1 CD - 4509-98928-2 - (p) 1995

Wolfgang Amadeus Mozart (1756-1791)





Grabmusik, KV 42 (35a)
5' 34"
- Recitativo (Die Seele: Basso) - "Wo bin ich, bittrer Schmerz?" 1' 02"
1
- Aria (Die Seele: Basso) - "Felsen, spaltet euren Rachen" 5' 46"
2
- Recitativo (Der Engel: Soprano) - "Geliebte Seel'" 1' 03"
3
- Aria (Der Engel: Soprano) - "Betracht dies Herz" 3' 17"
4
- Recitativo (Die Seele: Basso) - "O Himmel! was ein traurig Licht" 1' 40"
5
- Duetto (Der Engel: Soprano, Die Seele: Basso) - "Jesu, was hab ich getan?" 6' 09"
6
- Recitativo (Soprano) - "O lobenswerter Sinn!" 0' 22"
7
- Coro - "Jesu, wahrer Gottessohn" 4' 48"
8
Kyrie, KV 33
1' 33" 9
Veni Sancte Spiritus, KV 47
4' 05" 10
Scande coeli limina, KV 34 - Offertorium in festo Sti Benedicti
4' 46"
- Aria - Chorus 4' 46"
11
Hosanna, KV 223 (166e)
0' 27" 12
Kyrie, KV 322 (296a) = KV Anh. 12 (296b) *
3' 11" 13
Kyrie, KV 323 (Anh. 15)
2' 59" 14
Regina coeli, KV 127
15' 14"
- Allegro maestoso
 3' 50"
15
- Andate - Adagio
 8' 49"
16
- Allegro 2' 35"
17
Miserere, KV 85 (73s)
5' 50" 18
Quaerite primum regnum dei, KV 86 (73v)
1' 04" 19
Kyrie, KV 90
1' 20" 20
Tantum ergo, KV 142 (Anh. 186d)
6' 23" 21
Ave verum corpus, KV 618
3' 22" 22



 
Barbara Bonney, Sopran (KV 127)
Sylvia McNair, Sopran (KV 42)
Charlotte Margiono, Sopran (KV 34, 47, 142)
Elisabeth von Magnus, Alt (KV 47)
Christph Prégardien, Tenor (KV 47)
Thomas Hampson, Bass (KV 42, 47)
Karin Mitterhofer, Soprano solo (KV 323) *
Elisabeth Zenkl, Alto solo (KV 323) *

Arnold Schönberg Chor / Erwin Ortner, Chorus Master

CONCENTUS MUSICUS WIEN (mit Originalinstrumenten)
- Erich Höbarth, Violino
 - Johannes Flieder, Viola
- Alice Harnoncourt, Violino - Lynn Pascher, Viola
- Anita Mitterer, Violino - Dorle Sommer, Viola
- Andrea Bischof, Violino - Herwig Tachezi, Violoncello
- Helmut Mitter, Violino
 - Dorothea Guschlbauer, Violoncello
- Peter Schoberwalter, Violino - Eduard Hruza, Violone
- Karl Höffinger, Violino - Andrew Ackerman, Violone
- Walter Pfeiffer, Violino
 - Hans Peter Westermann, Oboe
- Maighread McCrann, Violino - Piet Dhont, Oboe
- Maria Kubizek, Violino - Marie Wolf, Oboe
- Sylvia Walch, Violino - Milan Turkovič, Fagott
- Editha Fetz, Violino - Hector McDonald, Naturhorn
- Christine Busch, Violino - Alois Schlor, Naturhorn
- Gerold Klaus, Violino, Viola
 - Eric Kushner, Naturhorn
- Peter Schoberwalter junior, Violino - Michele Giascarino, Naturhorn
- Christian Tachezi, Violino - Karl Steininger, Naturtrompete
- Herlinde Schaller, Violino - Andreas Lackner, Naturtrompete
- Cornelia Schwartz, Violino - Martin Rabl, Naturtrompete
- Thomas Feodoroff, Violino - Martin Kerschbaum, Pauken
- Peter Matzka, Violino - Dieter Seiler, Pauken
- Mary Utiger, Violino - Michael Vladar, Pauken
- Kurt Theiner, Viola - Herbert Tachezi, Orgel

Nikolaus Harnoncourt, Gesamtleitung
 
Luogo e data di registrazione
Casino Zögernitz, Vienna (Austria)
- dicembre 1990 (KV 127)
- dicembre 1991 (KV 34, 42, 47, 142, 223)
- febbraio 1992 (KV 33, 85, 86, 90, 322, 323, 618)
Registrazione live / studio
studio
Producer / Engineer
Wolfgang Mohr / Renate Kupfer / Helmut Mühler / Michael Brammann
Prima Edizione CD
Teldec "Das Alte Werk" - 4509-98928-2 - (1 cd) - 74' 50" - (p) 1995 - DDD
Prima Edizione LP
-

