time. Rather, as the forensic evidence suggests, K. 337 was acquired quite early,
and the remaining masses were obtained a number of years later.
Having eliminated all but K. 337 from contention for the coronation services of
1790-92, we may now proceed to examine what evidence there is for the presence of other
composers’ music. Mosel, writing nearly forty years after the events, gave the following
account:
Im Jahre 1792 fanden, nach dem fast plötzlichen Hinscheiden des Kaisers Leopold II.,
glorreichen Andenkens, die drei Krönungen Seiner jetzt regierenden Majestät, des allgeliebten
Kaisers und Könings Franz I., (damals noch römischen Kaisers Franz II.) statt, von welchen
Salieri jedoch, wegen gestörter Gesundheit, nur zweien, nämlich denen zu Prag und zu Frankfurt,
beiwohnen konnte, wo beinahe dieselben Compositionen, wie bei den Krönungsfeierlichkeiten
im Jahre 1790 aufgeführt wurden, nachdem dieses eben so unvermuthet als schnell eingetretene
Ereigniß nicht die Zeit zu neuen musikalischen Arbeiten vergönnte. 257
257 Quoted in Angermüller, Dokumente, ii.243.
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