Chapter XIII: Church Music (2)

Common to all litanies are the Kyrie with which they begin, and the Agnus Dei with which they close; that which lies between (the petitions varying according to the circumstances under which the litany was composed) determines its musical character. In the Kyrie, other petitions are added to the "Kyrie eleison" and "Christe eleison," which give scope for a broader and more varied treatment, whereby the Kyrie becomes one of the most important and impressive movements. The Agnus Dei does not close with "Dona nobis pacem," but with "Miserere nobis," which prevents any suggestion of cheerfulness; the expression of anxious beseeching was generally softened into deep solemnity at the close.

The invocations which form the substance of litanies are too numerous, disconnected, and wanting in climax to be well adapted for composition; and most of the petitions recited by the priest are equally incapable of definite musical expression. The musical setting of the service, to be appropriate, must be strictly liturgical, and the recurring refrain stamps it with a typical formulistic character. Should this tradition once be forsaken, its place must be taken by a setting full of lights and shades, often heterogeneous in treatment, and accentuated in accordance with form rather than reason. The distinguishing refrain could only be used to link together conflicting elements, or else as a vehicle for shades of sentiment, and a variety of expression would be given to the simple petitions, "Ora pro nobis," "Miserere nobis," which would be quite foreign to their nature.

The Litanies to the Virgin (Litaniæ Lauretanæ) were, on the whole, cheerful and pleasing. When the devout

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worshipper turned to the Virgin Mother, the image that rose to his mind was that of a pure and holy maiden, and the veneration for all that is womanly which her worship induced was apparent in the music as elsewhere. The tone of the litanies sung in Italy before the images of the Virgin in the streets is echoed in the compositions of most of the Italian musicians, and is perceptible in many parts of Mozart's litanies.

The first Litany in B flat major (109 K.), composed in May, 1771, is precise in form, and firmly and ably treated, although in no very elevated strain. The Kyrie, as in short masses, is composed of a single animated choral movement, without any definite development of the subject. The first part of the litany proper is divided between the chorus and solo voices, the soprano being most prominent; the whole work is interesting, melodious, simple in its harmonies, and singularly popular in tone. Upon the delivery of the solemn "Salus infirmorum" by the chorus follows a quick, vigorous choral passage to the words "auxilium Christianorum." The solo voices raise the appeal "Regina angelorum" to the Queen of Heaven, who seems to shed the glory of her manifestation upon the minds of her worshippers. In the last movement, the chorus comes in with "Agnus Dei, qui tollis peccata mundi," the solo voices answer with the prayer, and the chorus winds up with the "Miserere nobis." The tone is composed, more serious than melancholy, and rising in intensity towards the close. The actual mechanism is simple; the voices are seldom in true counterpoint, the modulations are freely and firmly handled: the accompaniment makes little attempt at independent significance.

Far more important is the second Litany in D major (195 K.), belonging to the year 1774, the same in which the Masses in F and D major and the "Finta Giardiniera" were written; the maturity of its conception and the carefulness of its execution make it worthy to take a place beside these works. The Kyrie is a grand, lovingly elaborated movement, a solemn Adagio, followed by a serious sustained Allegro. The parts are throughout in strict counterpoint, principal and accessory subjects kept well in hand

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and carefully elaborated; the orchestra, too, is independently treated. The expression is appropriate and dignified, and over the whole is spread a peaceful calm, bespeaking the nature of the music to which it forms the introductory movement.

The first section of the Litany proper gives us the impression of a cheerful--one might almost say _sensuous_--spirit pervading each petition, but always with a tone of delicate moderation. The musical formation betrays the unmistakable influence of the opera, both in the solo soprano passages and in the aria-like treatment of the principal subject. Refrain is used with happy effect in the chorus, and the accompaniment is easy and flowing throughout. The whole movement is melodious, and full of tender grace and harmony. In quite another style is the Adagio next following, where the words "Salus infirmorum, refugium peccatorum, consolatrix afflictorum, auxilium Christianum," are taken together. The construction of this movement, the arrangement and gradations of the details, the alternations of solo and chorus, the characteristically careful elaboration of the accompaniment, are all so admirably calculated and balanced, and the whole movement is pervaded with so much earnestness and depth of sentiment, that beauty and grandeur seem here indeed to be wedded together. The following section, "Regina ange-lorum," is again in a lighter vein; the choruses are fresh and animated, but the interpolated tenor solo is operatic in form and weak in invention and expression. The "Agnus Dei" is divided between a solo soprano and the chorus; the former, though evidently composed for executive display, is not without feeling and dignity; the short choral passages are excellent, both in workmanship and expression.

