Missa brevis in D minor, K. 65

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The Missa brevis in D minor KV 65 (KV 6 61a) is a mass by Wolfgang Amadeus Mozart .

history

The mass belongs to the group of the first four masses that Mozart composed at the age of twelve in 1768/69: the two Missae solemnes in C major KV 66 and C minor KV 139 as well as the two Missae breves in G major KV 49 and D minor KV 65. The exact composition sequence of these four works is unclear, but the autograph of the D minor mass is dated January 14, 1769. To communicate with the other, shortly zovor (probably in the autumn of 1768) incurred Missa brevis K. 49 closely complementary to be mentioned context: during the first short fair is written in bright G major, Mozart approaches its second plant of the genus in minor to , consistently. Every single movement of the mass is in a minor key and also largely dispenses with major highlights , even where the ordinarium text would suggest. A model for this unusual way of composing is most likely to be discovered in the masses of the Salzburg baroque composer Johann Ernst Eberlin . The occasion for the performance of the mass could have been a date during Lent . The assumption expressed by Sigismund Keller that it was sounded on February 5, 1769 at the ceremonial opening of the 40-hour fasting prayer in the university church , is now considered untenable, since Mozart's childhood friend Dominicus Hagenauer expressly noted a missa solennis in his diary entries for the occasion . If the mass actually sounded for the first time during the fasting or pre-fasting period , the Gloria should not have been performed, since it is not part of the ordinarium during this time. It is not known whether Mozart set the Ordinarium to music in full in order to allow performances at other times of the church year , or whether the movement was possibly composed later. The seriousness with which the young Mozart devoted himself to setting the text of the mass is evidenced by the fact that the Benedictus is available in three complete drafts of compositions, of which the version was finally included in the work as a solo duet of the two female voices. Hartmut Schick states that the two short masses KV 49 and 65 have both strengths and weaknesses, "but taken together they already make an impressive journeyman piece in the genre Missa brevis".

Work description

Instrumentation: 4 vocal soloists (soprano, alto, tenor, bass), mixed choir ( SATB ), church trio (2 violins and basso continuo ) as well as 3 trombones ad libitum colla parte with the three lower voices of the choir.

Sentence sequence:

  • Kyrie (solos and choir)
  • Gloria (solos and choir)
  • Creed
    • Patrem omnipotentem (solos and choir)
    • Et incarnatus est (choir)
    • Et resurrexit (solos and choir)
    • Et vitam venturi (choir)
  • Sanctus (choir)
  • Benedictus (solos SA; Hosanna: choir)
  • Agnus Dei (choir)

The performance lasts approx. 13 minutes.

The Kyrie is conventionally kept in reprise form , the Christe eleison is clearly articulated as the middle section by turning to the major parallel and using the soloists.

In the Gloria , Mozart derives the theme of the concluding short Fugato from the opening motif, but the answer to the theme in the Comes is awkwardly real instead of tonal.

The Credo is kept quite brief and in the solo parts makes use of the means of polytexture , which is otherwise rarely used by Mozart, i.e. the simultaneous singing of different sections of text. The theme of the final fugue is particularly original because it is used twice.

The Sanctus divided Mozart according to the meaning of the text units in three sections, with a two voices counterpoint beginning, a rapid plenums sunt caeli and indicated by the change to the 3/4 clock Hosanna . In the Benedictus , the duet of soprano and alto together with the violins performed with obbligato results in an artful double trio movement that is reminiscent of the textures of Johann Sebastian Bach. Although the chromatic melody and the minor key are not used quite appropriately to the joyful flow of the text, Mozart succeeded in creating an extremely mature movement here.

The closing Agnus Dei , on the other hand, falls off a bit and appears reserved, especially since Mozart refuses the movement a final turn in the major.

See also

literature

  • Alfred Beaujean: Missa brevis in D minor, KV 65 (61a). In: Hans Gebhard (Ed.): Harenberg Chormusikführer. Harenberg, Dortmund 1999, ISBN 3-611-00817-6 , p. 605.
  • Ulrich Haverkampf (Ed.) Wolfgang Amadeus Mozart. Missa brevis in D minor KV 65 (61a). Piano reduction (EB 6703). Breitkopf & Härtel, Wiesbaden 1988, ISMN 979-0-004-16904-9 (search in the DNB portal) .
  • Hartmut Schick : The complementary masses KV 49 and 65. In: Silke Leopold (Hrsg.): Mozart manual. Metzler and Bärenreiter, Stuttgart and Kassel 2005, ISBN 3-476-02077-0 , pp. 175–177.
  • Willi Schulze (Ed.): Wolfgang Amadeus Mozart. Missa brevis in d KV 65 (61a). Score (Carus 40.622). Carus, Stuttgart 1980.
  • Willi Schulze (ed.), Paul Horn (piano reduction), Jochen Reutter (foreword): Wolfgang Amadeus Mozart. Missa brevis in d KV 65 (61a). Piano reduction (Carus 40.622 / 03). Carus, Stuttgart 1990.
  • Arnold Werner-Jensen: Wolfgang Amadeus Mozart. Music guide. Volume 2: Vocal Music. Reclam, Leipzig 2001, ISBN 3-379-20023-9 , pp. 14-15.

Web links

Individual evidence

  1. ^ Sigismund Keller: Wolfgang Am. Mozart in Salzburg in 1769. In: Monthly books for music history . V (1873), p. 122 f. ( Digitized in the Google book search).
  2. ^ Walter Senn: Foreword to: New Mozart Edition I.1.1. Messen Volume 1. Bärenreiter, Kassel 1968, p. XII ( online ).
  3. ↑ Jochen Reutter (preface): Wolfgang Amadeus Mozart. Missa brevis in d KV 65 (61a). Piano reduction (Carus 40.622 / 03). Carus, Stuttgart 1990.
  4. ↑ Hartmut Schick : The complementary masses KV 49 and 65. In: Silke Leopold (Hrsg.): Mozart manual. Metzler and Bärenreiter, Stuttgart and Kassel 2005, ISBN 3-476-02077-0 , p. 177.