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1 CD -
4509-93025-2 - (p) 1994
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| Wolfgang
Amadeus Mozart (1756-1791) |
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| Kyrie D minor, KV 341 (368a) |
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7' 30" |
1
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| Dixit et
Magnificat C major, KV 193 (186g) |
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11' 00" |
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- Dixit
Dominus
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4' 50" |
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2
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| -
Magnificat |
6' 10" |
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3
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| Missa
Brevis B flat major, KV 275 (272b) |
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17' 58" |
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| - Kyrie |
1' 51" |
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4
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- Gloria
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2' 43" |
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5
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| - Credo |
4' 35" |
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6
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| - Sanctus |
1' 05" |
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7
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| -
Benedictus |
2' 23" |
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8
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- Agnus Dei
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5' 21" |
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9
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| Litaniae
Lauretanae B.M.V. (Beata Maria Virgo) D
major, KV 195 (186d) |
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29' 57" |
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| - Kyrie |
6' 53" |
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10
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- Sancta Maria
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8' 30" |
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11
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| - Salus
infirmorum |
3' 24" |
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12
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- Regina
Angelorum
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5' 03" |
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13
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| - Agnus Dei |
6' 07" |
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14
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| Eva Mei, Soprano
(KV 275, 193) |
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| Barbara Bonney,
Soprano (KV 195) |
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| Elisabeth von
Magnus, Alto (KV 275, 195)
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| Kurt Azersberger,
Tenor (KV 275, 193) |
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| Uwe Heilmann,
Tenore (KV 195) |
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| Gilles
Cachemaille, Bass (KV 275,
195) |
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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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Max Engel, Violoncello (KV
341,275,193) |
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Alice Harnoncourt, Violino |
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Dorothea Guschlbauer, Violoncello
(KV 195) |
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Anita Mitterer, Violino |
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Eduard Hruza, Violone |
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Andrea Bischof, Violino |
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Andrew Ackerman, Violone |
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Helmut Mitter, Violino
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Robert Wolf, Traversflöte (KV
341,195) |
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Walter Pfeiffer, Violino (KV
195)
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Reinhard Czasch, Traversflöte
(KV 341,195) |
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Peter Matzka, Violino (KV 195)
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Hans Peter Westermann, Oboe (KV
341,195) |
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Sylvia Iberer, Violino (KV 195)
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Marie Wolf, Oboe (KV 341,195) |
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Peter Schoberwalter, Violino
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Herbert Faltynek, Clarinet (KV
341) |
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Karl Höffinger, Violino |
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Harald Schlosser, Clarinet (KV
341) |
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Maighread McCrann, Violino (KV
341,275,193)
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Christian Beuse, Fagott (KV
341,193) |
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Mary Utiger, Violino (KV 193)
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Nikolaus Broda, Fagott (KV 341) |
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Christine Busch, Violino |
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Milan Turkovič, Fagott (KV 195) |
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Editha Fetz, Violino |
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Andrew Joy, Naturhorn (KV 341) |
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Maria Kubizek, Violino (KV
341,275,193)
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Rainer Jurkiewiez, Naturhorn (KV
341) |
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Irene Troi, Violino (KV
341,275,193)
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Sandor Endrödy, Naturhorn (KV
341) |
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Herlinde Schaller, Violino (KV
341,275,193) |
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Tibor Maruzsa, Naturhorn (KV
341) |
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Christian Tachezi, Violino |
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Hector McDonald, Naturhorn (KV
195) |
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Thomas Feodoroff, Violino |
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Alois Schlor, Naturhorn (KV 195) |
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Peter Schoberwalter junior, Violino |
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Andreas Lackner, Naturtrompete
(KV 341,193) |
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Lynn Pascher, Viola (KV 341,195) |
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Martin Rabl, Naturtrompete (KV
341,193) |
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Dorle Sommer, Viola (KV 341) |
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Ernst Hoffmann, Posaune (KV 195) |
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Gerold Klaus, Viola (KV 341,195)
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Peter Galann, Posaune (KV 195) |
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Ursula Kortschak, Viola (KV 341) |
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Horst Küblböck, Posaune (KV 195) |
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Kurt Theiner, Viola (KV 195) |
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Dieter Seiler, Pauken (KV
341,193) |
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Johannes Flieder, Viola (KV 195) |
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Herbert Tachezi, Orgel
(Truhenorgel) |
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Herwig Tachezi, Violoncello |
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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 195)
- dicembre 1992 (KV 193, 275, 341) |
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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" - 4509-93025-2 - (1 cd)
- 66' 54" - (p) 1994 - DDD |
|
Prima
Edizione LP
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Notes
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Among
Wolfgang Amadeus Mozart's duties as
Konzertmeister at the
princearchhishop's court in Salzburg
was the composition of church music;
masses, vespers, litanies and numerous
shorter sacred words
were all intended for
strictly liturgical use. But the new
prince-archbishop’s accession in 1772
was to have far-reaching repercussions
on sacred music in Salzburg, for Hieronymus
Count Colloredo was a dedicated advocate
of Enlightenment
ideas who set himself the task of
reforming church music in the town,
seeking concision and liturgical
relevance in works that seemed to him
overlong and unduly concerned with
virtuosity: a complete mass, he
insisted, should last no more than
three-quarters of
an hour when he himself was
celebrating it. “A special study is
required for this kind
of composition," Mozart told Padre
Martini in a letter of 4 September
1776.
