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The sizeable music collection from the Osek monastery has previously been interpreted in light of a catalog that was updated 1754–c1802. The completion of a modern catalog allows for a reappraisal of the history of the institution. Previous research has explained the lack of updates in the catalog during the years 1778–1802 with a decline in musical activity following the reforms of Joseph II. The collection, however, suggests that Jan Jakob Trautzl, regens chori since 1783, began his tenure by acquiring sacred works by Johann Baptist Waṅhal which rank among the largest and most ambitious from the era. There is also evidence of local adaptations of masses into polychoral and polyorchestral arrangements. Except for a possible low point during the years 1787–1789, the reforms thus seem to have had limited effect. The failure to accurately represent the collection in the catalog suggests the necessity for a new paradigm for reading such documents. One may preliminarily consider catalogs' limited potential for additions and emendations and understand them as tools for music professionals rather than librarians. In this view there is nothing surprising about lacunae, but the inclusion of a work becomes a sign of intent from the cataloger.

This article suggests that Haydn's experiments with combining sonata and fugue in his late masses were indicative of a desire to retain the traditional fugues found in cantata masses on the smaller scale of the high classical mass. This is a desire that is mirrored in the works of contemporaries such as Mozart and Wanhal. In practical terms, this could be achieved through expoiting the common drive towards the dominant in sonata and fugue expositions alike: the fugal exposition thus forms the transition and possibly either the primary or secondary theme of an exposition. These fugal sections are broadly analyseable within William E. Caplin's theory of formal functions, thus allowing for study of the form's development. This can breifly be summarised as being increasingly stringent in cadential expression and moving from regarding fugue themes as as phrases within a theme towards their being functions within a phrase, thus allowing for more rapid and dynamic fugues.

Haydn’s single-movement settings of the Kyrie text have long been analyzed within a sonata-form paradigm. This has proven very difficult in the case of the Theresienmesse. This article draws on the theories of Willam E. Caplin and the works of Haydn and his contemporaries Waṅhal and Dittersdorf to suggest that this difficulty arises from a number of peculiar aspects of Kyrie settings that do not conform to typical instrumental sonata-form movements:

Slow introductions in Kyrie movements are distinct from those found in symphonies, and a tempo (orchestral) introductions of those found in concertos, especially through their more modest size and sentence-like structure.The “Christe” section of a Kyrie does not normally resemble a development section, but instead works as a more tightly-knit contrasting middle. It usually sets new material, resulting in an ABA’ form.Orchestral themes within the movement are optional, but when employed are used to delineate the borders between exposition, development and recapitulation. 

These insights produce an analysis that suggests that the opening adagio conceals both a short orchestral introduction and a primary theme, and that the “Christe” is the opening of the development section, rather than a secondary theme, as has previously been posited; the ensuing fugual section becomes amalgamation of transition and secondary theme. In this analysis, the partial recurrence of the opening adagio can be explained, and the resulting analysis conforms more closely to Hepokoski and Darcy’s notion of sonata rotations.

Full score of Wanhal's mass Weinmann XIX:C8 (Nokki 06).

Full score of Wanhal's mass Weinmann XIX:G5 (Nokki 42).