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

provide him with potential repertoire for the Pfarrkirche. Viewed in this light, the collection
has a number of unusual aspects. The inclusion of the vespers K. 193 is particularly notable,
as works of this kind were theoretically still impermissible under the Gottesdienstordnung, and
Venite, populi, in its elaborate disposition for double choir, would have taxed the abilities of
the Pfarrkirche to their limit. It is entirely possible that Mozart had given further works to
Stoll that were eventually returned, as seems to be implied by the composer’s request for K.
317, in which case Stoll’s collection of autographs may not constitute a representative
collection but merely those the choirmaster happened to possess at Mozart’s unexpected
death.
Mozart’s letters to Stoll make clear that sets of parts for K. 275 and K. 317 must
once have been in existence, likely based on the composer’s autograph. If further works were
performed in Baden under Mozart and Stoll’s direction, then they too must have had
performance material associated with them. What happened to these manuscripts? As I have
noted, Mozart had in his possession sets of parts for K. 337 and the disputed K. Anh. 140,
both of which may have seen use in Baden or Vienna. Perhaps Mozart also owned parts for
K. 275 and K. 317 that were not in his possession on 5 December 1791, and were thus
unknown to Andre. Whether the parts were copied under the auspices of Mozart or Stoll, it
would be of great interest to recover these manuscripts in the light of their potential value as
textual witnesses. In particular, the parts for K. 275 would serve as a principal source for the
work, due to their derivation from the now-lost autograph and their use under Mozart’s
direction in July 1791. As Edge puts it:
Even if we have, as we do in this case, so-called “authentic” parts written in the hands of Salzburg
copyists who worked for the Mozart family, we are not absolved of the obligation to evaluate
other sources. We know that Mozart had K. 275 in Vienna and was involved with performances
of it, probably at least twice. We know also that Mozart was an inveterate reviser, changing in
some way or other practically every piece he ever revived...Therefore, if we could identify a
Viennese source of K. 275 that might have been associated in some way with Mozart – for
321