Mozart was fully capable of rising to
the challenge of the
missa brevis or Short
Mass in which textually
prolix movements such as the Gloria
and Credo were through-composed
without a break and solo voices
emerged only episodically from the
tautly structured choral writing. A
more succinct contrapuntal treatment
of the thematic material and the
simultaneous presentation of suwewire
clauses were additional means which
composers essayed in their attempts to
achieve a greater
degree of formal concentration. A
missa brevis was generally accompanied
by a “church trio” of two violins,
bass and organ, although a typical
feature of performance practice in
Salzburg was the use of three
trombones to reinforce the three lower
chorus voices and a
bassoon to underscore the instrumental
bass line. One such mass is the Missa
brevis in B flat major K. 275
(272b), which Mozart wrote in
1777 and which contains numerous
examples of the compositional
principles adumbrated above. In
the Gloria, for example, the words
"Deus Pater..." in the tenor line
overlap with the phrase "Domine
Fili..." in the alto
part.
In addition to writing masses. the
Salzburg Konzertmeister was also
expected to contribute to the litany,
a liturgical prayer in which a series
of supplications pronounced by an
individual (usually a deacon) and
generally addressed to one of the
saints alternates with recurring
responses on the part of the
congregation (e.g., “ora pro nobis",
"pray for us"). The litany was a
popular form of worship
in the eighteenth century,
particularly in Southern Germany and
Austria, not least because it was
grounded partly in the liturgy and
partly in traditional popular piety.
Especially well-loved was the Litania
Lauretana associated with Loreto in
central Italy, where
the shrine to the Virgin Mary was the
goal of countless pilgrimages. Its
invocations reflect the Virgins
position as a saint (“Sancta Maria"),
her soteriological function ("Salus
infirmorum", "Salvation
of the Weak")
and her place in the celestial
hierarchy ("Regina
Angelorum", "Queen of
Angels").
During his years in harness in
Salzburg, Mozart wrote four litanies,
two of which fall into the category of
the Litaniae Lauretanae.
Borrowing not only from late Venetian
and Neapolitan models but also from
the autochthonous Salzburg tradition,
Mozart divides the text among several
contrasting movements, in the manner
of a cantata, while
at the same time giving palpably
greater emphasis to the symphonic
principle: first-movement sonata form,
for example, is already clearly
discernible in the Kyrie that
introduces the second, extended Litany
of Loreto K l95 (186d) of 1774.
With its elaborate coloratura
passages, the solo writing is far more
pronounced in this latter work than it
is in the Missa brevis.
Two other works
dating from the same period as the
second Litany of Loreto (1774)
constitute the introduction and
conclusion of a Vespers
in the form of a setting of Psalm 110
Dixit Dominus and a Magnificat.
Among the various Divine Offices (i
e., any of the eight services
associated with a particular time of
the day) only the evening Vespers
offers more opportunity for music,
consisting, as it does, of a series of
five psalms with antiphons and a final
setting of the Magnificat. Incomplete
Vespers such as
Mozart's Dixut Dominus and Magnificat
K 193 (l86g) were by
no means uncommon in the eighteenth
century, the missing psalms being
supplemented by choraliter singing or
other compositions. It is not known
for what occasion Mozart wrote K l93,
although the festive instrumentation
(trumpets are
prescribed) and the showily imitative
contrapuntal writing typical of church
music of the time suggest Vespers on
the eve of one of the Church's more
important feastdays.
The Kyrie in D minor K. 341
(368a) appears not to
date from Mozart’s Salzburg period
since it calls, exceptionally for
clarinets, which
were unavailable to him in the towns
court orchestra. But the Munich
orchestra included clarinets, with the
result that virtually all writers
since Otto Jahn in
his standard biography
of the composer have assumed that the
piece was written in Munich during
Mozart's visit to the city in the
spring of 178l, an attribution
that has led to the work's being known
as the "Munich Kyrie". More recent
research has shown,
however, that Mozart also took an
interest in church music during his
final years in Vienna, an interest
that extended beyond the C minor Mass K. 427 (417a)
and the Requiem. In
short, it is well within
the bounds of possibility that the Kyrie
dates from the end of Mozart's
life. Stylistically, it stands
apart irom the early examples of
sacred music written in Salzburg. The
minor tonatlity, the impressive
homophonic choral writing and an
opulent orchestral accompaniment
independent of the chorus are among
the distinguishing features
of a work that may
perhaps have been intended merely as
the opening movement of a setting of
the complete mass which Mozart planned
but never realised.
The present recording demonstrates
the full stilistic
range of Mozart's church music. Alongside
the Missa brevis, with its
Salzburgian taste for brevity,
we find, on the one hand, the more symphonically
oriented Litany of Loreto with
its cantabile solo writing and, on the
othee, the
incomplete Vespers setting with its
traditional imitative writing, while
the D minor Kyrie already
looks forward to a later phase of
Mozart’s creative career.
Raymond
Dittrich
Translation:
Stewart
Spencer
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Nikolaus
Harnoncourt (1929-2016)
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