Very evident, also, is the loving care bestowed on the orchestral score; its main strength lies in the delicately elaborated string quartet, but the wind instruments are also effectively made use of to produce lights and shadows. The mature and harmonious beauty of the numerous motifs and characteristic passages conveys the unmistakable impression of Mozart's genius.

Of a third Litany for four voices without accompaniment,

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the opening bars of the Kyrie (340 K.) and Sancta Maria in C major (325 K.), and of the Salus infirmorum in C minor (324 K.) are unhappily all that is preserved.

The Litany to the Holy Sacrament, (Litaniæ de venerabili altaris sacramento), has a more serious character than the Litany to the Virgin. But appeals to the holy sacrament being of necessity abstract and dogmatic, are less suggestive of a musical rendering than those addressed to the Virgin Mary. On this account an operatic style is more avowedly employed; but it is combined with solemn dignity and thoughtfulness, and the two Litanies of this kind by Mozart are largely conceived and carefully executed compositions.[37]

The first in B flat major (125 K.), composed in March, 1772, after the Italian tour, strikes throughout the tone of the heroic opera, elevated by deep and earnest feeling. The Kyrie is introduced by an instrumental passage, announcing the principal subject, which, after a short, solemn Adagio, is taken up by the chorus in Allegro molto. The plan of the whole movement, containing a second subject placed as contrast to the oft-repeated principal one, and a running orchestral accompaniment, follows the operatic mode of construction.

The first movement of the Litany proper, "Panis vivus," is a soprano solo which might have been transferred bodily from an opera seria; the chief passages are given to the word "miserere." The solemn chorus which follows, "Verbum caro factum," interesting from its delicate modulations, and a characteristic passage for the violins, serves as an introduction to the agitated "Hostia sancta." Four solo voices give the chief motif in succession, with different modifications, and unite at last to rise to an appropriate climax; the chorus twice interposes with a short but weighty rhythmical passage,

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giving cohesion and dignity to the whole movement. A new climax occurs in the Adagio, where the chorus repeats the word "Tremendum" with an expression of solemn awe. The short, lively passage given to the next words, "ac vivificum sacramentum," is only to serve as a contrast to the "Tremendum." The movement which follows "Panis omnipotentia verbi caro factus," is again nothing but an operatic tenor song, full of passages and pleasing expression. The grave harmonies of a short Adagio in B minor, "Viaticum in domino morientium," prepare the way for something new.[38] It was the custom to write a movement in elaborate counterpoint on the words of "Pignus futuræ gloriæ," and Mozart was not one to shrink from such a task. The bass theme, answered by the wind instruments in a passage afterwards much employed, is announced with the force and decision of joyful confidence, and is then exhaustively worked out into a long fugue.[39] The one theme, hardly ever abridged or altered, runs through the whole, but it is developed with an amount of variety, especially in the modulation and in the orchestral climax, and with so much fresh tunefulness, that this work alone would prove the youth of fifteen years old to be possessed of the genius of maturity.

The Agnus Dei is a soprano solo, ornamented with many passages, all alike truly and simply conceived and full of grace.[40] The chorus takes up the Agnus Dei at the third repetition, and brings the movement to a calm conclusion, making use of the solo motif altered and simplified. The "Finis, I.O.D.G.," inscribed by Mozart, contrary to his custom, at the end of his score, show that he set considerable store by this truly admirable work.

The second Litany in E flat major (243 K.), composed in

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March, 1776, also a carefully worked-out piece of music, displays the same arrangement. The operatic treatment of some of the parts is more conspicuous, because its tinsel glitter is in more marked contrast to the mature earnestness of the work as a whole. The Kyrie, expressive of mild calm, relieved by the agitation of the accompaniment, is simple in plan and execution. Solo and chorus alternate; the principal motif recurs at the end, after a middle part of smaller motifs grouped together. The Miserere is delicately shaded and finely expressed. After such harmonious renderings of a calm and collected mood, we are surprised by the words "Panis vivus" as an elaborate tenor song, altogether in the style of opera seria. In the succeeding movements, where the text seldom lends itself readily to musical adaptation, the hand of the master is visible in the admirable grouping of the larger sections and of the separate subjects, not less than in the true and beautiful expression of sentiment, and in the finely graduated and shaded unity of tone. The words "Verbum caro factum" are used as a solemn introduction; the Miserere has-a fine effect, commencing without an accompaniment, as if moaned forth from an overburdened breast, then increasing in intensity to a cry of anguish, and gradually sinking back into itself. The next succeeding Hostia sancta stands out against this dark background, its general tone as mild and consolatory as that of the Kyrie. Solemn grandeur predominates again in the Tremendum ac vivificum sacramentum, where the words "Tremendum" and "vivificum" are not separated, but are compacted into a connected, symmetrical movement with the words "Panis omnipotentia verbi caro factus, incruentum sacrificium, cibus et conviva." The disposition of the harmonies is in strongly marked but cleverly arranged opposition, intensified by the orchestra; the stringed instruments elaborate a forcible passage, opposed by the united oboes, horns, bassoons, and trombones. This noble and deeply impressive movement stands alone, both as to form and intention. The next following, "Dulcissimum convivium," a soprano solo resembling a cavatina, is soft and tender in expression, and pre-eminently operatic; the charm

