WOLFGANG AMADEUS MOZART

Series I

Sacred Vocal Works

WORK GROUP 1: MASSES AND REQUIEM SECTION 1: MASSES • VOLUME 1

PRESENTED BY WALTER SENN

1968

New Mozart Edition I/1/1/1 Masses · Volume 1

Neue Mozart-Ausgabe (New Mozart Edition) 1

WOLFGANG AMADEUS MOZART

The Complete Works

BÄRENREITER KASSEL ò BASEL ò LONDON

En coopération avec le Conseil international de la Musique

Editorial Board: Dietrich Berke ò Wolfgang Plath ò Wolfgang Rehm

Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel

As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available

The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna

1 Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA.

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New Mozart Edition I/1/1/1 Masses · Volume 1

CONTENTS

Editorial Principles ...... VI

Foreword ...... VII

Facsimile: leaf 1 r of the autograph of KV 49 (47 d) = No. 1 . . . XXI

Facsimile: autograph of the fragmentary draft of the Gloria of KV 49 (47 d) = Appendix No. 1 ...... XXII

Facsimile: leaf 1 r of the autograph of KV 139 (114 a = KV 3a : 47 a) = No. 2 XXIII

Facsimile: leaf 1 r of the autograph of KV 65 (61 a) = No. 3 . . . XXIV

Facsimile: leaf 1 r of the autograph of KV 66 = No. 4 . . . . XXV

Facsimiles: two pages from the parts material for KV 66 = No. 4 . . XXVI

Facsimile: sketch for the Gloria of KV 66 = Appendix No. 10 . . . XXVII

Facsimile: page 1 of the Battuta part of KV 140 (Appendix 235 d = KV 6: Appendix C 1.12) = No. 5 ...... XXVIII

1. Missa brevis in G KV 49 (47 d) . . . . . 3 2. Missa in C minor KV 139 (114 a = KV 3a : 47 a) . . . 37 3. Missa brevis in D minor KV 65 (61 a) . . . . . 159 4. Missa in C (“Dominicus Mass”) KV 66 ...... 185 5. Missa brevis in G KV 140 (Appendix 235 d = KV 6: Appendix C 1.12) 285

A p p e n d i x

1. Fragmentary draft for the Gloria of the Missa brevis in G KV 49 (47 d) . .. 315

2. Alternative, possibly later version of measures 182–195 from the Credo of the Missa brevis in G KV 49 (47 d) = KV Appendix 20 a (KV 6: 626 b/25) . . . 316

3. Original, eliminated version of measures 24–35 from the Credo of the Missa in C minor KV 139 (114 a = KV 3a : 47 a) ...... 317

4. Original, crossed out conclusion of the Missa in C minor KV 139 (114 a = KV 3a : 47 a) . 319

5. Sketch for the Kyrie of the Missa brevis in D minor KV 65 (61 a), mm. 11ff. = mm. 32ff. (facsimile and transcription) ...... 320

6. First, crossed out version (draft) of the Benedictus from the Missa brevis in D minor KV 65 (61 a) ...... 320

7. Second, crossed out version of the Benedictus from the Missa brevis in D minor KV 65 (61 a) 320

8. Third, eliminated version of the Benedictus from the Missa brevis in D minor KV 65 (61 a) 321

9. Beginning of the Kyrie from the Missa in C KV 66 in the original instrumentation . 322

10. Sketch for the Gloria from the Missa in C KV 66, mm. 310ff. . . . 324

11. First, crossed out version of the Credo (“Et resurrexit”, mm. 134ff.) from the Missa in C KV 66 ...... 326

12. Original, eliminated version of the final measures of the section beginning “Et resurrexit” (“non erit finis”, mm. 166ff.) of the Credo from the Missa in C KV 66 327

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New Mozart Edition I/1/1/1 Masses · Volume 1

EDITORIAL PRINCIPLES

The New Mozart Edition (NMA) provides for indicated according to the following scheme: letters research purposes a music text based on impeccable (words, dynamic markings, tr signs) and numbers in scholarship applied to all available sources – italics; principal notes, accidentals before principal principally Mozart’s autographs – while at the same notes, dashes, dots, fermatas, ornaments and smaller time serving the needs of practising musicians. The rests (half notes, quarters, etc.) in small print; slurs and NMA appears in 10 Series subdivided into 35 Work crescendo marks in broken lines; grace and ornamental Groups: notes in square brackets. An exception to the rule for numbers is the case of those grouping triplets, I: Spiritual Vocal Works (1–4) sextuplets, etc. together, which are always in italics, II: Theatrical Works (5–7) those added editorially in smaller print. Whole III: Songs, Part-Songs, Canons (8–10) measure rests missing in the source are completed IV: Orchestral Works (11–13) tacitly. V: Concertos (14–15) The title of each work as well as the VI: Church Sonatas (16) specification in italics of the instruments and voices at VII: Large Solo Instrument Ensembles (17–18) the beginning of each piece have been normalised, the VIII: Chamber Music (19–23) disposition of the score follows today’s practice. The IX: Keyboard Music (24–27) wording of the original titles and score disposition are X: Supplement (28–35) provided in the Critical Commentary in German. The original notation for transposing instruments has been For every volume of music a Critical retained. C-clefs used in the sources have been Commentary (Kritischer Bericht) in German is replaced by modern clefs. Mozart always notated available, in which the source situation, variant singly occurring sixteenth, thirty-second notes etc. readings or Mozart’s corrections are presented and all crossed-through, (i.e. instead of ); the other special problems discussed. notation therefore does not distinguish between long or Within the volumes and Work Groups the short realisations. The NMA generally renders these in completed works appear in their order of composition. Sketches, draughts and fragments are placed in an the modern notation etc.; if a grace note of Appendix at the end of the relevant volume. Sketches this kind should be interpreted as ″short ″ an additional etc. which cannot be assigned to a particular work, but indication ″ ″ is given over the relevant grace note. only to a genre or group of works, generally appear in Missing slurs at grace notes or grace note groups as chronological order at the end of the final volume of well as articulation signs on ornamental notes have the relevant Work Group. Where an identification generally been added without comment. Dynamic regarding genre is not possible, the sketches etc. are markings are rendered in the modern form, e.g. f and p published in Series X, Supplement (Work Group 30: instead of for: and pia: Studies, Sketches, Draughts, Fragments, Various). The texts of vocal works are adjusted following Lost compositions are mentioned in the relevant modern orthography. The realisation of the bass Critical Commentary in German. Works of doubtful continuo, in small print, is as a rule only provided for authenticity appear in Series X (Work Group 29). secco recitatives. For any editorial departures from Works which are almost certainly spurious have not these guidelines refer to the relevant Foreword and to been included. the Critical Commentary in German. Of the various versions of a work or part of a A comprehensive representation of the editorial work, that version has generally been chosen as the guidelines for the NMA (3 rd version, 1962) has been basis for editing which is regarded as final and published in Editionsrichtlinien musikalischer Denk- definitive. Previous or alternative forms are mäler und Gesamtausgaben [Editorial Guidelines for reproduced in the Appendix. Musical Heritage and Complete Editions]. The NMA uses the numbering of the Köchel Commissioned by the Gesellschaft für Forschung and Catalogue (KV); those numberings which differ in the edited by Georg von Dadelsen, Kassel etc., 1963, pp. third and expanded edition (KV 3 or KV 3a ) are given in 99-129. Offprints of this as well as the Bericht über die brackets; occasional differing numberings in the sixth Mitarbeitertagung und Kassel, 29. – 30. 1981 , edition (KV 6) are indicated. published privately in 1984, can be obtained from the With the exception of work titles, entries in the Editorial Board of the NMA. score margin, dates of composition and the footnotes, all additions and completions in the music volumes are The Editorial Board

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New Mozart Edition I/1/1/1 Masses · Volume 1 FOREWORD