Notes
Among the unpublished works discovered among Mozart's papers when he died in Vienna in 1791 were not only a number of instrumental pieces but also a series of individual Mass movements, some of which were complete, while others were in only fragmentary form. Interestingly enough, these unpublished works date from every period of the composer’s creative life, beginning with pieces written when he was only ten and ending with drafts from his final years in Vienna. Even at this late date, therefore, Mozart was still writing sacred works, a fact that may serve to confound the still widely held view that he had abandoned the genre by this stage of his career. Of the sixteen Mass movements found in his estate, five are included in the present recording, documenting on the one hand the whole chronological range of Mozart's interest in church music and, on the other, the influence of different compositional styles.
The earliest work in this group is the Kyrie K. 33, written when Mozart was ten and dated in his own hand: "a paris 12 Juni di wolfgang Mozart 1766." Among contrapuntal studies dating from 1772 are the Kyrie K. 90 and the Hosanna K. 223. The four-part a cappella setting of the Kyrie was subsequently provided with a figured bass, which Leopold added in Wolfgang's manuscript above the vocal bass line. The Hosanna is a contrapuntal exercise in three motivically similar canonic themes in the voice and string parts. The unpublished fragments include the Kyrie settings K. 322 and K. 323, on which Mozart began work in around 1778/79 and 1787-89 respectively. Left unfinished at his death, they were completed by Abbé Maximilian Stadler (1748-1833), who helped Mozart's widow, Constanze, to examine and evaluate her late husband's estate and prepare a catalogue of all the fragments found among his papers. It was presumably Constanze who asked Stadler to complete the two Kyries. He instrumented those parts that were missing and added the final ten bars of K. 322 and the last sixteen bars of K. 323.
A further group of pieces includes shorter sacred works that had already been performed during the cornposers lifetime. These offertories, antiphons, psalm settings and motets date from 1766 to 1791. The oldest piece to have survived complete from this group of works is the offertory Scande coeli limina K. 34, which comprises an aria and chorus. Mozart is believed to have written it for the Feast of St Benedict at the Benedictine monastery of Seeon in Upper Bavaria, where he stayed on his return from Paris in 1766. Written two years later rn Vienna, the antiphon Veni Sancte Spiritus K. 47 provides striking evidence of the young Mozart’s progress as a composer. Imitative entries and a contrast between tutti and solo in the chorus, together with the distinctive motivic writing and use of modulation, suggest a composer schooled in the traditions of Salzburg church music. The text derives not from the Pentecostal sequence of the same name but from the antiphon Ad invocandum Spiritum Sanctum.
In 1770 Mozart set off with his father on his first extended tour of Italy, arriving in Bologna in July and receiving lessons from Giovanni Battista Martini. It was under Martini's influence that Mozart wrote two movements in the stile antico: a setting of the Miserere (the fourth penitential psalm) K. 85 and the cantus firrnus motet Quaerite primum regnum Dei K. 86. Common to both pieces is the freedom with which they depart from the rules of strict counterpoint, especially in their treatment of dissonance. In keeping with an old liturgical practice, Mozart (who had heard Allegri's famous version only three months previously in the Sistine Chapel in Rome) set only the add verses of Psalm 51, leaving the even ones to be sung choraliter. The antrphon Quaerite was written as a test piece for the Accademia filarmonica of Bologna, to which he was duly elected on 9 October 1770. Apart from the present four-part setting of the work, in which the cantus firrnus is in the bass, there exists a further setting with corrections by Padre Martini, to whom Mozart submitted the work for his approval.
Following his return to Salzburg, Mozarts studies with Padre Martini initially bore little fruit: it is the influence of concertante Neapolitan church music, for example, that we find in his second Regina coeli, K. 127, of 1772, with the bel canto writing for the soprano soloist suggesting the work's affinity with the italian operatic style. By contrast. the choral sacrament motet Tantum ergo K. 142, which probably also dates from 1772, is simpler in style, in keeping with its liturgical function.
Perhaps the most important of all Mozart’s shorter sacred works is his motet Ave verum corpus K. 618, which was written during the final year of his life in Baden near Vienna. Intended for the Feast of Corpus Christi, it was probably commissioned by the local choirrnaster Anton Stoll. Here, Mozart achieves a depth of expression whose characteristic features (to quote Karl Gustav Fellerer) include “emphasis and accentuation of certain words, unity and tension in the melodic writing, calm and urgency in the harmonic writing and opposition between rnajor and minor tonalities". It is precisely these features that constitute Mozart’s highly individual late style.
Whereas the majority of the works already discussed were intended for the Ordinary or Proper of the Mass or for one of the offices, the Grabmusik K. 42 occupies a special place both generically and in terms of its ecclesiastical function. This German-language Passion cantata is an example of a sepolcro, term used to describe a practice known to have existed at least since the Middle Ages: during Holy Week devotions were performed before a representation of the Holy Sepulchre - a two- or three-dimensional depiction of Christ’s grave or Entombment - in a side chapel or beside the main altar of the church. Whereas these devotions originally took the form of mystery plays, they later became associated with the Baroque rappresentazione sacra and later still with unstaged oratorios and cantatas.
Mozart was eleven years old when he wrote his Grabmusik for Holy Week 1767 in Salzburg. The work is cast in the form of a dialogue between a Soul (ban) that has passed beyond the grave and an Angel (soprano). In setting the text Mozart adopted the stylistic resources of the Neapolitan cantata: in the Soul's aria, fanfare-like melodies, widely leaping intervals deployed lor emotive effect, wide-ranging coloratura writing and orchestral tone painting often involving violent dynamic contrasts (“Brüllet ihr Donner! Blitz und Flammen") are no less indicative of this stylistic tendency than the overall formal structure, in which two arias and a duet are preceded by recitatives. The Angel's expressive aria is in G minor, a tonality which, in accord with operatic tradition, embodies grief and pain. Italian practice is also evident in the solemn E flat major duet in which the two voices initially enter individually before combining in thirds and sixths, a combination suggested by the words, “ach, verzeih’ es, göttlich’s Herz" (bass) and “es verzeihet deinem Schmerz” (soprano). For a revival of the work, probably around 1775, Mozart added a final homophonic chorus. with a brief preceding recitative, “O lobenswerter Sinn!".
Raymond Dittrich
Translation: Stewart Spencer

Nikolaus Harnoncourt (1929-2016)
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