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of style, displayed also in the careful accompaniment, does not compensate for fundamental weakness.

The "Viaticum in Domino morientium" is full of earnestness, and very original in treatment. The soprano voices give out as subject the chorale of the hymn to the Holy Sacrament, "Pange lingua gloriosi," as a Gregorian plain-chant, accompanied by the wind instruments (oboes, horns, bassoons, and trombones), and two muted violas, while the violins are occupied with a quaver passage in _pizzicato_, generally in divided chords. The effect of the whole is surprisingly serious and dignified. The Pignus futuræ gloriæ follows. It is in counterpoint, and of complicated workmanship. The chief subject of six bars comprises the words "Pignus futuræ gloriæ, miserere nobis," but in the third bar, at the words "miserere nobis," the three remaining parts are added--[See Page Image]

and the subject given to them is differently elaborated along with the continuation of the chief theme. After the first working-out a second independent theme occurs--[See Page Image]

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and is thoroughly worked out, together with the first. We see more of the actual workmanship in this than in others of Mozart's works in counterpoint, and the voices are treated less as such and more as abstract vehicles for contrapuntal development. The Agnus Dei is a soprano solo; the passages for the voices, and the concerted treatment of the accompanying instruments, give a uniform impression of grace and elegance. This movement has a certain resemblance to many passages of Mozart's later operas. At the close the chorus (as sometimes with Haydn) takes up again the principal subject of the Kyrie, and works it into a simple and appropriate ending to the Litany.

Mozart seems never to have composed an entire Vesper during this period, but the two final movements of one, Dixit and Magnificat in C major (193 K.), written in July, 1774, are preserved, and are serious works in clever counterpoint. The Dixit is quite in the style of a short mass, the different sections in counterpoint full of force and animation. The Gloria Patri is an independent movement, with a slow introduction to a short fugal movement on the words "et in sæcula saeculorum," with a charming organ point. [See Page Image]

The Magnificat is grander in design and execution. The Virgin's song of praise forms a grand movement (Allegro moderato), the theme of which from the third plain-song tone of the Magnificat--

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is introduced by the tenor, the bass immediately interposing a counter-subject:--[See Page Image]

These give the groundwork of the whole movement, elaborated in various forms of counterpoint, and bound together by other freely treated episodical subjects. The Doxology is again independently treated in two movements. The first is slow, and is animated by a varied accompaniment; the second is a lively and conventional fugue.

First among minor church pieces we may consider the "Regina coeli." Two of these works, belonging to May, 1771 and 1772 (108, 127, K.), are of similar plan and treatment. The first line is made into an animated chorus, with the constantly recurring Alleluia as a refrain; the second is more moderate in tone, a soprano solo alternating with the chorus. The "Ora pro nobis" is an Adagio for the solo soprano; the chorus chimes in at the close with the Alleluia. The character of the whole is lively and cheerful, almost merry, according to the prevailing tendency of the age. Full opportunities for display are given to the solo voice, and many of the turns and passages are operatic.[41] The earlier of the two compositions, in C major, reminds us more of opera seria; the later, in B flat major, is freer, and both voices and accompaniment have more independent life. A third Regina coeli, evidently of later date (276 K.), in C major, combines the whole into a lively movement, in which the solo voices interrupt the chorus. The claims of the vocalist are here kept in abeyance, and the work is full of life and energy, with here and there passages of a deeper significance, such as the beautiful "Ora pro nobis."[42]

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A "Tantum ergo" in B flat major (142 K.), for soprano solo, with a responding phrase for the chorus, closing with a lively Amen, is not remarkable. A second composition, in D major, (197 K.) for full chorus, if by Mozart at all, must have been written very hurriedly.