The first volume of Masses in the New Mozart their extensive texts, to be minimised; this was, Edition (NMA) contains five compositions, until well into the 19 th century, considered in no written between 1768 and probably 1773. Of way disrespectful to the Liturgy. 3 Polytextual these, four (Nos. 1–4) appeared in the old Mozart underlay is encountered in Mozart only in the Edition (AMA), while KV 140 (Appendix 235 d = Mass KV 65 (61 a), Credo, measures 16ff., 24ff. KV 6: Appendix C 1.12), whose autograph is lost, and 84. The conclusions of the Gloria and Credo, was not included there because of reservations usually with the conventional Fugato, and the regarding stylistic points. Since then, sources have section “ Dona nobis pacem ”, in which the Mass been discovered which confirm the authenticity of closes in an expression of serenity customary the work and thus justify its inclusion in the since the beginning of the 18 th century and NMA. A change in the order of the compositions resembling the Finale of a symphony, receive a compared to that in the AMA has been made: the more sweeping treatment. General caesuras Mass KV 139 (47 a), with an undated autograph, marked by double bar lines, sometimes involving has been placed second, mainly on calligraphic changes of tempo, time-signature and key, provide evidence. It was furthermore possible, on the basis only very occasional interruptions of the motion, of authentic performance material containing e.g. after slow introductions to the Kyrie, in the additional parts written by both father and son Credo (“ Et incarnatus ”, “ Et resurrexit ”, “ Et Mozart to present the Masses KV 139 (47 a) and vitam ”), Sanctus (“ Pleni ”, “ Hosanna ”, repeated KV 66 in a richer instrumentation than in the again in the Benedictus) and Agnus Dei (“ Dona ”). AMA. Sub-sections barely suggest a change in the “Mass” can mean two things: the eucharistic affective content and do not stand out as separate sacrifice or a compositional cycle for the formal parts. Apart from the setting of the Ordinarium missae , i.e. the unchanging Benedictus purely for soloists, solo voices movements Kyrie, Gloria, Credo, Sanctus, generally only appear as episodes within a choral Benedictus and Agnus Dei. The dimensions of the texture; an exception is the bass solo in the Mass composition and the scoring are determined by the KV 49 (47 d), Credo, measures 124 to 170, which two principal types, the Missa brevis and the is also distinctive in stylistic terms because of its Missa solemnis (recte sollemnis ), 1 which can aria-like character. In the Masses KV 49 (47 d) and however overlap. The Missa brevis is intended for 65 (61 a), set predominantly in a lighter texture Sundays or Holy Days not recognised as Feasts. characterised by contrapuntal passages, Mozart This type is represented by KV 49 (47 d), 65 (61 a) chose to follow the older tradition, particularly as and 140 (Appendix 235 d). The orchestral forces known in Salzburg. Karl August Rosenthal 4 draws are restricted to two violins, bass and organ, the our attention to a Missa brevis by the Salzburg “Church Trio”, 2 augmented in KV 49 (47 d) by a Cathedral musician Karl Heinrich Biber (1681– viola. The movements are usually through- 1749) displaying “ similarities to the imitational composed without text repetitions. Polytextual technique in the early Mozart Masses ” which “ go underlay, the simultaneous singing of different as far as constituting thematic relationships ”. texts, was a technique dating back to the motet Mozart’s orchestration recalls, “ treated more compositions of the 16 th century, enabling the freely, of course ”, the work of Matthias Siegmund duration of the movements Gloria and Credo, with Biechteler (c. 1655–1743). 5 More modern tendencies are observable in Mozart’s Mass KV 140 (Appendix 235 d), written about five years 1 Regarding the compositional forms of the Mass in the second half of the 18th century, see Walter Senn, Die later, with its folkloristic lilt. If the Masses KV 49 mehrstimmige Messe. II. Von 1600 bis zur Gegenwart , in: Die Musik in Geschichte und Gegenwart 9, col. 201f. 2 The “Church Trio” was a scoring customary not only in 3 Senn, op. cit. Salzburg. For the Vienna region, cf. Georg Reichert, Zur 4 Zur Stilkritik der Salzburger Kirchenmusik von 1600– Geschichte der Wiener Messenkomposition in der ersten 1730 , in: Studien zur Musikwissenschaft 17, Vienna, 1930, Hälfte des 18. Jahrhunderts , Phil. Diss., Vienna, 1935 p. 90, footnote 79. (typewritten), passim. 5 Loc. cit., p. 89. International Mozart Foundation, Online Publications VII New Mozart Edition I/1/1/1 Masses · Volume 1

(47 d) and 65 (61 a) make use of a technique, dating without opera-like dramatic traits, begins to back to the 17 th century, in which unity is sought restrict the archaic tendencies in the writing, but within the cyclical form by variation of without supplanting them completely. Choral fundamental melodic ideas, 6 the movements episodes can take the form of imitational Gloria and Credo in KV 140 (Appendix 235 d) are structures or textures lightened by contrapuntal unified in a large-scale three-section form, while sections. In keeping with the tradition, the “ Dona ” section is enclosed in a Rondo form. contrapuntal splendour is often a feature of the The chronological interval between the works is conclusions of Gloria and Credo (KV 139 / 47 a, usually reflected in the voice-leading of the fugato and double fugue; KV 66, fugues). With instruments. In KV 49 (47 d) and 65 (61 a), the the exception of the contrapuntal sections, the instruments are generally led colla parte or in orchestra generally asserts its independence from octaves with the vocal parts ( Violino II doubles the choir, occasionally even becoming the main the Soprano , Violino I the Alto an octave higher), actor in the musical scheme. “ It either adopts the but occasionally perform runs based on passing tone of contemporary popular instrumental music, notes or as accompanying figures and assume as in the Allegro of the Kyrie [from KV 66], or independent roles in short transitional passages complements and adds depth to the expressive and when accompanying soloists. In KV 140 atmosphere in the manner of dramatic music, (Appendix 235 d), in contrast, the use of figures representing and painting situational and predominates, attaining thematic significance in psychological moods ”. 8 the Credo, measures 1 to 31, 50 to 70 and 81 to Not only did Mozart compose the Mass KV 101. The Missa solemnis is intended for the 139 (47 a) in the most modern style, but at this principal Feasts or High Masses in the point he also emphasised “its operatic ecclesiastical year, celebrated on special occasions characteristics more strongly than either before or with the participation of numerous clergy. 7 This after. This Mass indulges in the sharpest of type is represented by the Masses KV 139 (47 a) dramatic contrasts and contains explicitly ombra and 66, where external splendour as well as a scenes of a boldness not even approached by other richer scoring, including at least a pair of trumpets works of this period”. 9 Wilhelm Kurthen, 10 and timpani as well as strings and organ, combine drawing attention to analogies between this work with a more varied and more contrasting and works by Caldara, Pergolesi, Eberlin, Leopold compositional form and result in an enormous Mozart and Gluck, works on the assumption that a increase in the duration of the performance. The Mass in D by Hasse (No. 2) 11 “indubitably served long texts of the movements Gloria and Credo are as a model” for Mozart’s compositions, often subdivided into solo and choral sections in a particularly in questions of form. But in fact cantata-like manner. Those texts which in the Mozart takes his orientation from formal types Missa brevis often appear as episodes for solo which had made their way into Mass composition voices are here usually set as extended arias or before Hasse. An example is Hasse’s supposed duets or similar forms. While the form of the “specific” formal principle, an instrumental Missa brevis is characterised by the close bonding “leitmotiv”, i.e. an ostinato orchestral figure in the of music and text, the Missa solemnis adopts Credo, which can be encountered from the first existing musical models, such as the two-section quarter of the 18 th century onwards. 12 This aria or sonata form with or without development technique is also to be seen in Gloria movements section. At the same time, melodic formulas and occasionally even in Kyries, used for example derived from secular music make their way into by Caldara, J. D. Zelenka, F. Conti, G. A. Ristori, the music, going as far as a cadenza with fermata G. Chr. Wagenseil and Eberlin. The hypothesis of and trill (KV 66, Gloria, measures 226, 245, 294). Hasse’s work serving as a model for the Mass KV The modern outer appearance, which also 139 (47 a) must therefore be revised. determines to some extent the content and is not 8 Abert, op. cit., p. 168. 9 Op. cit., p. 309. 6 Hermann Abert, W. A. Mozart , Leipzig 6/1923, Part I, pp. 10 Studien zu W. A. Mozarts kirchenmusikalischen 161ff. Jugendwerken , in: Zeitschrift für Musikwissenschaft III, 7 “Missa sollemnis” is also a liturgical term, i.e. a sung Mass 1920/21, pp. 213ff. in which the celebrant is assisted by a deacon and sub- 11 W. Müller, Johann Adolf Hasse als Kirchenkomponist , deacon or, in the case of a Pontifical Mass, by priests or Leipzig, 1910, p. 150. bishops. 12 Reichert, op. cit., p. 17. International Mozart Foundation, Online Publications VIII New Mozart Edition I/1/1/1 Masses · Volume 1

Although Mozart’s heading is simply Missa , Mozart’s catalogue of Wolfgang’s works of the KV 66 also belongs to this same category of the years up to 1768, 17 the penultimate item is “ A large scale Missa solemnis . Written on the shorter Mass a 4 vocibus 2 Violinis &c ”; this is occasion of the first Mass to be celebrated by his supplemented by the date 1768 in Mozart’s friend of early years, Pater Dominicus Hagenauer, sister’s hand. Although the obbligato viola is not the work is more personal in its melodic invention mentioned here, the composition in question is and as a whole more carefree. Untroubled, high almost certainly the Mass KV 49 (47 d). spirits are heard in the waltz-like accompaniment Mozart ignored the liturgical order of the three of the solos in the Kyrie (measures 44ff., 86ff.) verses of the Sanctus in setting this Mass: after the and in the Polonaise rhythm, reminiscent of first, he set the third, “ Hosanna ”, followed by Sperontes, in the “ Quoniam ” (Gloria, measures what is really the second verse, “ Pleni sunt caeli ”. 218ff.). 13 The progressions in the bass of the The direction Osanna after the double bar-line, Benedictus and Agnus Dei reflect tradition, as do although without the further indication “Da capo”, not only the melodic characteristics of the fugue was taken in the AMA as calling for a repeat. But “Cum sancto Spiritu ”, an off-shoot of the Fugato the sign following measure 13 indicates that the from the Credo in KV 49 (47 d), 14 but also the second verse should be taken up here. The contrapuntal interpolations or sections as well as complete repeat of the Hosanna in the AMA is the related motifs in the “ Laudamus ”, “ Domine therefore an error. The Sanctus accordingly has a Deus ” and “ Et in Spiritum sanctum ” (Gloria, length of 38, not 47, measures. measures 16ff., 104ff., Credo, measures 174ff.). In Another setting of the Credo, corresponding to this work, so clearly rejoicing in its sonorities, measures 182 to 195, is presented in the Appendix Karl Gustav Fellerer 15 considers the influences of of this volume as No. 2 (p. 316). 18 This fragment Eberlin and Leopold Mozart to be “ unmistakable ”. (= KV 6: 626 b/25), whose original is lost without trace and is known only from a copy by Otto Jahn * (see the Kritischer Bericht ), seems not to be a The first page of the autograph of the Mass rejected first version, but rather a later setting KV 49 (47 d = No. 1) bears a remark, subsequently which was not incorporated into the autograph. crossed-out (by the composer?), placed below the In the Agnus Dei of the Mass KV 49 (47 d), an name of the composer, in Wien [ in Vienna ]. In two unusual problem arises in the musical editing; the different hands, both unidentified but belonging to relevant text is in the facsimile a few lines below. the 18 th century, 1768 and in Wien have been In the autograph there are two measures following added. Mozart’s handwriting and the measure 19 at the end of folio 22 v and four further characteristics of the paper (see the Kritischer measures at the beginning of 23 r (the music in Bericht [ Critical Report , available in German question is a first, rejected version of the only]) seem to confirm these statements. A further subsequent measures up to the entry of the “ Dona point is that Mozart notated the outline of the nobis pacem ”), obviously in Mozart’s hand, but Gloria (measures 1 to 18) on the other side of a according to the visible evidence crossed out for leaf which his father had used, no doubt different reasons and at different times. It was previously, for the fair copy of the piano reduction only after this that Mozart notated the measures of the Aria No. 11 from Bastien et Bastienne KV 20ff. on the rest of the page. If one considers the 50 (46 b) – obviously the basis for the arrangement two crossings-out as they stand in the autograph to which appeared in the second half of the year be equally authoritative, a musically rather abrupt 1768 with the text beginning “ Daphne, deine transition takes place between measures 19 and 20 Rosenwangen ” KV 52 (46 c). 16 In Leopold (F major / A minor), lacking in harmonic continuity. The obvious deficiencies of this

