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1 CD -
2292-44180-2 - (p) 1990
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| Wolfgang
Amadeus Mozart (1756-1791) |
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| Missa solemnis c-moll
"Waisenhausmesse", KV 139 (47a) |
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42' 44" |
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| - Kyrie |
4' 05" |
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1
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| - Christe
eleison |
1' 20" |
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2
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| - Kyrie
eleison |
2' 16" |
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3
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| - Gloria |
0' 48" |
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4
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| - Laudamus
te |
1' 38" |
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5
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| - Gratias |
1' 04" |
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6
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| - Domine
deus |
1' 55" |
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7
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| - Qui
tollis peccata |
1' 42" |
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8
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| - Quoniam
tu solus |
2' 10" |
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9
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| - Cum
sancto spiritu |
2' 32" |
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10
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| - Credo |
2' 11" |
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11
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| - Et
incarnatus est |
2' 49" |
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12
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Crucifixus |
1' 50" |
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13
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| - Et
resurrexit |
1' 21" |
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14
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| - Et in
spiritum sanctum |
1' 48" |
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15
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| - Et unam sanctam |
3' 20" |
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16
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| - Sanctus |
2' 23" |
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17
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- Benedictus
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2' 35" |
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18
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| - Agnus Dei |
3' 18" |
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19
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| - Dona nobis pacem |
1' 48" |
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20
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| "Exsultate, jubilate", KV 165
(158a) |
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14' 45" |
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| - Exsultate, jubilate |
4' 51" |
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21
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| - Fulget amica dies |
0' 41" |
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22
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| - Tu virginum corona |
6' 31" |
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23
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| - Alleluja |
2' 42" |
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24
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Barbara Bonney,
Sopran (Missa, Exsultate)
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Jadwiga Rappé,
Alt (Missa)
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Josef Protscha,
Tenor (Missa)
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Håkan Hagegård,
Bass (Missa)
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| Arnold Schönberg
Chor / Erwin Ortner, Einstudierung |
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CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
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| "Waisenhausmesse" |
"Exsultate,
jubilate" |
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Hans Peter Westermann, Oboe
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Alison Gangler, Oboe
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Marie Wolf, Oboe
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Paul Hailperin, Oboe
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Milan Turković, Fagott
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Alberto Grazzi, Fagott
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Friedemann Immer, Naturtrompete |
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Kathleen Putnam, Horn
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Karl Steininger, Naturtrompete |
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Alois Schlor, Horn
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Andreas Lackner, Naturtrompete |
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Erich Höbarth, Violine |
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Michael Vladar, Pauken
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Alice Harnoncourt, Violine |
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Ernst Hofman, Posaune
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Andrea Bischof, Violine |
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Josef Ritt, Posaune
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Anita Mitterer, Violine |
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Horst Kühlböck, Posaune
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Karl Höffinger, Violine |
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Erich Höbarth, Violine
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Peter Schoberwalter, Violine |
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Alice Harnoncourt, Violine |
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Helmut Mitter, Violine |
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Andrea Bischof, Violine |
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Walter Pfeiffer, Violine |
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Anita Mitterer, Violine |
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Doris Köstenberger, Violine
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Karl Höffinger, Violine |
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Gerold Klaus, Violine |
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Peter Schoberwalter, Violine |
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Maria Kubizek, Violine
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Helmut Mitter, Violine |
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Peter Schoberwalter junior, Violine |
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Walter Pfeiffer, Violine |
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Kurt Theiner, Viola |
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Silvia Iberer, Violine
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Lynn Pascher, Viola |
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Peter Matzka, Violine
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Dorle Sommer, Viola
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Maighread McCrann, Violine |
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Herwig Tachezi, Violoncello |
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Gerold Klaus, Violine |
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Mark Peters, Violoncello
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Peter Schoberwalter junior, Violine |
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Eduard Hruza, Violone |
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Editha Fetz, Violine
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Herbert Tachezi, Orgel |
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Barry Sargent, Violine
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Mary Utinger, Violine |
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Kurt Theiner, Viola
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Johannes Flieder, Viola
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Charlotte Geselbracht, Viola
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Lynn Pascher, Viola |
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Herwig Tachezi, Violoncello |
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Rudolf Leopold, Violoncello
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Eduard Hruza, Violone |
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Andrew Ackerman, Violone
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Herbert Tachezi, Orgel
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| Nikolaus
Harnoncourt, Leitung |
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Luogo
e data di registrazione
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- Casino
Zögernitz, Vienna (Austria) - settembre
1988 (Exsultate)
- Stiftskirche Stainz,
Steiermark (Austria) - luglio 1989
(Missa)
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Registrazione
live / studio
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| studio |
Producer
/ Engineer
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Wolfgang
Mohr / Michael Brammann
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Prima Edizione CD
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| Teldec
"Das Alte Werk" - 2292-44180-2 - (1 cd)
- 57' 29" - (p) 1990 - DDD |
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Prima
Edizione LP
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Notes
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"Church music was what
Mozart was actually most fond of:
but it was the variety of music
that he had the least opportunity to
writ..." - thus Franz Xaver
Niemetscheck, the composer’s first
biographer, in 1797. Whether church
music was really Mozart`s favourite
genre is open to doubt, but his
whole-hearted love thereof can clearly
be heard in individual works. Wolfgang
Amadeus Mozart grew up in Salzburg, a
state governed by a Prince-Archbishop
and circa 1760 a stronghold of
Catholic church music. When the young
Mozart was old enough to become aware
of his musical surroundings - and he
did so at an earlier age than his
contemporaries -, Johann Michael Haydn
(1737-1806), the younger brother of
Joseph Haydn, occupied the post of
“Director of Court Music and
Konzertmeister" in the court
orchestra, whose reputation was not
confined to the city itself in those
days. Michael Haydn was responsible in
this position for providing all the
music for services of worship and for
other church ceremonies and
feast-days. Haydn’s masses and other
proper compositions were therefore
among the examples from which the
young Mozart initially took his cue.
