Oregon Bach Festival Discovery Series Mozart Coronation Mass PDF Free Download

Oregon Bach Festival Discovery Series Mozart Coronation Mass 2006 From the Thomaskirche in Leipzig we go to a beautiful cathedral in Salzburg. It is at the end of the 18th Century, and Mozart is still a young man. He has been given the important task of writing church music for the Masses celebrated at the cathedral. This is a vastly different job from what Bach did in Leipzig, where he had to write a cantata for every Sunday of the church year, all with different texts. But composing a Mass means using the same texts for each one. This, of course, has its own creative problems. What new things, new ideas, new approaches can be used for the same text? And Mozart also had the restriction of time. The Archbishop told him the Mass could last for thirty minutes, perhaps thirty-five, but no more. We know this because Mozart complained in a letter to his teacher, Padre Martini, that the time constraints were onerous to him. The text of the Mass had to appear complete no words could be omitted. This meant that Mozart had to go through a long text quickly, thereby limiting his time to express certain words or to stress important phrases. It is marvelous to see that even with these restrictions, Mozart composed great music. There is another difference between Bach and Mozart, and that is the purpose of church music. One thinks of the staunch Lutherans sitting in the pews as opposed to the happy Catholics sitting in the bright cathedral of Salzburg. Bach s expression and idea of the music is closely bound to Scripture; it is another sermon. But Mozart s church music seems to be music of joy. This is clearly seen in the opening of the Coronation Mass. The Kyrie begins in C-major with a broad maestoso. 1

After this maestoso opening Mozart changes to a different way of saying the same text. The soprano and tenor soloists enter and the texture becomes like light, happy chamber music. 3

This music should have everyone in good spirits. But there are little shadows when Mozart turns from C-major to C-minor. At the text Christe eleison, remembering that Christ had to suffer for our salvation, there is a brief, one measure detour to the minor tonality. But Mozart quickly returns to C-major, and all is beautiful and happy again. 5

Often composers contrast the texts Gloria in excelsis [Glory to God in the highest] and et in terra pax [and on earth], with the Gloria set high and intense, and et in terra low and subdued. There is no distinction in this Mass of Mozart. When the chorus sings et in terra pax the orchestra plays symphonic overture fanfares. Mozart does not stop to change the expression, but continues in the same character. 6

The music is beautiful, and in some ways it is also very simple. There are no big solos for the soloists, and while the dialogue between the violins and the oboes is nice, it is not a great event. Perhaps the simplicity and static style are maintained because he wants to set apart the text that is coming, Qui tollis peccata mundi, miserere nobis [You take away the sins of the world, have mercy upon us]. The music becomes dramatic, with the chorus singing Qui tollis repeatedly with full orchestra accompaniment. Then the soloists begin an intimate plea for mercy, miserere nobis. 10

This is the first time Mozart maneuvers away from C-major for any length of time. The minor tonality has a strong impression, but he does not stay there long. He makes his way back to C-major, and ends the movement with more joyous music. 13

The next movement is the Credo, which has the longest text of the Mass. Mozart invents a theme for the orchestra that will accompany the long text sung by the chorus. This motive is introduced at the beginning, and will be repeated throughout. The first violins play fast figurations while the brass and timpani accompany with majestic rhythms. 17

At this place the chorus will enter and begins to sing the Credo text. Mozart goes straight through, moving quickly to fulfill the obligation of reciting the entire Credo. 18

Mozart changes the music at the most intimate moment of the text Et incarnatus est [He became incarnate]. The texture changes from the full chorus to the solo quartet and the music is subdued. 21

The soloists are not alone, but accompanied by the orchestra. The violins have a figuration that goes from high range to low range, a Baroque gesture that depicts God coming down from heaven to earth. Time constraints do not allow Mozart to dwell on this text. In his later C Minor Mass, he composes an entire movement on this text, but for this Mass he must go on. The chorus sings Crucifixus. The motives stay the same, but the music is now forte. At the text et sepultus est [and was buried] the dynamic is again piano. 22

Now Mozart will return to the music of the Credo beginning, and resume reciting the lengthy remaining text. At the end of the movement, Mozart will bring out certain words and special features of the text. At Et exspecto resurrectionem mortuorum [I believe in the resurrection of the dead], there are strong accents before the music fades away, and then a joyous and vivacious ending Et vitam venturi saeculi [Life of the world to come]. 25

The next movement is the Sanctus. Composers generally perceive this as a majestic piece, envisioning God sitting on the eternal throne. Mozart does that in this Mass, with the full orchestra playing in a style similar to a French overture, majestic and stately, as the full chorus sings Sanctus. 28

At the Hosanna text, the maestoso disappears, replaced by exuberant, nearly humorous music. 30

Let s go on to the Benedictus that follows. In nearly all the Masses of the Viennese School church musicians, the Benedictus is a more subjective piece, generally sung by the soloists. That is the case here. Mozart introduces a melody that could be a dance of his time. 33

The soloists are going to take up a variation of this beautiful tune. In spite of its simplicity, the genius of Mozart can be found here. 34

After the Benedictus text, the Osanna is repeated. Many composers simply repeat the Osanna already heard in the Sanctus, but Mozart inserts the second Osanna between sections of the Benedictus text. 36

There remains one movement, the Agnus Dei. Mozart writes it for solo soprano, accompanied by the orchestra. Again the melodic invention is simple, but the delicate entrance of the strings, then the oboe, and finally the soprano is quite beautiful. Mozart will use this beautiful melody again in his opera The Marriage of Figaro. 42

The text Agnus Dei is repeated three times. The second time Mozart will use a variation of the first theme, and yet another variation at the third repeat. When Mozart comes to the text dona nobis pacem [grant us peace] he returns to the music of the Kyrie. 43

The Mass will end in jubilant C-major, as vivacious and joyous as the beginning. There is an exciting exchange between the tutti chorus and the soloists that comes to a sudden, abrupt end. Perhaps Mozart was looking at his watch. 45