13 Abert, op. cit., p. 168. 14 Op. cit., p. 167. 17 Verzeichniß alles desjenigen, was dieser 12jährige Knab 15 Mozarts Kirchenmusik , Salzburg–Freilassing, 1955, p. 43. seit seinem 7 ten Jahre componiert, und in originali kann 16 Printed in: Rudolf Gräffer, Neue Sammlung zum aufgezeiget werden , reproduced in: Ludwig Ritter von Vergnügen und Unterricht , 3rd year, 1768, 7th piece, Köchel, Chronologisch-thematisches Verzeichnis sämtlicher supplement at p. 140 (the 8th piece in this collection Tonwerke W. A. Mozarts , 6th edition, revised by Franz appeared at the beginning of December 1768). See in this Giegling, Alexander Weinmann, Gerd Sievers, Wiesbaden, connection Ernst August Ballin, Zu Mozarts Liedschaffen. 1964 (= KV 6), p. XXVI. Die Lieder KV 149 to 151, KV 52 und Leopold Mozart in: 18 It was Dr. Wolfgang Plath who established that the Acta Mozartiana VIII, 1961, p. 22. fragment in question belongs to this Mass. International Mozart Foundation, Online Publications IX New Mozart Edition I/1/1/1 Masses · Volume 1 version are avoided, however, if the two crossed- in the text referring to this later change, but none out measures (after measure 19) at the end of folio is to be seen. 22 v are interpolated (= measures 19a and b in the Uncertainties in assessing both stylistic criteria edition). Since for this Mass neither old and the hand-writing of the young Mozart are performance material nor authentic variants – revealed in the divergent dates assigned to this such as for the Credo of the Mass KV 65 (61 a) – composition, varying between 1768 and 1772. have been transmitted, there is no way of knowing Johann Anton André marked the original with the which form Mozart viewed as definitive for this approximate dating 176–. Aloys Fuchs (or Josef passage; from the musical point of view it is Hauer) wrote, as if they had a source available, almost unthinkable that he could have considered “composed 1769 ”. 21 Ludwig von Köchel surmised the version resulting from the crossings-out in the that the composition dated from the year 1772 autograph as final. For these reasons, the Editorial (KV 1, Leipzig, 1862). Otto Jahn 22 assigned “ the Board and the Volume Editor believe, despite manuscript to the early years of the seventies .” certain reservations, that they can responsibly Hermann Deiters 23 voiced the opinion that this include the measures 19a and b in the text of the Mass was performed at the dedication of the NMA and have distinguished the music indicated Orphanage Church of St. Marx in Vienna on 7 by the alterations in the autograph with the December 1768, pointing to the “ agreement of the syllables Vi-de . scoring ” with that of the composition entered in the third-last place in Leopold Mozart’s catalogue (see footnote 17): “ Eine große Messe mit 4 Singstimmen, 2 Violin, 2 Hautb. 2 Viola, 4 Clarinis, Tymp. etc. ” [“ A great Mass with 4 voices, 2 violins, 2 oboes, 2 violas, 4 trumpets, timpani, etc. ”] (with the date added by Mozart’s sister, “ 1768 ”). The obbligato trombones missing here, which Leopold Mozart would hardly have failed to notice, and then the specification of 4 Clarini , i.e. high trumpets, instead of two Clarini and two Trombe , i.e. low trumpets, awaken doubts regarding the substance of this “ agreement ”. While Wyzewa and Saint-Foix place the

composition in the time between December 1771 24 25 The crossed-out measures following measure 19 and February 1772, Kurthen joined Deiters and on autograph folios 22 v and 23 r of the Mass KV 49 attempted to solidify the position with evidence (47 d). regarding the paper used and stylistic criteria. 3 a Alfred Einstein (KV , Leipzig, 1937) initially The autograph of the Mass KV 139 (47 = No. adopted the dating offered by Wyzewa and Saint- 2) has come down to us without title, composer’s Foix, but later changed his mind 26 and declared name or date. It is apparent from the “ very 19 the work, following Kurthen, to be the hurriedly and inaccurately written ” manuscript, “Orphanage Mass ”. The grounds for his in which the flow of the music is strikingly irregular, that a fair copy, now untraceable, must have been made. This is evinced by a later addition in Leopold Mozart’s hand, once supposed 21 Aloys Fuchs, Catalog sämmtlicher Tonwerke von W. A. 20 to be a “sketch”, but now shown to be a new Mozart , copy (with subsequent additions) by Josef Hauer, version of Violino I and II for measures 57 and 58 1853, p. 9, No. 16 (Vienna, Austrian National Library, of the Gloria. If parts were to have been written signature: Suppl. Mus. 4817 ). 22 out from this manuscript, there would have a sign Jahn, W. A. Mozart , vol. 1, Leipzig, 1856, p. 666. 23 Jahn, W. A. Mozart , 4th edition, revised and supplemented by Deiters, Leipzig, 1905, vol. 1, p. 110, footnote 60. 19 Otto Jahn, W. A. Mozart , 4th edition, revised and 24 Théodore de Wyzewa et Georges de Saint-Foix, W.-A. supplemented by Hermann Deiters, Leipzig, 1905, vol. 1, p. Mozart. Sa vie musicale et son oeuvre , vol. 1, Paris, 1936, p. 110, footnote 60. 421. 20 W. A. Mozart's Werke, Kritisch durchgesehene 25 Loc. cit., pp. 209ff. Gesamtausgabe (AMA), Revisionsbericht [Editorial Report] 26 Einstein, Mozart. Sein Charakter – Sein Werk , Zürich – for Series I, p. 10. Stuttgart, ( 3/1953), pp. 366f. International Mozart Foundation, Online Publications X New Mozart Edition I/1/1/1 Masses · Volume 1 argumentation are not very weighty, however, and The only undisputed fact is that in writing out do not stand up to closer examination. 27 the Mass KV 139 (47 a) Mozart used a manuscript The Mass composed by Mozart for the paper matching that used for works including the dedication of the Orphanage was performed, opera La finta semplice , the autograph of which according to a contemporary report, 28 by the can be dated to Vienna in 1768. But the Mass KV “orphans’ choir ”. Karl Pfannhauser 29 was able to 65 (61 a), dated Salzburg, 14 January 1769, is show that the “ orphans’ choir ” would have been written on Viennese paper! According to strong enough to perform a work such as KV 139 characteristics of the hand-writing, the autograph (47 a). Furthermore, Pfannhauser pointed to both of KV 139 (47 a) originated between autumn 1768 stylistic features and typical thematic material that and the middle of 1769. There are not sufficient this Mass has in common with Viennese church stylistic criteria for a secure dating. 31 For Abert, compositions. (The decision about whether these dating the composition to 1767 seems “ impossible are in fact characteristically Viennese will have on stylistic grounds: the beginner’s work in the G delayed until the church music in Salzburg, still major Mass [KV 49/47 d] and the much more completely unknown to musicology, has been advanced work in KV 139 cannot be from the thoroughly examined. 30 ) same year ”. Abert as well as Fellerer 32 see in this work an advance compared with the Mass KV 66, dated October 1769. The large-scale conception of the work suggests that the composition was for a 27 The evidence presented by Einstein for the identification special occasion. It cannot be ruled out that this (op. cit., p. 366) is as follows: “ An external ground: in was the “Orphanage Mass”, but so far no source Salzburg the boy would probably just about have got the four trumpets and three trombones together, but not the evidence has been produced to support this. As divisi violas – the church music in Salzburg usually did not long as the authentic Viennese copied parts for the notate the viola at all .” Amongst the works in the archive of “Orphanage Mass” remain untraceable, the Salzburg Cathedral Choir are not only numerous works with question of its being identical with KV 139 (47 a) a viola, but also some with two violas, e.g. Leopold Mozart, has to be left open. Litaniae Lauretanae de B. V. M. in E b (Seifert Catalogue No. 7); Domenico Fischietti, Offertorium “In Virtute”, In Mozart’s autograph, in the staff below the 2 Magnificat in B b, Dixit Dominus in G ; Anton Cajetan Clarini , a part designated Trombe is notated in the Adlgasser, Litaniae de B. V. M. in C . Cf. also W. A. alto clef. This staff was erroneously rendered in a Mozart’s settings of Regina coeli , KV 107 and 127 (158 ), the AMA as Trombe rip .; the plural form Trombe in which two violas are used. Einstein (op. cit., p. 367) suggests more than one instrument, which produces the following as further evidence: “ It would be strange if Leopold Mozart had not kept the manuscript of however initially appears unlikely for this precisely this work, of which he was so proud .” Since subsidiary middle part, restricted to the notes c’, Mozart’s sister reports the loss of manuscripts (Senn, Zur e’ and g’. Light is cast on this question by Erbteilung nach Leopold Mozart , in: Neues Augsburger Albrechtsberger 33 in his observations on the Mozartbuch = Zeitschrift des Historischen Vereins für trumpet, amongst which is the information “ One Schwaben , vols. 62/63, Augsburg, 1962, p. 390), this argument also loses weight. Einstein’s “ internal grounds ” employs them at least in pairs for full music, in can indeed be applied to the date of composition of the which case the indications Clarino primo, Clarino piece, but to for the attribution. secondo appear above. But if one wants four 28 Mozart. Die Dokumente seines Lebens , collected and trumpets, as e.g. in grand Intradas, the third is

