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1 CD -
4509-96147-2 - (p) 1994
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| Wolfgang
Amadeus Mozart (1756-1791) |
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Venite populi, KV 260 (248a)
- Offertorium de venerabili sacramento
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5' 34" |
1
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| Regina
coeli, KV 108 (74d) |
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14' 55" |
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- Allegro
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2' 57" |
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2
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| - Tempo
moderato |
3' 41" |
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3
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- Adagio
un poco Andante
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5' 26" |
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4
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| - Allegro |
2' 51" |
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5
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| Sancta
Maria, mater Dei, KV 273 |
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3' 36" |
6
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| Sub tuum
praesidium, KV 198 (158b) -
Offertorium |
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4' 53" |
7
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| Tantum
ergo, KV 197 (Anh. 186e) |
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4' 13" |
8
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| Litaniae
Lauretanae B.M.V. (Beata Maria Virgo),
KV 109 (74e) |
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10' 42" |
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| - Kyrie |
1' 43" |
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9
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| - Sancta Maria |
3' 42" |
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10
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| - Salus
informorum |
0' 55" |
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11
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- Regina
Angelorum
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1' 36" |
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12
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- Agnus Dei
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2' 46" |
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13
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| Benedictus
sit Deus, KV 117 (66a) - Offertorium |
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7' 24" |
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| - Coro |
1' 52" |
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14
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- Aria
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3' 31" |
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15
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| - Coro |
2' 01" |
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16
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| Inter
natos mulierum, KV 72 (74f) -
Offertorium de S. Joanne Baptista |
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6' 36" |
17
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Alma Dei
creatoris, KV 277 (272a) -
Offertorium de B. V. Maria
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5' 46" |
18
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| Ergo
interest, an quis - Quaere superna, KV
143 (73a) |
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5' 11" |
19
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| Te Deum
laudamus, KV 141 (66b) |
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7' 28" |
20
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| Barbara Bonney,
Sopran (KV 117, 143, 198) |
Uwe
Heilmann, Tenor (KV 198) |
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| Charlotte
Margiono, Sopran (KV 108,
277) |
Christph
Prégardien, Tenor (KV 277) |
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| Eva Mei, Sopran
(KV 109) |
Deon
van der Walt, Tenor (KV
109) |
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| Elisabeth
von Magnus, Alt (KV 109,
198, 277) |
Gilles
Cachemaille, Bass (KV 109) |
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| Kurt
Azersberger, Tenor (KV
109) |
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Arnold Schönberg
Chor / Erwin Ortner, Chorus
Master
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CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
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Erich Höbarth, Violino
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Lynn Pascher, Viola |
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Alice Harnoncourt, Violino |
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Gerold Klaus, Viola |
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Anita Mitterer, Violino |
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Herwig Tachezi, Violoncello |
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Andrea Bischof, Violino |
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Max Engel, Violoncello |
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Helmut Mitter, Violino
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Dorothea Guschlbauer, Violoncello |
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Walter Pfeiffer, Violino
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Eduard Hruza, Violone |
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Peter Matzka, Violino
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Andrew Ackerman, Violone |
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Sylvia Iberer, Violino
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Hans Peter Westermann, Oboe |
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Mary Utiger, Violino |
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Marie Wolf, Oboe |
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Peter Schoberwalter, Violino
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Karl Steininger, Clarinet,
Naturtrompete
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Karl Höffinger, Violino |
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Hermann Schober, Clarinet |
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Maighread McCrann, Violino
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Christian Beuse, Fagott
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Christine Busch, Violino |
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Milan Turkovič, Fagott |
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Editha Fetz, Violino |
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Hector McDonald, Naturhorn |
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Maria Kubizek, Violino
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Alois Schlor, Naturhorn |
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Irene Troi, Violino
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Andreas Lackner, Naturtrompete |
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Herlinde Schaller, Violino
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Heinrich Bruckner, Naturtrompete |
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Christian Tachezi, Violino |
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Ernst Hoffmann, Posaune |
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Thomas Feodoroff, Violino |
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Josef Ritt, Posaune |
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Peter Schoberwalter junior, Violino |
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Horst Küblböck, Posaune |
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Kurt Theiner, Viola |
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Michael Vladar, Pauken |
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Johannes Flieder, Viola
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Herbert Tachezi, Orgel |
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| Nikolaus
Harnoncourt, Gesamtleitung |
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Luogo
e data di registrazione
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Casino
Zögernitz, Vienna (Austria)
- dicembre 1990 (KV 117, 141, 143, 197,
198)
- dicembre 1991 (KV 108, 260, 277)
- febbraio 1992 (KV 72, 273)
- dicembre 1992 (KV 109)
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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" - 4509-96147-2 - (1 cd)
- 76' 49" - (p) 1994 - DDD |
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Prima
Edizione LP
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Notes
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In
addition to his large-scale sacred
works, Mozart also wrote a number of
shorter liturgical pieces, the
majority of which predate his move to
Vienna in 1781. They fall into two
groups: on the one hand, works
intended for the Proper of the Mass
and, on the other, pieces composed
for the Divine Office. Although most
of them were written for Salzburg,
Mozart’s chief field of activity at
this time, a number were composed in
the course of his extensive adolescent
travels. Their differing liturgical
aims and disparate geographical
origins are reflected in their
wide-ranging stylistic variations.
