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1 CD -
2292-46469-2 - (p) 1991
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| Wolfgang
Amadeus Mozart (1756-1791) |
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| Missa Solemnis "Dominicus",
KV 66 |
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42' 11" |
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| - Kyrie |
3' 17" |
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1
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| - Gloria |
0' 35" |
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2
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| - Laudamus
te |
2' 46" |
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3
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| - Gratias |
0' 45" |
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4
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| - Domine
deus |
2' 29" |
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5
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- Qui
tollis
|
2' 23" |
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6
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| - Quoniam
tu solus |
4' 00" |
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7
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| - Cum
sancto spirito |
2' 25" |
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8
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| - Credo |
1' 53" |
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9
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| - Et
incarnatus est |
3' 30" |
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10
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| -
Crucifixus |
3' 00" |
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11
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- Et in
spiritum
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2' 29" |
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12
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| - Et unam sanctam |
3' 32" |
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13
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| - Sanctus |
2' 06" |
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14
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- Benedictus
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1' 55" |
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15
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| - Agnus Dei |
5' 03" |
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16
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| Vesperae de Dominica, KV 321 |
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33' 00" |
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- Deus, in adjutorium
meum intende / Antiphon "Dixit Dominus
Domino meo" - Dixit Dominus Domino
meo - Antiphon
|
5' 17" |
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17
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- Antiphon "Magna opera
Domini" - Confitebor tibi Domine
- Antiphon
|
6' 08" |
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18
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- Antiphon "Qui timet
Dominum" - Beatus vir -
Antiphon
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5' 10" |
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19
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| - Antiphon "Sit nomen
Domini benedictum" - Laudate
pueri Dominum -
Antiphon |
4' 13" |
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20
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| - Antiphon "Credidi,
propter quod locutus sum" - Laudate
Dominum omnes gentes - Antiphon |
5' 36" |
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21
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- Antiphon "Adaperiat
Dominus" - Magnificat anima mea
Dominum - Antiphon
/ Benedicamus Domino
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6' 36" |
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22
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| "Dominicus" |
"Vesperae
de Dominica" |
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| Charlotte
Margiono, Sopran |
Barbara
Bonney, Sopran
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| Elisabeth von
Magnus, Alt |
Elisabeth
von Magnus, Alt |
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| Uwe Heilmann,
Tenor |
Uwe
Heilmann, Tenor |
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| Gilles
Cachemaille, Baß |
Gilles
Cachemaille, Baß |
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| Arnold Schönberg
Chor / Erwin Ortner, Einstudierung |
Arnold
Schönberg Chor / Erwin Ortner,
Einstudierung |
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Choralschola
der Wiener Hofburgkapelle /
Pater Hubert Dopf S.J., Einstudierung |
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CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
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CONCENTUS
MUSICUS WIEN (mit
Originalinstrumenten)
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-
Erich Höbarth, Violine
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-
Erich Höbarth, Violine |
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| -
Alice Harnoncourt, Violine |
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Alice Harnoncourt, Violine |
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| -
Andrea Bischof, Violine |
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Andrea Bischof, Violine |
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Anita Mitterer, Violine |
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Anita Mitterer, Violine |
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Helmut Mitter, Violine |
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Helmut Mitter, Violine |
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Peter Schoberwalter, Violine |
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Peter Schoberwalter, Violine |
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Karl Höffinger, Violine |
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Karl Höffinger, Violine |
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Walter Pfeiffer, Violine |
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Silvia Walch-Iberer, Violine |
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Peter Matzka, Violine |
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Annemarie Ortner, Violine |
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Maighread McCrann, Violine |
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Maighread McCrann, Violine |
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Annemarie Ortner, Violine
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Gerold Klaus, Violine |
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Gerold Klaus, Violine |
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Herlinde Schaller, Violine |
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Herlinde Schaller, Violine |
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Maria Kubizek, Violine |
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Maria Kubizek, Violine |
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Edith Fetz, Violine |
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Peter Schoberwalter junior, Violine |
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Peter Schoberwalter junior, Violine |
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Christian Tachezi, Violine |
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Christian Tachezi, Violine |
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Kurt Theiner, Viola |
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Herwig Tachezi, Violoncello |
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Lynn Pascher, Viola |
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Max Engel, Violoncello |
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Dorle Sommer, Viola |
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Eduard Hruza, Violone |
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Charlotte Geselbracht, Viola |
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Andrew Ackerman, Violone |
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Herwig Tachezi, Violoncello |
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Friedemann Immer, Naturtrompete |
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Max Engel, Violoncello |
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Andreas Lackner, Naturtrompete |
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Eduard Hruza, Violone |
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Michael Vladar, Pauken |
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Andrew Ackerman, Violone
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Yuji Fujimoto, Posaune |
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Robert Wolf, Traversière |
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Josef Ritt, Posaune |
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Sylvie Summereder, Traversière |
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Horst Küblböck, Posaune |
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Hans Peter Westermann, Oboe |
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Herbert Tachezi, Orgel |
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Marie Wolf, Oboe |
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Michael McCraw, Fagott |
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Eric Kushner, Naturhorn |
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Alois Schlor, Naturhorn |
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Friedemann Immer, Naturtrompete |
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Hermann Schober, Naturtrompete |
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Heinrich Bruckner, Naturtrompete |
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Michael Vladar, Pauken |
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Yuji Fujimoto, Posaune |
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Josef Ritt, Posaune |
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Horst Küblböck, Posaune |
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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) - giugno
1990 (Dominicus)
- Pfarrkirche,
Stainz (Austria) - luglio 1990
(Vesperae de Dominica)
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Registrazione
live / studio
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| studio |
Producer
/ Engineer
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Wolfgang
Mohr / Renate Kupfer / Helmut Mühle /
Michael Brammann
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Prima Edizione CD
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| Teldec
"Das Alte Werk" - 2292-46469-2 - (1 cd)
- 75' 36" - (p) 1991 - DDD |
|
Prima
Edizione LP
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Notes
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In l769,
Wolfgang Theophilus Mozart, who had
already excited great wonder as a
child prodigy, turned into an
adolescent youth. As of 1770,
he assumed the name Wolfgang Amadeo,
and this had symbolic value: henceforth,
he regarded himself definitively
as an artist in his own right. The
experiences of his
travels as a wunderkind
now belonged to the past. In
addition to the marvellous church
music of his native Salzburg, he had
got to know the major European music
centres, and had been able to
familiarize himself with both
traditional styles and the latest
stylistic trends.