elucidated by Otto Erich Deutsch (NMA 34), p. 78. called Principale, while the fourth is called 29 Zu Mozarts Kirchenwerken von 1768 , in: Mozart- Jahrbuch 1954 , Salzburg, 1955, pp. 164f. Toccato; over the latter two is sometimes written: 30 The use of three trombones contradicts the Viennese Tromba prima, Tromba seconda. In church music, practice. In contrast to Salzburg, only two trombones were the alto clef is used instead of the treble. The two usual in Vienna; as in Salzburg, these could also be called Clarini perform a simple melody, mostly in thirds on to perform solo passages and were tied to the Alto and […]. The Tromba prima has mostly only e and g Tenore in the choral passages. In the Catalogo delle Musiche Ecclesiastiche in Concerto e Pieno le quali si between the five lines, if the Clarini are set higher, ritrovano nell' archivio Musicale dell' Imp. e Reale Capella and the Tromba seconda prefers to take in etc . (Vienna, Austrian National Library, signature: Suppl. Mus. 2454 ), only a Requiem by Joseph Eybler is listed with three trombones. According to Johann Georg 31 Loc. cit., vol. 1, p. 153. Albrechtsberger, Gründliche Anweisung zur Composition , 32 Loc. cit., p. 46. Leipzig, 1790, p. 379, the third trombone is only “seldom in 33 Loc. cit., p. 428. Regarding the nomenclature Clarino and use now ”. Cf. also Reichert, op. cit., p. 4 (see also footnote Tromba , see also Hellmut Federhofer, Foreword to NMA 53). I/3, Minor Works for the Church , pp. VIIIf. International Mozart Foundation, Online Publications XI New Mozart Edition I/1/1/1 Masses · Volume 1 alternation the C and G below the five lines and could conclude that the final version of this thus goes along with the timpani alla octava. ” movement was written “several years” later. This That Mozart’s nomenclature and practice, which assumption is contradicted by features of the correspond to the older usage in Salzburg, agree hand-writing, which point to the middle of the with Albrechtsberger’s observations can also be year 1769, as well as by an early copy of parts seen in a parts copy for the Mass KV 66 (see intended for Salzburg Cathedral. Sigismund below). In the manuscript of KV 139 (47 a), Keller 35 added his weight to the view prevalent in Trombe does not mean doubling of the part, but the literature of the time (e.g. KV 6), according to rather Tromba I , II . The copyist knew about the which the first performance of the work took self-evident procedure, in the meantime forgotten, place on 5 February 1769 at a “ solemn celebration of notating Tromba II “ with the timpani alla of the Office in the University Church ” in octava ”. As the only parts copies of this Mass so Salzburg, referring to an entry in the diary of P. far known (see the Kritischer Bericht ) lack the Dominicus Hagenauer: 36 “ Hora 9 in Collegio Tromba II , this part has been made up in the Abbas [i.e. the Abbot of the Arch-Abbey St. Peter] musical text by the Volume Editor (rendered in solennem missam celebravit in praesentia small print). Cel [sissi] mi [i.e. of the Prince-Bishop]. Musica in In the autograph, Trombone I, II and III are missa fuit composita a D. Wolfgango Mozart. ” only written out in passages with independent The wording does not however point in any way voice-leading (Kyrie, measures 1 to 12, Credo, to the Mass KV 65 (61 a). The entry in the diary measures 116 to 127, Agnus Dei, measures 1 to reports a “Missa sollemnis” in the liturgical sense 48). There is no sign in the autograph of any (see footnote 7). The Missa brevis was not indication that the trombones should play with the intended for grand occasions anyway, and the choral Alto , Tenore and Basso colla parte . There performance duration would not have be adequate is evidence that this practice was expected, for the large-scale ceremonial of this High Mass however, provided by a parts copy bearing the celebrated by numerous clergy. 37 On 5 February title 3 Tromboni on its cover. As Trombone III is 1769, at any rate, a large-scale Mass composition missing from these parts, it has been made up by by Mozart was performed, possibly KV 139 (47 a) the Volume Editor (rendered in small print). or a lost work, part of the score of which was The Agnus Dei of the Mass KV 139 (47 a) is acquired by Johann Anton André from the opened by the brass section, joined by the basses master’s estate: the Missa Solemnis in C major , and organ (measures 1 to 12). In the autograph consisting of Kyrie, Gloria and Credo, a Canto, there is a remark senza Organo , not written at the Alto, Tenore, Basso e Violini, Viole, 2 Oboe, 2 same time as the music and absent in the old parts Corni et Organo . This work, dated 1769, appears copy (where there is instead the indication Solo ). The direction in the autograph presents a problem, because the re-entry of the organ, “ coll’ Organo ”, 35 W. A. Mozart in Salzburg im Jahr 1769 , in: Monatshefte is not specified and the figures for the basso für Musikgeschichte , fifth year, 1873, p. 122. continuo begin in measure 2. It is highly unlikely 36 Quoted from the original, Salzburg, Archiv Stift St. Peter, that the organ was only meant to rest in the first Codex A 266, fol. 502. In the Diarium of Abbot P. Beda ti measure. “ Senza Organo ” can therefore only be Seeauer (same archive, Codex A 66) we read: “ 5 huius [i.e. understood as ad libitum , as far as measure 12. February 1769] Dominica quinqu[agesima] Praesente Celsissimi in Ecclesia Universitatis cantavi solemne But as the same remark at the parallel measure 48 officium .” has been scratched out, it cannot be ruled out that 37 Einstein ( Mozart […], p. 370) sought to confirm Keller’s the same erasure was intended at measure 1, but identification (see footnote 35) with observations on the neglected. character of the composition; one of the passages concerned Returning to Salzburg from Vienna on 5 reads: “ The unusual key is explained by the occasion: the work was performed for the first time at the opening of the January 1769, Mozart wrote or completed the Forty Hours of Prayer in the Universtiy Church in Salzburg, a Missa brevis KV 65 (61 = No. 3), dated 14 that is, in Lent .” (The 5th of February in 1769 was Sunday January 1769. Examining the four settings of the Quinquagesima, Carnival Sunday, and was before Lent.) Benedictus (the rejected versions are printed in the The Mass draws on past tradition. While he no doubt Appendix of this volume as Nos. 6, 7, and 8, pp. avoided direct copying, Mozart created a stylistic imitation 34 reminiscent of Eberlin; the key was part of this. Josef Heinz 320f.), Wyzewa and Saint-Foix believed they Herbort, Die Messen des J. E. Eberlin , Münster, 1961, identified five Masses by this master in minor keys. 34 Loc. cit., vol. 1, p. 254. (Thematic Index, Nos. 1, 2, 7, 8 and 23.) International Mozart Foundation, Online Publications XII New Mozart Edition I/1/1/1 Masses · Volume 1 in Franz Gleißner’s catalogue 38 as No. 12 (= KV 6: 230 to 236, 242 to 247, 266 to 269 and 276 to 284 626 b/45). of this Mass is due to printing technicalities.) For the first solemn Mass celebrated by P. Mozart revised or composed anew the Dominicus Hagenauer, a friend of his youth, on measures 134 to 173 of the Credo, i.e. “ Et 15 October 1769 in the monastic church of St. resurrexit ” to “ non erit finis ”. The first version, of Peter in Salzburg, Mozart created the festal music, which the first and last pages in the autograph including the Missa solemnis KV 66 (= No. 4). A each came to a standstill (the statement, found in remark on the non-original parts cover dating KV 6, that the other pages had been glued over, is from the first half of the 19 th century reads: E not true), took up the opening theme of the Credo stata composta alla prima messe del Sig. P. again (both fragments are printed, as Nos. 11 and Dominico Hagenauer nel ottobre 1769 .39 The 12, on pp. 326f.). autograph, dated 1769 in octobre , has the Under a cover of the autograph (after page following scoring: two clarini (erroneously 39), a sketch of the beginning of the fugue of the presented as Trombe in the AMA), timpani, two Gloria was discovered (Appendix, No. 10, p. 324) violins, viola, bass and organ. The performance in which remarkable corrections by Leopold material for St. Peter contains further parts: two Mozart are visible. They confirm the already each of oboes, horns and trumpets. Oboes I and II widespread assumption that the father had played (page 1) are by Leopold, Oboe II (from page 2 an essential role in the working-out of the on), Corno I, II and Tromba I by Wolfgang, while polyphonic sections. Tromba II, which only doubles the timpani an The Missa brevis KV 140 (Appendix 235 d = octave higher (see above, KV 139/47 a), was No. 5) acquires a special status from the fact that written by a copyist. The remark on the organ it is the only one of Mozart’s Masses to come part, Ad Chorum Monasterii St. Peter, 1776 – the close to the genre of the Pastoral Mass. The year refers to the date of purchase of the music40 – setting of the Ordinary is marked by a prevalence , led to the mistaken assumption that the richer of song-like, charming melody found no-where scoring dates from this time. 41 Wolfgang’s else in his works; only the main section of the handwriting confirms, however, that the parts Credo and the first section of the Agnus Dei stand were written after the completion of the score. The out as having a serious, festal character. As there set of parts for St. Peter was intended for the first are no other pieces of this type available to serve performance of the work; this is shown by e.g. as comparisons, and as there are hardly any traces some tempo indications, added to the autograph of Mozart’s individuality in the melodic contours score and to the parts in Leopold Mozart’s hand. of what is obviously an exercise in style imitation Confirmation is provided by the copy in the (cf. KV 65/61 a), stylistic criteria could hardly be monastery of Lambach that the parts in the St. considered adequate as definite proof of Peter repository are not simply an ad libitum authenticity. On top of these problems, the addition; here only the parts Tromba I and II are autograph has also been lost, with the result that missing, presumably because suitable players some commentators have classified the Mass as could not be found. The additional parts have “spurious” or “doubtful”. It was only after therefore been included in the present edition as detailed research into the source situation that the an essential element of the work. The Mass thus question of the authenticity of this work could be appears here in its original scoring for the first settled. 42 Mozart possessed a copy of the time. (The smaller print on the pages 185 to 193, composition; this was acquired by Johann Anton André from the master’s estate. It is listed as No. 38 Regarding this work, see KV 6, p. XXXVII. 24 with an incipit in Franz Gleißner’s catalogue 39 Exactly the same words, obviously copied from the and also in André’s “Handschriftlichen original, appear on the title page of an old score copy in Verzeichnis” [“Manuscript Catalogue”] (1833) Prague, University Library, signature: M III 4 . 40 In the same year, 1776, the copied parts for KV 47, 117 under “ Authentische Abschriften ” [“ Authentic (66 a) were also acquired. Federhofer, Kritischer Bericht for NMA I/3, Minor Works for the Church , p. 15, p. 21. 41 Gustav Nottebohm in: Revisionsbericht [Critical report] on the AMA, Series I, p. 6, writes “ probably 1776 ”, while 42 See on this matter Senn, foreword to: Wolfgang Amadeus later authors purvey this date as established fact. According Mozart, Missa brevis in G, KV 140 , Kassel etc., 1959 (BA to Robert Haas, W. A. Mozart , Potsdam, 1933, p. 75, there 4736), pp. IIIff.; same author, Die Missa brevis in G, KV were two revisions of KV 66, in 1773 and 1776, in the 140 , in: Neues Augsburger Mozartbuch […], Augsburg, course of which the scoring became more opulent. 1962, pp. 369ff. International Mozart Foundation, Online Publications XIII New Mozart Edition I/1/1/1 Masses · Volume 1