A Motett in C major (117 K.) must, according to the handwriting, be ascribed to a very early date.[43] A lively chorus Benedictus sit Deus, without actual thematic elaboration but with a free arrangement of the parts, forms the introduction to a soprano air, Introibo domum tuam domine treated like a cavatina, simply, although not altogether with out embellishment. The conclusion is formed by a second lively chorus, Jubilate Deo, of which the second subject is the eighth psalm tone--[See Page Image] supported by the four parts of the chorus in succession, to a florid accompaniment of the orchestra, the full chorus each time responding with a lively "Jubilate." [44]

An Offertorium of uncertain date, "Benedicite angeli" (342 K.), is exclusively founded on the fifth psalm tone. The verse--[See Page Image] is repeated in unison eight times by the whole chorus, while the orchestra, consisting of stringed instruments with two

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horns, keeps the whole together, and gives it intensified expression by means of a lively and varied accompaniment.

Some smaller choral works are some of them harmonic, some in more or less strict counterpoint. To the former belongs the "De profundis" (93 K.), in which the words of Psalm cxxix. and the appended doxology are set to music without abridgment, with little more rhythmical flow than the declamation of the words demands, and in the simplest harmonic progressions. A symmetrical work, quiet and serious, though without great depth of tone, is formed out of these very simple materials.

The "Te Deum" (141 K.) resembles in its first movements many of the shorter masses; the words are sung once, without a developed theme or well-defined passages. The essential character of the work is modulatory, the connection depending on the arrangement of the harmonies and the harmonic groups; the voices merely sustain the harmonies, without any prominent melodic peculiarities. The conclusion forms an exception, the words, "In Te Domine speravi, non confundar in ætemum" being worked into a conventional, moderately long fugue, issuing into a powerful and effective closing phrase.

A motett, "Misericordias Domini" (222 K.), which Mozart composed at Munich in 1775 as an exercise, is in counterpoint throughout. Padre Martini, to whom he sent it (September, 1776), pronounced, as his judgment on it, that it contained all which modern music demands--good harmonies, rich modulations, moderation in the violin passages, a natural and good arrangement of the parts--and he added that he congratulated the composer on the progress he had made. It was not without intention that the representative of counterpoint on the principles of the old Roman school emphasised modern music, the "buon gusto" of which did not altogether content him.[45]

Mozart divided the sentence "Misericordias Domini cantabo in æternum" (Psalm lxxxviii.). The first words,

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"Misericordias Domini," are delivered in slow notes, the second half in an agitated fugal passage, without change of tempo (moderato). The two alternate, and are developed with much originality, especially the first movement, where long-sustained notes for the voices serve as an organ-point against a passage for the violins, and give rise to striking harmonic transitions and progressions. The counterpoint of the second part is artistic and elaborate; besides the principal subject of the fugue there are two others leading out of it, treated in part independently, in part in combination with the principal subject and each other; the episodes are in strict counterpoint. The subject, as Stadler remarked,[46] is borrowed from an offertory by Eberlin, "Benedixisti Domine"; but Mozart's treatment, as a glance at the opening will show, is thoroughly original.[47] This admirable work has been overrated by Ulibicheff,[48] but very unfairly criticised by Thibaut.[49] He says:--

The words are capable of division into two short sections: Misericordias Domini (the mercy of the Lord), cantabo in æternum (I will sing for ever), but the division is not a real one. For there can be only one fundamental idea--either "Misericordias Domini" or "cantabo in æternum." If the former, then the "cantabo" should be subordinate; if the latter, the "Misercordias" must be included in the exultation. Mozart has so far given way to the love of the picturesque, to which Handel also made many sacrifices, that the "Misericordias" is to be sung softly, but the "cantabe in æternum" energetically and in a lively fugued passage. When the last motif has been worked out, the Grave is repeated, and then again the fugue.

It is evident that the law by which thoughts are expressed in _speech_ does not altogether apply to _musical_ expression, but that with the introduction of a new element new rules are

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imposed. Since the words, intelligently interpreted, give the keynote to the whole conception, it is the musician's task to embody the sentiments inspired by them in such forms as he has at his disposal. The necessity for avoiding contradictions or inconsistencies is no barrier, but rather an incentive to his creative energy. But a contradiction may arise not only from a misconception of ideas, but from the undue prominence of some one point which, detached from the context, injures the effect of the whole. This would be the case here, if, as Thibaut seems to indicate, the idea of the mercy of God, and that of the praise offered to it, were treated in absolute opposition and mechanical alternation one with the other. But this is not so. The motifs given to the words "cantabo in ætemum," both in themselves and in their working-out, express nothing but firm conviction and desire to act upon that conviction; we seem to view the spiritual condition of a human being who, in spite of adverse fate and sorrowful experiences, is never weary of praising the Lord. The "cantabo" is placed just as Thibaut demands that it should be, as a contrast to the "Misercordias Domini and the contrast is so harmoniously expressed and so consistently sustained as in no way to injure the musical effect of the work as a whole.[50]