His considerable regard for Haydn, who
was nineteen years his senior, is
evident from the fact that he made
copies of numerous of Michael Haydn’s
sacred works, in order to be able to
study them in depth. The fifteen
surviving masses by Mozart show quite
clearly that he “picked up quite a few
things" in the process (Gerhard Croll
/ Kurt \Vössing).
However, Mozart did not have that many
opportunities to produce works of this
kind: under the rule of
Prince-Archbishop Hieronymus Count of
Colloredo (from 1772 onwards), the
amount of Catholic sacred music was
severly restricted. For ColIoredo’s
Enlightenment thinking foresaw other,
secular purposes for music, in the
spirit of the Austrian Josephine
tradition ~ at least for the most
part, for of course there were still
occassions that required festive
church music.
It is to one such occasion that we owe
the composition of Mozart’s Missa solemnis,
the festive Mass in C minor K. 139
(47a). However, the specific
occasion for which the work was
written has still not been
ascertained. It
became known under the title
"Waisenhausrnesse" (Orphanage Mass),
referring to the "consecration of
the orphanage chapel that was
celebrated at this time: the
twelve-year-old Maestro Mozart
composed the church music for this
occasion, and conducted the
performance thereof in the presence
of the entire Imperial court" (F. X.
Niemetscheck). The
chapel referred to here is the
Waisenhauskirche am Rennweg in Vienna, which was
consecrated on 7th December 1768.
Other Mozart researchers, however,
plead for the funeral mass sung at
the burial of Prince-Archbishop
Sigismund von Schrattenbach at the
beginning of 1772.
This would date the C minor mass to
the end of 1771. Whether it was
composed in 1768 or in 1771, it must
have been a remarkably festive event
that inspired Mozart to this
astonishing composition. Even the
instrumentation is unusual: the
classical orchestra features double
violas, and is further supplemented
by three high trumpets (clarinos),
three trombones and timpani. Four
solo singers and full choir (no
fewer than 30 male voices and 15
choirboys were available in
Salzburg!) meant that Mozart could
produce a brilliant and varied
composition that was full of
dramatic contrast. In some sections,
e.g. the Credo, the different parts
are linked by means of motifs - a
tendency that was to play an
increasingly important role in
Mozart`s thinking as a composer.
Also, the three exclamations “Kyrie”
at the beginning correspond to the
closing lament of the Agnus Dei,
which is likewise sung three times
over. The Kyrie seems to have been
chiselled into place - an evocation
of the Inferno in
the style of a Hieronymus
Bosch. The solo voices only
gradually break away from the choir,
but then take over the parts that
carry the story: the invocation of
the Saviour, the glorifying of His
incarnation, the confession of faith
and the plea for outer and inner
peace. The most remarkable feature
of this mass are the ‘night pieces'
(e.g. in the Benedictus and the
Agnus Dei). Here, there are already
moments that look forward to
"Figaro", and dramatic accents are
brought out such as we know from the
later operas.
The motet “Exsultate, jubilate" K.
165 (158a) was grown in rather
different soil, stylistically
speaking. In
playful spirits, Mozart wrote to his
sister in Salzburg on 16th January
1773: "I have the
primo one homo motet to make which
tomorrow at the Theatines produced
will be". The word-puzzle can be
deciphered thus: Mozart composed a
motet for the "primo uomo", the
principal singer and castrato
Venanzio Raunuzzi, who had sung the
part of Celio in his opera “Lucio
Silla" at the première
on 26th December 1772 in Milan. As
contemporaries saw it: "a Latin
sacred solo cantata, consisting of
two arias and two recitatives and
finishing with a Hallelujah" (J. J.
Quantz). Mozart’s work was
tailor-made for the singer of whom
the English music writer Charles
Burney wrote: “The tone of his voice
(is) sweet and clear; he brings
forth passages of the most difficult
intonation with an admirable purity,
fast yet unforced...". The operatic
expression, the exceptionally
virtuoso coloraturas of the supple,
flowing Mediterranean melodies and
the virtuoso brilliance of the
opening exclamation "Exsultate,
jubilate" point to the style of the
Neapolitan school of opera. But the
deeply passionate underlying mood of
the “musical image of the Madonna"
in “Tu virginum corona", the andante
middle section which is full of dark
rapture in spite of the key of A
major, is a personal avowal of faith
on the part of the 16-year-old
composer. Mozart ends the solo motet
on a boisterous, popular note with a
real operatic finale, complete with
virtuoso fioriture.
The work was first performed on 17th
January 1773 in the Theatine Church
in Milan.
Nele
Anders
Translation:
Clive Williams
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Nikolaus
Harnoncourt (1929-2016)
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