Copies ”] with the remark: 43 “ I received this Mass as a score copy; it appears, judging by the composition, to belong to the early years of the 1770s. The page numbering seems to be in Mozart’s hand .” No-one has yet found out where this manuscript is. Aloys Fuchs, who compiled thematic catalogues of Mozart’s work, wrote in 1846 44 that he had “ put together a score ” of KV

140 from the parts, using “ if not Mozart’s original, then at least a completely reliable 45 1. Organo ripieno part with tempo indications for source ”. For Otto Jahn, stylistic grounds were the Bendictus in the composer’s hand: And: te , decisive in ruling out the authenticity of the work. All: o Jahn’s judgement was initially noticed but did not find any support, not even from Ludwig von Köchel, who had included the work in KV 1 with the remark: “ While many lovers of music and conductors consider this Mass to be genuine and good Mozart, O. Jahn […] has classified this work, on the basis of its low intrinsic value, as spurious. – A number of copies of it are in circulation .” Köchel, who subsequently encountered a single part bearing the name “Süßmayr ” as composer, changed his mind and in the ‘working copy’ of his catalogue marked the 46 work as “ to be struck off ”. While the Mass was 2 not included in KV (Leipzig, 1905) Einstein 2. Battuta part, beginning of the Agnus Dei, with 3 3a (KV and KV , the latter Ann Arbor, 1947) listed entries in the composer’s hand. 1 st line: it under “ spurious works ”. New and significant Andante , T: made up to Tutti , p to pia: ; 2 nd evidence regarding its authenticity was provided line: p: made up to pia: ; 3 rd line: T: made up to by the discovery of old parts which originated at a Tutti , f to for: , p: to pia: and for: . time when it would have been impossible to substitute Mozart’s name for that of another composer: one discovery was a copy in the monastery of Kremsmünster, written, according to Altman Kellner, 47 in Salzburg “ around (shortly after) 1770 ”, and the other a copy in Augsburg, in the monastery of the Holy Cross, of which the parts contain entries in Mozart’s hand. The master’s hand is unmistakable, for example, in tempo indications, the making up of the abbreviations T: , f: and p: to Tutti , for: and pia: as well as in the word piano in the following excerpts (see also the facsimile page 1 of the Battuta just below):

