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

der Musikfreunde in Vienna; see Figure 3.27. 264 The manuscript comes from Graz
Cathedral, and informs us that the work is by Mozart, “Vienæ Aulicæ Capellæ Magistro”,
and was performed in “Francofurti Anno 1792.” 265 It can hardly be doubted that the
performance in Frankfurt took place during Leopold’s coronation. Unfortunately, the
manuscript as Pfannhauser found it consisted only of the wrapper: the parts themselves are
no longer extant, so we are unable to assess the source further. If the coronation celebrations
in Frankfurt featured this offertory by Mozart, perhaps Salieri saw fit to introduce K. 337 as
well.
Misericordias domini was likely circulating in Vienna during Mozart’s lifetime. As we
shall see in the final chapter, the Michaelerkirche obtained a “motet” by Mozart in May 1791
that was probably this work. We know that Mozart himself possessed a set of parts for K.
222 in Vienna, which Constanze sent to Andre along with the rest of the Nachlass in 1800.
These parts survives today in Fulda; see Figure 3.28. 266 The set, which consists of single
copies of Canto, Alto, Tenore, Basso, Violino Primo, Violino Secondo and Organo, is
entirely in the hand of a Salzburg copyist who seems to have worked for Leopold Mozart
after Wolfgang’s departure from the city. 267 We do not know when Wolfgang acquired the
set, but it is conceivable that it was associated with the van Swieten concerts of the early
1780s or with the transfer of Mozart’s remaining scores from Salzburg after the death of
Leopold. The parts present a “clean” appearance suggesting they were little used, but they
264 A-Wgm, I 70120 P. I am grateful to Otto Biba for clarifying the location of this manuscript.
265 Again, it seems that the work was performed from local sources, since the Hofkapelle sources for K. 222 all
appear to date from the nineteenth-century; A-Wn, HK 3040-41. Landon incorrectly describes the Graz
Cathedral manuscript as “a copy in the Imperial chapel”; Landon, 1791: Mozart's Last Year, 104.
266 D-FUl, M 299b. See MVC, 1075, 1089 and Wolfgang Plath, "Mozartiana in Fulda und Frankfurt," in
Mozart-Schriften: Ausgewählte Aufsätze, ed. Marianne Danckwardt (Kassel: Bärenreiter, 1991), 141-42.
267 See Cliff Eisen, "The Mozarts' Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style, and
Performance Practice," in Mozart Studies, ed. Cliff Eisen (Oxford: Clarendon Press, 1991), 295. I am grateful
to Eisen for the initial identification and for providing me with additional information about this copyist. The
watermarks in the manuscript include three moons over REAL | FC and a crescent moon enclosed in a crowned
crest (cf. Tyson 52).
232