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

evival of Die Entführung aus dem Serail, and in Beethoven sketchbooks as late as 1807-08. 206
The parts for Violone and Organo have a variant of the ubiquitous bow and arrow over AM
watermark countered by three moons, although the precise design cannot be matched to any
of the variants in Tyson or Duda. These characteristics, together with the 12-stave ruling,
strongly suggest that the NMA’s dating of “um 1791” is almost certainly too early, and the
parts in fact date from around 1800 or slightly later. Thus they cannot be the parts used by
Mozart and Stoll in 1791. Before dismissing them, however, we should consider their
potential value as secondary sources. It is impossible to tell on present evidence whether the
parts were created before or after the death of Stoll in 1805, but the possibility remains that
they were copied from Mozart’s now-lost autograph, which was in the choirmaster’s
possession, or from the parts used in 1791. The surviving parts could therefore reflect
revisions or additions made by Mozart that are not transmitted in the NMA’s principal
sources, all of which emanate from Salzburg and its environs. 207 Given the number of variant
readings and extra articulation markings in the Baden parts, future editions of K. 275 would
benefit from a closer study of this significant early material. The archive also once preserved a
set of parts for Haydn’s Alleluia: In die resurrectionis. We know this because a wrapper
created in the nineteenth century for the set still survives. 208 Unfortunately, the wrapper was
reused to house a set of parts for Michael Haydn’s Salve regina, and the original contents
206 SmWV, 352; MVC, 1381; Tyson/Johnson/Winter, 547. Holl recognises that the parts were copied “auf
italienischem Papier”; NMA I:I/1/4, xii.
207 The NMA’s primary source is the Mozart family’s parts, presumably dating from the first performance in
1777 (D-Asa, Hl † 8). It should be noted that Stoll’s musical hand has yet to be identified.
208 A-Wn, Fonds 4 Baden 196. In its original state, the wrapper read: “Graduale ex B / |: Alleluja :| am weißen
Son[n]tag / 4 Voci / 2 Violini /2 Corni / Violone e Organo / von / Mich. Haydn.”
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