The Regina coeli is
one of four Marian antiphons that were
sung at Compline between Easter
Saturday and the Saturday following
Pentecost. Mozart’s first Regina
coeli K 108 was written in
Salzburg in May 1771, two months after
he returned from his first visit to
Italy. Its cyclical structure reveals
the influence of the Neapolitan
sinfonia, while the additional use of
trumpets underscores its festive
character. In the two outer movements,
homophonic choral writing alternates
with arioso passages for the soloist,
thereby creating a contrast with the
expressivity of the soprano aria, “Ora
pro nobis”.
Services in honour of the Blessed
Virgin Mary were regularly held at
Schloß Mirabell, the
Prince-Archbishop`s summer residence,
from 15 May each year. It was
presumablz for such an occasion that Mozart
wrote his first Litany
of Loreto K.
109 in May 1771. In
keeping with local conditions, it is
scored simply for a
“church trio” (i.e., two violins and
bass) and three trornbones, which
double the lower choral voices. The
work owes its appeal, above all, to
its rrrroso “Sancta Maria", in which
soloists and chorus alternate, and to
the final “Miserere", in which the B
flat major tonality is briefly clouded
by modulations to the minor, while
interrupted cadences and a dynamic
diminuendo from forte
to pianissimo add
to the charm of the piece.
The offertory Inter
natos mulierum K,
72 was written for the Feast of St John
the Baptist on 24 June.
The words are taken
from Matthew 11:11 and
John 1:29. Until
recently the work was believed to date
from the early summer of
1771, but the unique surviving
authentic copy in the Salzburg
Cathedral archives now suggests a
somewhat later date, since it is
written on a type of paper found in
Salzburg only at the end of the
decade. Scored for church trio, the
work is in one movement but is notable
for its multi-sectional structure, the
individual elements of which are
linked together musically by recurrent
motifs. Particularly noteworthy is the
treatment of the chorus, especially in
the contrastive interplay between
homophonic sections and successive
vocal entries on the word "Joanne",
as well as at the words "qui tollis
peccata mundi", which are given
special harmonic emphasis.
The offertory Benedictus sit Deus
K. 117 may be identical to the
Offertory K, 47b which, believed lost,
was written for the consecration of
the Waisenhauskirche in Vienna’s
Rennweg and first performed there
on 7 December 1768.
Both in its cyclical structure -
choral Allegro, solo Andante and
choral Allegro - and in the fact that
its opening movement is cast in
first-movement sonata form, this
three-part work adopts the rnodel of
the Classical symphony,.A
consciously liturgical allusion is
heard in the final chorus, in which
soprano, tenor; bass and alto
successively quote the plainsong
Tone VIII. With its busz
violin figurations,
the instrumental writing is typical of
the sacred music being written in
Salzburg and Vienna at this time.
No less formally indebted to the
syrnphonic model is
Mozart’s setting of St Ambrose's
Te Deun
laudamus K. 141. The homophonic
declamation that follows
the prosody of the liturgical hymn and
the double fugue of the final movement
are typical of other contemporary
settings of the Te
Deum. Indeed,
it has even been suggested that K.
141 is modelled on a version by
Michael Haydn dating from 1760.
The solo motet Ergo interest -
Quaere superna K. 143
was composed in Milan in 1770, during
Mozart’s first visit to Italy. Written
in the ecclesiastical
style of the period (a style
indistinguishable from that of the
italian operas of the time), it is
cast in the form of a recitative and
aria and is one of at number of works
with a sacred, but not liturgical,
text which during the 18th century could
often replace the liturgically
prescribed numbers of the Gradual and
Offertory.
The absence of an autograph score of
the Tantum ergo
K. 197 encouraged Alfred Einstein to
question the authenticity of this
homophonic motet to the Sacrament, but
the discovery of a copy of the parts
attesting to Mozart’s
authorship now places the matter
beyond doubt. The work was probably
written in Salzburg in
1772.
Accompanied by strings and organ,
the duet Sub tuum
praesidium K.
198 is a setting of words taken from
the Marian antiphon to the Nunc
dimittis and was used as an
offertory on feast days associated
with the Blessed Virgin Mary. The
lyrical tone and Italianate
style of this song-like duet are
typical of other
contemporary works written in
veneration of the Virgin Mary.
The Offertoriurn de venerabili
sacramento Venite populi K.
260 was written in Salzburg in 1776 to
a non-liturgical text and attests not
only to the composer's attempt to add
contrapuntal depth to the existing
ecclesiastical style but also to the cori spezzati
technique that was not unknown in
Salzburg at this time. Two largely
polyphonic outer movements frame a
homophonic middle section. The use of
the double chorus allows Mozart to
experiment with echo effects,
overlapping entries and alternatim
writing of a kind
familiar from Venetian practice,
The two Marian motets Sancta Maria
K. 275 and Alma Dei creatoris
K. 277 are closely related
stylistically. The tripartite
structure of their texts must have
invited Mozart to cast both works in
first-movement sonata form.
The predominantly homophonic treatment
of the chorus that is
common to both is relieved in K. 277 by
the contrastive use of solo and tutti
sections more readily associated with
concertante writing. Both motets could
replace the Gradual or Offertory on
the Feast of the Blessed Virgin Mary.
The autograph score of K. 273
is dated Salzburg, 9 September 1777,
suggesting that Mozart wrote the work
as a kind of "parting prayer” before
leaving for Paris on 23
September 1777.
Raymond
Dittrich
Translation:
Stewart
Spencer
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Nikolaus
Harnoncourt (1929-2016)
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