All these experiences are reflected
in the Mass in C major, the so-called
“Dominicus Mass". The 13-year-old
Mozart composed it for his friend Kajetan
Ruppert Hagenauer, ten
years his senior, who “often
caught the odd fly for him and worked
the bellows when he was playing the
organ”. Hagenauer had entered the
Benedictine abbey of St. Peter's in
Salzburg as a novice in 1764.
On l5th October 1769 he
celebrated his first High Mass there
in his new status as Father Dominicus.
His young friend Wolfgang had agreed
to write a Missa solemnis for
the occasion. Mozart became familiar
with the rules governing settings of
the Mass at an early age, and his
countless sacred works show his able
command of the genre, He
now had an excellent opportunity to
introduce elements already tried and
tested in other kinds of
composition here - and the result was
a large-scale and exceptionally
interesting work in which two
contrasting church music traditions
are brought together. Several sections
are still set in the older Salzburg
style. fixed liturgical formulae are
used here, e.g in the severe
Benedictus, and Mozart displays
brilliant composition technique
at this early age in the extended
fugues. Alongside these more
traditional elements, however, it is
impossible to ignore the dramatic and
operatic features taken over from
concerto composition; Mozart’s work on
sonata form is
reflected for instance in the Kyrie
with its two contrasting subjects;
and dance-like rhythms produce
compietely new expressive values. The
relationship between the vocal parts,
especially those of the soloists, and
the orchestra is entirely new here.
whereas the liturgical text formed
the centre of attention hitherto,
making the solo and choral parts the
true vehicles ot expression in a
sacred composition, in the “Dominicus
Mass” the orchestra takes over this
responsibility for substantial parts
of the work, and musical
considerations come to play an
increasing role in the form of
the music. Those present at the first
performance must have understood these
innovations, for we have it on the
authority of
Father Dominicus that the work met
with an enthusiastic reception.
Ten years later, in 1779,
Mozart wrote the "Vesperae de
Dominica”; neither the occasion for
which the work was composed nor the
date of the first performance is
known. Major changes had taken place
in Salzburg since the “Dominicus Mass”
saw the light of day. The city had
been under the rule ot a new
Prince-Archbishop since 1772, and the
new ruler was a zealous advocate of
the Josephine court rescripts. He
banned opulent church music, and
forbade the use of trumpets and
timpani. Salzburg's citizens were
indignant, and some of
these “outrages” were righted again in
the course of time. But henceforth -
thus Mozart in a letter to Padre
Martini - church music was to last “no
longer than three-quarters
of an hour", and should
as far as possible
contain no long fugues.
It is quite
conceivable that Mozart actually saw
these restrictions as a productive
challenge. For the young
composer had not kept his eyes and
ears open on his visits to Mannheim,
Paris and Munich without good cause. In
addition to the musical experience he
had gleaned on his travels, he had
been severely shaken by his mother's
death, and on his return to Salzburg
that he now hated so, he had to come
to terms with a painful disappointment
in love; his beloved Aloysia had got
married. More mature both as an artist
and personally, then, the new court
and cathedral organist turned his
attention anew to church music. The
outcome included two small works, ihe
"Vesparae de Dominica"
K. 321 and the
“Vesperae salennes de confessare” K.
339, which was written
in 1780.
And
here once again we encounter
a form with fixed rules
set by the
text. A sequence of
five psalms is concluded with the
Virgin Mary's hymn of praise, the
Magnificat, and each individual movement
ends with the
little doxology “Gloria Patri". In
the exactly the same
fashion as in the
“Dominicus Mass”,
Mozart once again works on two
stylistic planes here; in K. 321,
however, he manages to
blend them with unique skill. Thus the
“Laudate pueri" shows
clearly that Mozart was
aware of the musical tradition
applying to the setting of this
particular text; but his melodic
formulas "speak" in the new expressive
style. Although the array of
instruments is limited, Mozart
achieves astonishing concertante effects
here, and a completely new
interaction between the strings and
the wind instruments.
The "Vesperae de Dominica"
is a valid example of
the Missa brevis, a form which
Mozart was studyung closely in
these years.
Nele
Anders
Translation:
Clive Williams
This recording
goes back to the original
performing practice
of the Vespers: in the Vesper service
each psalm was introduced and
followed by an antiphon
- this
freaming suggets
the
sequence of a number of choral movements in allegro tempo as a
sensible musical solution.
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Nikolaus
Harnoncourt (1929-2016)
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