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

and the newly-written Ave, verum corpus is an additional candidate for performance around
Corpus Christi. Whatever the precise meaning of the letter quoted above, the matter-of-fact
way in which Mozart makes mention of Hofmann may suggest that performances involving
the adjunct Kapellmeister had become an accepted part of musical life at the Cathedral.
According to the inventory of the music at St. Stephen’s, the Cathedral once
possessed parts for the masses K. 337, 317, 258, 257, 259, 275, 192 and 194, the Drechsler
completion of K. 427, the Requiem, the Vespers K. 321 and K. 339, the litanies K. 125 and
243, the Offertory K. 222, the Gradual K. 273, the Te Deum, the contrafacta Splendente te
and Ne pulvis et cinis, and the Regina coeli based on K. 323. 131 Of these sources, only six now
survive: parts for the masses K. 258, 259, 275 and 337, the Te Deum, and an additional
contrafactum of Non temer, amato bene from the 1786 Idomeneo as Ave mater alma maris. 132
None of these manuscripts appear to date from Mozart’s lifetime. The earliest appears to be
the Te Deum, which consists of single parts for Soprano, Alto, Tenore, Basso, Violino Primo,
Violino Secundo, Violone and Organo. The watermark design consists of a man in the
moon countered by GA over F inside a heart-shaped figure, similar to Duda GA/F-1 and
GA/F-2. This design suggests a date in the first decade of the nineteenth-century, and the
parts may be derived from Breitkopf und Härtel’s 1803 print of the Te Deum. According to
the inventory, the parts once included the additional viola, woodwind, trumpet and timpani
parts added by Eybler in 1828 – one of several instances of Eybler “completing” Mozart
outside the Requiem. 133 Although the parts do include a later “layer” of vocal and string
131 A-Wda, s.s. In addition, the inventory lists two spurious items under Mozart’s name: a Missa in G and an
Aria de BVM for soprano in E flat. The parts for the Requiem may have been connected with the exequies of
Marie Therese, wife of Emperor Franz. Albrechtsberger had written to Eybler in 1807 asking for a copy of
Mozart’s Requiem for this occasion; see Karl Pfannhauser, “Epilegomena Mozartiana,” in Mozart-Jahrbuch
1971/72 (Salzburg: 1973), 294-95.
132 A-Wd, 44, 43, 159, 110, 81b, 200.
133 The original score of this arrangement, in A-Wn, HK 2261, bears a note reading, “Tympani, Clarini, Oboi,
/ Fagotti und Viola sind von / dem k. k. Herrn Hofkapellmeister / Eybler zur Verstärkung für die / k. k.
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