3. Canto ripieno part, conclusion of the Agnus Dei, with piano as a later addition.

The thirteen parts from Holy Cross revised by 43 Senn, Foreword , op. cit., p. VI. Mozart (the repository also contains newer but 44 Loc. cit., p. III. nevertheless 18 th century copies; see the 45 Jahn, op. cit., p. 672. 46 Kritischer Bericht ) were once in Leopold Senn, Foreword , op. cit., p. IV. 47 Musikgeschichte des Stiftes Kremsmünster , Kassel and Mozart’s possession and were left to the Basel, 1956, p. 506, footnote. monastery along with other musical materials International Mozart Foundation, Online Publications XIV New Mozart Edition I/1/1/1 Masses · Volume 1 from his estate by Marianne Berchtold zu conclusion is that the crossings-out are also Sonnenburg, to whom he had bequeathed them. autograph. The copies preserved in other The music had been copied by a Salzburg copyist archives contain in some cases the entire who had frequently worked for Mozart; they date musical text of the Agnus Dei, in other cases from 1775, and, as the headings and the numbers the measures crossed out by Mozart are of copies of each part show, were intended as missing. This shows that the cuts made by performance material for Salzburg Cathedral. 48 Mozart in the Holy Cross copy were also made The original cover with the title of the work is in a second source, probably the autograph, missing, however, and the composer’s name, as which had served before and after the cuts as was often the case, was not given on the an exemplar for copies. If this exemplar had individual parts. Only a partial score for three not been marked as a composition by Mozart, trombones, in the hand of the choir director in the copyists must have been making numerous Holy Cross, P. Matthäus Fischer (1763–1840), unauthorised copies over a long period of time bears the heading Missa in g. Mozart . A possible before and after the cuts and marking them error in the attribution (on stylistic grounds this with the same false attribution of authorship. could only refer to W. A. Mozart and not to One can similarly rule out any suggestion that Leopold) can be ruled out: Mozart might have commissioned a number of copies of an unsigned composition by a third 1. The careful, occasionally pedantic corrections party and thus in some way given rise to an and additions by Mozart speak against its “error”. It is equally improbable that a repeated possibly being a work by another composer. “copyist’s swindle” could have taken place in 2. If the attribution to Mozart was purely an Salzburg around 1775; at this point, Mozart invention of Holy Cross monastery, all other was too little known as a composer of church copies bearing the name Mozart, of which 26 music for a scribe to have gained any have been discovered so far in other archives advantage by misusing his name. (see the Kritischer Bericht ), would have had to Another link in the chain of evidence for the be first or second generation copies of the authenticity of KV 14 (Appendix 235 d) is the fact Augsburg manuscript. This is however that a copy of the work was found amongst those chronologically impossible in the case of the possessions of Mozart’s which André acquired copies made before 1780, such as those in from his estate (see above). André, whose Kremsmünster and Regensburg, since the experience and testimony are above suspicion, pages revised by Mozart could not have been in only included copies in his “Manuscript Augsburg before 1787; in later manuscripts, Catalogue” if they “ could also be placed there are other divergences, such as the absence chronologically in relation to known of the tempo indications added by Mozart only circumstances and furthermore allowed no doubt to the parts in Holy Cross. These observations that they are genuinely compositions by Mozart ”. show that around 1775, the time at which the The circumstances of the sources confirm the Augsburg parts originated, copies had been authenticity of KV 140 (Appendix 235 d) so made from another source bearing the name unambiguously that stylistic reservations have to “Mozart”. be considered as less weighty. 49 3. In the Agnus Dei, the measures 75 to 82 and 91 There are remarkable reminiscences in this to 122, i.e. the Minore of the “Dona”, have work: the Gloria, measures 1 to 27, as well as the been crossed out. The grid-like form of the repeat passages, measures 28 to 35, 95 to 118, and strokes reveal the same pen and same colour of ink as Mozart used for other revisions in these parts. If the crossings-out extended beyond the 49 In KV 6, the Mass has now been included under “ Doubtful right-hand page, Mozart wrote in the margin and spurious works ” (C 1.12) with the following “ remark ”: either volti (Tenore Ripieno) or vertatur (Basso “Even at that early date, Jahn spoke against the authenticity 6 Ripieno) or added to the copyist’s V. , i.e. Volti , of the work .” The editors of KV do not attempt an assessment of the evidence tendered by Senn (see footnote the word subito (Battuta). Mozart’s hand can 42) regarding the source situation. Without consulting the be clearly identified in another measure added original parts material in Holy Cross, the editors of KV 6 cast on this occasion (Violino I). The obvious doubt on the corrections and additions in Mozart’s hand visible in the facsimiles reproduced on pages pp. XV and XVII of the Bärenreiter edition of the Mass (see footnote 48 Senn, Foreword , op. cit., p. VII. 42). International Mozart Foundation, Online Publications XV New Mozart Edition I/1/1/1 Masses · Volume 1 the Sanctus, measures 9 to 32 (musically identical version; the measures cut by Mozart are with the Benedictus), correspond to measures 1 to recognisable by the marking Vi – de . 32 and 61 to 84 of the Ballet music to Le gelosie del serraglio KV Appendix 109 (135 a), * transmitted in sketch by Mozart but not securely identified as a composition by him. 50 In the Credo, The text of the Ordinary of the Mass, apart measures 32 to 47 recall No. 4 of the 9 Pieces for from orthographical errors (see below), has been Piano (KV 3: Appendix 207 / KV 6: Appendix C treated correctly, with the sections with long texts 27.06); this piece was identified by Wolfgang being set without re-ordering or elimination. If Plath as Ballo 2 from Ascanio in Alba KV 111. 51 Mozart also sets the priest’s words of intonation in If this is genuinely a case of deliberate use of Gloria and Credo in the High Masses, he is simply parody technique, such as we know e.g. in Joseph following an example given by other composers Haydn’s Mariazell and Creation Masses , it is then and generally not regarded as contrary to the sense hardly a specifically Mozartian phenomenon, but of the Liturgy. He behaved more freely in the can very likely be shown to be a practice Kyrie. Although the text in three sections might encountered in the church music with which he suggest a corresponding musical form, Mozart in had already come in contact. This question will fact extends it in KV 49 (47 d), 66, 140 (Appendix however have to left open until more research is 235 d) by repeating “ Christe eleison ” and “ Kyrie done into church music in Salzburg at the time. eleison ”. In the first part of the Kyrie of KV 139 The quotations from the Ballet Music KV (47 a), the invocations “ Kyrie ” and “ Christe ” Appendix 109 (135 a) mark the earliest point at already start appearing in an irregular succession, which the Mass KV 140 (Appendix 235 d) could leading into a contrasting section with a setting of have been composed, i.e. after the return from the “Christe eleison ” and a repeat of the first section. third Italian journey, in March 1773. The work The Benedictus of this Mass displays special could well have originated in the same year. In the features. In the first section, the exclamation Agnus Dei of this Mass, a departure was made “Hosanna in excelsis ”, which usually follows from the editorial principle that the youngest separately, can already be heard. Despite this, the version should be taken as the basis for the customary repeat of this section, taken from the musical text adopted. Here the measures 75 to 82 Sanctus, follows. As other composers had done, and 91 to 122 were crossed out by Mozart. If the Mozart separated “ eleison ” into three syllables, dimensions of the Kyrie (43 measures), Gloria and only occasionally, as in the case of the longer (120 measures), Credo (101 measures), Sanctus melismas, in the correct form with four syllables. (36 measures) and Benedictus (52 measures) Divergences in the underlay and a number of correspond to a Missa brevis in its liturgical sense, emendations by Leopold Mozart are noted in the the Agnus Dei (160 measures) must be considered Kritischer Bericht . In the course of the repetitions to be disproportionately long for this genre. It is of “ dona nobis pacem ”, the frequently used clear that not compositional but liturgical reasons, contemporary form “ dona pacem ” is also namely its use in offices of a non-festal nature, encountered (KV 65/61 a, 140 / Appendix 235 d). were behind the cutting of a quarter of the There are remarkable spelling errors in the text movement. This hypothesis is further supported in the autographs. They show that Mozart did not by the parts copy in the monastery at refer to a copy of the text, but instead wrote the Kremsmünster, in which different cuts amounting text from memory. The false emphasis on to one hundred measures are visible. Our edition syllables also shows that he only understood the of the Agnus Dei therefore follows the first text in a limited or general sense. At the same time, it can be observed that the spelling errors, generally not corrected by his father in any 50 Seven of these movements could be identified as compositions by Joseph Starzer. See in this regard Senn, systematic way, did not recur in the next work. Mozarts Skizze der Ballettmusik zu “Le gelosie del Spelling errors could therefore even provide serraglio” (KV Appendix 109/135 a), in: Acta Musicologica evidence for a chronology of the compositions. 23, 1961, pp. 169ff. 51 The Volume Editor is indebted to Dr. Plath for pointing * out the congruence with KV 140 (Appendix 235 d). See also Plath, Der Ballo des “Ascanio” und die Klavierstücke KV Appendix 207 , in: Mozart-Jahrbuch 1964 , Salzburg, 1965, pp. 111ff. International Mozart Foundation, Online Publications XVI New Mozart Edition I/1/1/1 Masses · Volume 1

Of the five Masses in this volume, four were * available as photocopies for the editing work: KV 49 (47 d), 139 (47 a), 65 (61 a) and 66 (kept in the Baroque tradition remained alive in the music former Prussian State Library, currently Berlin- of Salzburg Cathedral into the first decades of the Dahlem, SPK). These were supplemented by 19 th century. This included the use of three authentic copies. Revisions by Leopold Mozart trombones, employed colla parte with the choral and some corrections can be seen in the copy of Alto , Tenore and Basso in the tutti .53 Although KV 65 (61 a) (Augsburg, Dominican Monastery of there is no indication in this regard in the the Holy Cross, formerly the Foundation of the autographs of Masses nos. 1 to 4, primary sources Augustinian Canons, and once owned by L. show that this use of trombones is certainly Mozart); this had probably originally been authentic for KV 139 (47 a) and 65 (61 a). 54 The intended, as far as the headings and the number of same practice can reasonably be posited for the copies of each part suggest, for performances in other Masses, but as no old trombone parts have Salzburg Cathedral. 52 The copy of KV 66 come down to us, we have decided not to make up (Salzburg, Monastery of St. Peter) contains parts the trombone parts in the musical text. not present in the autograph and which are an The separate positions of soloists and choir in integrating component of the work; it thus has a Salzburg Cathedral with one organ per ensemble significance going beyond that of a primary is reminiscent of the polychoral tradition. 55 source. A further copy of the Mass KV 66 Correspondingly, the parts copies for the soloists (Lambach Monastery), in the hand of a Salzburg and for the first organ, which contained the entire copyist, is indeed signed by Leopold Mozart, but musical text, were marked concerto and those of has no corrections in his hand. The only securely the choir singers ripieno . In the Organo concerto identified set of parts for the Mass KV 139 (47 a) part, which was identical with the Battuta part (Rev. M. Mayer, Munich) deserves particular intended for the conductor (from “battere”, i.e. to attention because it is obviously derived from a beat), the direction solo is attached not only to now lost original in which authentic additions – vocal sections, but also to instrumental no doubt by Leopold rather than W. A. Mozart – introductions and interludes. In the solo sections, had been entered. The copied parts for KV 139 the Organo ripieno has tacet until the next Tutti (47 a) and KV 66 show once again how important entry. If the Organo concerto continues in eighth- it is for the preparation of a critical edition to be notes at the transition from Tutti to Solo sections, able to draw on authentic copies besides the the final Tutti note value in the Organo ripieno autograph. The completion of the score does not can be extended to a quarter-note. Divergences at mean that the definitive musical text has been determined. Apart from “self-evident” procedures 53 with which the copyist made up some of the parts, General observations on the extent of this practice are there are indications of tempo, dynamics, contained in Joseph Gabler, Die Tonkunst in der Kirche , Linz, 1883, p. 170. In the church music in Vienna, the articulation etc. which may appear for the first doubling of Alto and Tenore by trombones was customary. time in the first generation of parts copies. Reichert, op. cit., p. 4 (“ In no case are more than two The autograph of the Mass KV 140 (Appendix trombones used ”). 54 235 d = KV 6: C 1.12) is untraceable. Thirteen parts In the meantime, the use of trombones has become with corrections and additions in Mozart’s hand contentious. One consideration is that massive choirs were not yet known in the 18th century, but only small forces. In (Augsburg, Holy Cross) can only serve only as a Salzburg Cathedral, whose choir was amongst the largest in partial substitute for the autograph, as they offer its day, around 28 singers were active. At the same time, vocal parts only for the choir ( Ripieno ) but not for these three ranges were not realised, as they are today, using the soloists ( Concerto ). The missing parts for tenor trombones, one of which is equipped with a bass these vocal soloists were taken from other old valve, but using instruments of quite different dimensions; their wider bores and narrower bells produced a copies (Augsburg, Holy Cross and the Monastery substantially more delicate sound than today’s instruments. of Kremsmünster). It was possible to edit this first See on this also K.G Fellerer and Felix Schröder, Foreword Mass by Mozart without resorting to secondary to NMA I/2/2, Vespers and Vesper Psalms , pp. XIf. 55 sources (see the Kritischer Bericht ), which Regarding scoring and positioning, see Leopold Mozart, enjoyed a wide circulation Nachricht von dem gegenwärtigen Zustand der Musik Sr. Hochfürstlichen Gnaden des Erzbischofs zu Salzburg im Jahr 1757 , in: Friedrich Wilhelm Marpurg, Historisch- Kritische Beyträge zur Aufnahme der Musik III, Berlin, 52 Senn, Foreword , op. cit., p. VII. 1757, pp. 183ff. International Mozart Foundation, Online Publications XVII New Mozart Edition I/1/1/1 Masses · Volume 1 these transitions are noted in the Kritischer self-evident within the tradition of the time. At Bericht . The Bassi , running in unison with the tutti entries or at instrumental introductions and organ bass line (see below), do not have a Tutti interludes, an f has therefore been added. On the function and do not have rests during instrumental other hand, the initial dynamic level for solo introductions and interludes or during solo passages has not been made up. In the course of passages; they rest at the same time as the choir forte sections, Mozart appears to have placed the bass. If Basso , Tenore or Alto have rests, the superfluous dynamic marks f or fp ; these indicate lowest vocal part is notated in the organ staff. The that the part in question should raise its profile in original notation, in tenor, alto or soprano clefs, relation to the other parts. We rejected the idea of has been transcribed for this edition into the bass correcting these to ff or sf respectively (cf. KV 49 or treble clefs. Rests in the Bassi are indicated by / 47 d, Kyrie, measures 10, 14, 18, 22, 31, Gloria, the remark “ senza B. ”, their renewed entry with measures 5, 7, Agnus Dei, measures 21, 22, 23; “con B. ”. – The tasto solo occasionally demanded KV 139 / 47 a, Kyrie, measure 31, Gloria, measure in the organ part is cancelled automatically when 74, Credo, measures 40, 42, 44, 48, 116, 117, 118, the bass figures reappear. 120, 121, 122; KV 65 / 61 a, Kyrie, measures 35, While Mozart, if he marked it at all in his 37, Credo, measures 59, 139, 140; KV 66, Kyrie, manuscripts, indicated the staff for Bassi and measures 100, 104, Gloria, measures 240, 289, Organo at most with Basso (see the Kritischer Credo, measures 93, 174, 176, 178, 185, 188, Bericht ), the performance material in Salzburg Agnus Dei, measures 7, 9, 31, 34, 36). Cathedral contains two parts for the Bassi , Abbreviated tone repetitions in the originals Violone and Fagotto , but the sources in St. Peter have generally been written out, and and Lambach only have a Violone part. While retained only in cases where the clarity of the there is no reference in the Salzburg copies to the printed score would have been compromised. The use of the violoncello, 56 this can be deduced from the part marked Violone (Munich, Parish of St. appearance of double abbreviations such as Elisabeth) for KV 139 (47 a) (see the Kritischer with single or double stems does not specify the Bericht); this also contains, notated in the tenor desired realisation unambiguously; 57 the intention clef, the measures during which the choir bass rests. can be either or . If an Dynamic marks at the beginning of the interpretation in successive sixteenth-notes is to movements or sections are absent in the original at be assumed, this takes the form of the preceding those points at which a forte would have been figuration; the same principle applies to triple

