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

Baadae.” Figure 4.18 shows the wrapper from a set of parts for Haydn’s Salve regina in G
minor, Hob. XXIIIb:2. Similar sets survive for Michael Haydn’s Salve regina in G and a
Salve regina in B flat by the little-known Franz Xaver Widerhofer (1742-99). 198 The Michael
Haydn and Widerhofer manuscripts are not easily datable, due to their low-quality paper,
but the watermarks in the Joseph Haydn setting suggest it was copied in the 1770s or 80s. 199
The disposition of the parts is consistent with what we know of the Pfarrkirche’s musical
resources: all three sets have single string and vocal parts with no surviving duplicates. If
Mozart and Stoll used a similar makeup for their performances in 1790-91, as they likely
did, then we would postulate an ensemble consisting of between six and eight singers and an
instrumental group of about the same size. Although modern “historically informed”
performers have been reticent to employ such “reduced” ensembles in their performances of
Mozart’s sacred music, the musical resources of the Pfarrkirche were entirely typical for
modest parishes in Vienna and its environs.
With the knowledge that late eighteenth-century parts from St. Stephen’s do indeed
survive, we now turn our attention to the Mozart sources in the collection. A wide variety of
printed and manuscript materials for Mozart’s sacred music are preserved in the archive,
although for present purposes the printed sources can be disregarded as they all clearly date
from the nineteenth century. 200 The manuscript sources include parts for the masses K. 140,
192, 194, 257, 259, 275, 317, 337 and the spurious but widely distributed K. Anh. C 1.06.
Other pieces in the collection include Inter natos mulierum, Misericordias domini, Sub tuum
198 On Widerhofer, see Adolf Kollbacher, Musikpflege in Mariazell: Drei Generationen der Komponistenfamilie
Widerhofer 1756-1876. Mit Einem Thematischen Katalog Ihrer Werke (Vienna: Böhlau Verlag, 1995).
199 The watermark in the Joseph Haydn setting, A-Wn, Fonds 4 Baden 152, consists of three moons, countered
by three stars over GV. The Michael Haydn setting, Baden 196, has a soldier holding a sword countered by the
letters STW. The Widerhofer, Baden 447, is mostly on a low-quality paper; the Clarino parts are on a thinner
paper with a watermark consisting of a man holding a club countered by three letters, possibly CMP.
200 For a listing of the printed sources, see Willander, “Kirchenmusikarchiv”, 13-15.
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