abbreviatures ( or ), which indicate neither 56 Johann Samuel Petri, Anleitung zur praktischen Musik , triple stops nor divisi performance. Leipzig, 1782, p. 168, comments: “ The basses are the Violoncelli, the Violon, the Fagotti and the Harpsichord or Parallel leadings of Violino I and II or Violino Organ for accompaniment .” According to Rosenthal, op. I and Oboe , indicated in the original by the cit., pp. 89ff., copies of numerous works for Salzburg direction unisono and the direction col Basso in Cathedral choir in the first half of the 18th century contained the viola part have been written out in full and a separate part intended for both the cellist and the noted in the Kritischer Bericht . The doubling in conductor. The remark Violoncello Per la Battuta (J. E. Eberlin, Litanei in E b; archive of Salzburg Cathedral choir) the viola has generally been pitched an octave indicated that the conductor also played this instrument. higher; it is then separated from the double basses Petri, op. cit., p. 181, writes, with a reference to Michael by two octaves, which corresponds to the 4-foot Praetorius ( Syntagma musicum , vol. III, chap. 8), that a stop on the organ. If the col basso leading of the conductor “ who does not play the violin should at least viola enters a range in which it crosses the learn the violoncello well […], so that he can use it in the music, partly to reinforce the basses, partly to give the Soprano or Violino I part, it seemed advisable to whole music the right movement in measures .” The question switch to an 8-foot transcription. It is however of the violoncello in the Salzburg church orchestra in remarkable that Mozart himself, particularly in the Mozart’s day has not yet been clarified. Cf. Vincent and Mass KV 66, frequently lets the viola rise above Mary Novello, Eine Wallfahrt zu Mozart (1829) [ A Mozart the soprano and even above Violino I as an Pilgrimage ], ed. Nerina Medici di Marignano and Rosemarie Hughes, German version by Ernst Roth, Bonn, 1959, p. 97; in the description of what was indeed a small 57 Cf. M. M. Framery, Ginguené et De Monsigny, Musique , orchestra for a mass there was the express remark: “ no in: Diderot & d'Alembert, Encyclopédie Méthodique , vol. 1, cello ” (but no doubt three trombones!). Paris, 1818, article Abréviations , plate, p. 1. International Mozart Foundation, Online Publications XVIII New Mozart Edition I/1/1/1 Masses · Volume 1 independent part, even though in a subordinate does in fact reflect an intention on the part of the function. In the Mass KV 49 (47 d), Credo, composer, expressing with these slurs a wish for a measures 182 to 193, Sanctus, measures 1 to 5, 15 legatissimo realisation. We have therefore decided to 17, Agnus Dei, measures 53 to 60, the Viola against a general making up of such slurs such as staff shows neither rests nor the direction col in the AMA. Slurs have been made up in vocal Basso . In these measures, the four vocal parts, and instrumental parts only when they are already Violino I and II and also Bassi and Organo are present in analogous parts in the same or parallel active. The texture and musical progression do not measures. Slurs in vocal parts were adopted in suggest that any rest is intended for the viola. The analogous figures in the instrumental parts (but re-entry of the viola two measures before the close not vice-versa ). of a section (Credo, measure 194) or of a Articulation marks in the form of a dash, movement (Agnus Dei, measure 61) would appear tending towards a dot when written hurriedly, very abrupt. It must be assumed that the direction should not automatically be understood as col Basso was either omitted erroneously or, since staccato. This mark was explained by Leopold it was a self-evident procedure for the copyist, Mozart 58 as “ Abstoßen ” [“thrusting off, simply left out as a matter of practice. The detaching”] of a tone, but this can have various Editorial Board and the Volume Editor have meanings: 1. accent, 2. true staccato, currently therefore decided to make up the part in this sense interpreted with only a slight tendency towards an and have indicated the passages in question by emphasis, 3. the detachment of a tone without small print. producing an accent, i.e. non legato . 4. in the Chords of two or more notes in Violino I and organ part, the dash can replace the thorough-bass II appear in the originals sometimes with single, figure “1”, i.e. tasto solo or octaves in the case of sometimes with double stems. Since Mozart did orchestral unisono, 59 although it can occasionally not intend a divisi realisation, the stems have been mean detaching the tones. In the musical text, the set uniformly. Wherever the part is marked Viole interpretation of the dash as “1” has always been or Violae , double stems have been retained (KV set in square brackets, since this is an editorial 139/47 a). If, however, divisi performance is decision, even if a double significance, intended, despite the absence of a corresponding simultaneously “1” and accent, can be ruled out. direction in Mozart’s manuscript, separate stems Mozart only used dots with repeated notes, have been set in the viola part, as in the original including the case when several appear under one sources (KV 66, Credo, measures 178ff., 194f., phrasing mark (KV 66, Kyrie, measures 44ff., 211ff., 243ff.). 86ff.; Gloria, measures 108, 147; Credo, measures In staves where pairs of wind instruments are 184, 276, 277, 282, 288, 289, 294, 295, 303, 304, notated, double stems have been retained where 324 to 329; Agnus Dei, measures 4 to 6, 12 bis 14, the separation between the parts is less than one 35 to 37). octave; for larger separations, both parts are set on Cautionary accidentals which are superfluous one stem, unless this detracts from the clarity of according to modern practice were eliminated the voice leading. The old abbreviation in which without being noted in the Lesartenverzeichnis the duration of dotted notes could extend into the [table of readings ]. Accidentals in the original next measure has been replaced by the modern sources could occasionally apply in the following notation. Combinations of ties and slurs, however, measure or were sometimes only set in one staff have been left in the old notation and not of the system. Where an accidental in the course re-written according to modern practice. of one measure should obviously also apply to a Occasionally, the original sources indicated previous note in that measure, it has been set in Tutti and Solo simply with the letters T. and S. standard print and not, as an editorial addition, in These have been written out and printed in small print; these places are listed in the straight letters without typographical Lesartenverzeichnis . In minor keys, there is often differentiation. no alteration of the sixth degree of the scale. It It is striking how seldom slurs are set in the

vocal parts. While they are always absent in long 58 Leopold Mozart, Gründliche Violinschule , Augsburg, melismas, they sometimes appear over short 1787, p. 45. groups of notes on one syllable, even within 59 Cf. in this connection Federhofer, Striche in der extended melismas. This apparent inconsistency Bedeutung von “tasto solo” in: Neues Augsburger Mozartbuch […], Augsburg, 1962, pp. 497ff. International Mozart Foundation, Online Publications XIX New Mozart Edition I/1/1/1 Masses · Volume 1 was self-evident for practising musicians of the has only been retained where it is obvious that the day whether a figure should be rendered in the voice-leading demands a particular position or harmonic or melodic minor scale. As inversion of the chord (e.g. KV 139/47 a, Gloria, contemporary theoreticians do not present a measures 169, 177: ). Occasional missing unified and unambiguous code of practice on the figures, prolongation dashes signifying that the question of the augmented second, a possible chord should continue sounding, and raising of the sixth degree has to be decided on a anticipations, i.e. figures applying to the previous subjective basis; this is ultimately a matter of note (e.g. KV 140/Appendix 235 d, Credo, measure taste. Albrechtsberger, 60 for example, writes that 76), have been added editorially. Additions are the sixth and seventh degrees in minor keys are enclosed in square brackets; missing indications always raised “ wegen des besseren Gesanges im of anticipations have been printed in dotted lines. Ansteigen ” [“ because of the better voice-leading Erroneous figures have been corrected, (without in ascending motion ”], but restricts this directive square brackets, but with a remark in the to the upper voice. “ One finds sometimes that even Kritischer Bericht ). The inconsistent indications good masters do not raise the sixth degree of alterations in the old sources has been ascending when the motion is slow; but in fast normalised. Figures are often absent at runs or passages it and the seventh are always raised .” leaps in the bass involving eighth or sixteenth- For Mozart, these rules do no always apply. Leaps notes or where auxiliary or passing notes are of an augmented second marked with accidentals involved. In these cases, the harmony implied by on both notes are encountered in KV 49, Gloria, the first note is to be held. 62 measures 37, 39/40, in KV 65, Kyrie, measure 20, There are remarkable suspended dissonances Gloria, measures 18, 19. In KV 139 (47 a), Credo, with non-synchronous resolution in the vocal and measures 13, 14 ( Violino I , II ), a descending orchestral or in the orchestral and continuo parts. major sixth is specified; 61 the analogous passages Suspension and resolution can be heard (Credo, measures 38, 39, 144, 239, 240, 248, 249) simultaneously in e.g. KV 49 (47 d), Credo, were therefore provided with corresponding measures 9, 30, 68, 74, 139, 174, 178; KV 139 accidentals. The raised sixth degree in a (47 a), Gloria, measures 175, 214, Credo, measures descending passage is also specified in KV 66, 85, 88, 90; KV 65 (61 a), Credo, measures 13, 19, Agnus Dei, measures 80, 82. The major sixth in 94 to 97. There is confirmation that this is not ascending passages is expressly indicated in KV simply an error of notation in e.g. the autograph of 65 (61 a), Gloria, measures 38, 39, 40; KV 66, KV 65 (61 a), Credo, measure 19, where the figure Agnus Dei, measures 79, 81. Accidentals applying “8”, originally assigned to the fourth quarter-note, to the sixth have been added editorially in KV has been erased and assigned to the fifth eighth- 139, Kyrie, measures 67, 69, Gloria, measure 14, note. Furthermore, analogous divergences Credo, measures 6, 10, 140; KV 65 (61 a), Gloria, between vocal and orchestral parts in the measures 3, 13, 35, 42. The editor considered it resolutions of suspensions are encountered in e.g. appropriate for harmonic reasons to leave the KV 66, Credo, measure 203; here the resolution following augmented second leaps unchanged: occurs in Flauto I , II on the third quarter-note, in KV 49 (47 d), Kyrie, measure 18, Agnus Dei, the other parts on the fourth quarter-note (cf. also measure 4; KV 139 (47 a), Kyrie, measure 127, KV 49/47 d, Credo, measure 75; KV 139/47 a, Gloria, measure 268; KV 65 (61 a), Kyrie, Credo, measures 12, 99; KV 65/61 a, Gloria, measures 7/8, 28/29 ( Tenore ), measures 8, 29 measure 31). The simultaneous sounding of (Violino I , II ), Gloria, measure 45; KV 66, Kyrie, suspension and resolution is a stylistic feature not measure 73, Agnus Dei, measure 77. only of early Mozart, but also of his times. It was The thorough-bass figures in the autographs therefore decided not to correct or assimilate the are usually placed below, but occasionally above, thorough-bass figures. the Organo staff. It also sometimes happens that The text underlay in the autographs is the higher number is written below the lower. This generally not present in all vocal parts in original notation is today no longer customary and homophonic passages (underlay is often only in

60 Loc. cit., pp. 12f. 62 According to Petri, op. cit., p. 226, “ a principal chord is 61 According to Petri, op. cit., p. 135, the seventh and sixth always placed on a strong beat of the measure, and the degrees can be raised in descending passages if the bass “ is weak [i.e. the notes on weak beats of the measure] pass by standing on the fifth ”. without a chord being placed on them ”. International Mozart Foundation, Online Publications XX New Mozart Edition I/1/1/1 Masses · Volume 1

Soprano and Basso ). It has been made up tacitly The editor of this volume has the pleasant in this edition. Orthography, separation of obligation of expressing his heart-felt thanks to all syllables and punctuation have been brought into persons, archives and libraries that have supported line with the text of the Mass given in the the editorial work on this volume by providing Graduale Romanum (1957 edition). A correction sources, information or advice: Archive Director of the almost ubiquitous setting of “ eleison ” as Dr. Heinz Friedrich Deininger (Augsburg), Univ.- three syllables instead of four was rejected for Professor Dr. Hellmut Federhofer (Mainz), P. musical reasons. Suso Geiselhart O. P., Prior of the Dominican Monastery Heilig Kreuz (Augsburg), P. Altman * Kellner O. S. B. (Stift Kremsmünster), Archive Director and Court Advisor Dr. Herbert Klein (Salzburg), Prof. Hermann Lang (Lambach, Upper Austria), Cathedral Music Director Prof. Joseph Messner (Salzburg), Univ.-Professor and Court Advisor Dr. Leopold Nowak (Vienna), Prof. Dr. Géza Rech (Salzburg), P. Eberhard Steinbrecher O. S. B. (Salzburg), Dr. Wilhelm Virneisel (Tübingen), as well as the Austrian National Library, Vienna, the Dominican Monastery Heilig Kreuz and the City Archive in Augsburg, and Rev. M. Mayer of St. Elisabeth in Munich. The undersigned also owes a particular debt of gratitude to the first General Editor of the Neue Mozart-Ausgabe, Dr. Ernst Fritz Schmid, whose memory we will treasure always, and to Karl Heinz Füssl (Vienna), who read the proofs. Sistrans, by Innsbruck, August, 1967

Walter Senn Translation: William Buchanan

International Mozart Foundation, Online Publications XXI New Mozart Edition I/1/1/1 Masses · Volume 1

Facs. 1: Missa brevis in G KV 49 (47 d) = No. 1: folio 1 r of the autograph kept in the former Prussian State Library, Berlin, now State Library Berlin – Prussian Cultural Heritage (Music Department). Cf. page 3, measures 1–6.

International Mozart Foundation, Online Publications XXI New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 2: Fragmentary outline of the Gloria of the Missa brevis in G KV 49 (47 d) = Appendix No. 1: autograph in the collection of the Gesellschaft der Musikfreunde, Vienna. Cf. page 315.

International Mozart Foundation, Online Publications XXII New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 3: Missa in C minor KV 139 (114 a = KV 3a : 47 a) = No. 2: folio 1 r of the autograph kept in the former Prussian State Library, Berlin, now State Library Berlin – Prussian Cultural Heritage. Cf. pages 37–38, measures 1–8.

International Mozart Foundation, Online Publications XXIII New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 4: Missa brevis in D minor KV 65 (61 a) = No. 3: folio 1 r of the autograph kept in the former Prussian State Library, Berlin, now State Library Berlin – Prussian Cultural Heritage. Cf. page 159, measures 1–13.

International Mozart Foundation, Online Publications XXIV New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 5: Missa in C (“ Dominicus Mass ”) KV 66 = No. 4: folio 1 r of the autograph kept in the former Prussian State Library, Berlin, now State Library Berlin – Prussian Cultural Heritage. Cf. pages 185–186, measures 1–9.

International Mozart Foundation, Online Publications XXV New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 6: Missa in C (“ Dominicus Mass ”) KV 66 = No. 4: beginning of the Oboe II part in Leopold Mozart’s handwriting (left) and beginning of the Gloria from the Flute II part in Wolfgang Amadeus Mozart’s handwriting (right) from the manuscript parts material in the Abbey of St. Peter, Salzburg.

International Mozart Foundation, Online Publications XXVI New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 7: Sketch for the Gloria from the Missa in C (“ Dominicus Mass ”) KV 66 = Appendix No. 10. Loose cover page from the autograph. Cf. pages 324–325. International Mozart Foundation, Online Publications XXVII New Mozart Edition Series I: Sacred Vocal Works Section 1: Masses

Facs. 8: Missa brevis in G KV 140 (Appendix 235 d = KV 6: Appendix C 1. 12) = No. 5: page 1 of the Battuta part from the copied parts in the Dominican Monastery of the Holy Cross, Augsburg.

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