A very interesting composition, belonging to the year 1776, is the Offertorium de Venerabili (260 K.), "Venite populi," for two choruses, scored in eight parts.[51] It is imitative throughout, less strict in form than usual; the voices seem to take actual delight in their free movement; the two choruses and the separate parts are clearly divided while maintaining natural relations with each other, and the whole work is sharply cut and characteristic both in harmonies and in rhythm. The principal movement is divided in the middle by a short, slow movement, having the same motif, but in different combinations.

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A "Sancta Maria, mater Dei" (273 K.), for chorus, composed in September, 1777, and an "Alma redemptoris mater" (277 K.), for solo and chorus, of about the same date, judging by the style, are very differently conceived: they are simple in design and in treatment, quiet and mild in expression. Delicate lights and shades betray the hand of a master conscious of his power to stir the feelings and satisfy the sense of beauty of his hearers. Equal genius is displayed in the selection of simple meins, and the ease with which the right effect is given at the right moment; and every now and then a delicate harmonic inflection, or a charming little motif in the accompaniment, leaves us in no doubt as to Mozart's individuality.[52]

The survey we have taken of Mozart's church music will give some idea of the industry with which he strove to master the various forms of his art, as well as of the ease and fertility of his production, and the truth of his artistic feeling. Remembering his activity in operatic music, we are amazed at the wealth of his many-sided genius; but the unceasing exercise of all his musical powers serves to explain in part that marvellous acquaintance with all the technicalities and forms of his art which not even the possession of great genius can account for in so youthful a composer.

External circumstances influenced not only the conception and treatment of church music, but the means at disposal for its performance. Mozart's chief dependence in Salzburg was on the chorus, as is shown in a letter (November 4, 1777), where he says that none of his masses can be performed at Mannheim, because the chorus was bad, and the orchestra must be the first consideration. This is confirmed by the works themselves, of which the choruses are always the main substance; Mozart found his materials ready to hand in the carefully instructed church singers and chapel choir. He had himself received vocal training. Even as a boy the correct delivery and good management of his voice excited

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astonishment; and though he lost his voice on attaining manhood, his intercourse with trained singers gave him an accurate knowledge of the voice and its treatment. Careful as Mozart is to arrange each part easily and conveniently for performance, yet he always reckons on well-trained singers, and even exacts from the choristers, where occasion requires, not a little skill in taking intervals and in execution and intonation. Above all, he demands the intelligent delivery of a singer who knows how much depends upon it.

The treatment of the solo voices as regards execution does not differ in church and operatic music. Frau Haydn and Meissner, Marie Anna Braunhofer and Jos. Spitzeder, had received good practical training, but they were not such remarkable performers as to call forth new or original creations. When the solo voices are not treated with a view to executive display they are altogether in the style of chorus parts.

The organ, as the instrument appropriate to the church, invariably accompanies the singing, so that in all Mozart's church compositions the bass part is carefully figured, sometimes by his father's hand; it is sometimes, but rarely, employed obbligato, as in the Benedictus (259 K.), and then treated in easy style. Next to the organ come three trombones, essentially the support of the chorus, played in virtue of his office by the "stadtthürmermeister" and two of his subordinates. [53]

Following ancient tradition they sounded in the tutti in unison with the three lower voices of the chorus; the trombones were generally left unindicated in the score, and only the places marked where they were to be silent. This curious prominence of the brass instruments, whereby the soprano part is left unrepresented, was usual at that time, and could not be dispensed with in the church. Trombones are seldom used independently by Mozart, and then in the simplest manner.

The stringed instruments served as independent orchestra, and were generally only two violins and violoncello; the

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tenors strengthened the violoncello, which went with the organ bass. The stringed instruments were strengthened as far as possible and treated so as to counteract the disadvantage they were at in contrast with the chorus, trombones and organ. When the violins are not with the voices, the passages are disposed so as to have the best effect, and they frequently play in unison; this explains the partiality for running passages for the violins, which are not expressive in themselves, but serve to amplify the rest. It was a higher task to give the violins a character really independent of the chorus--to make them carry out their own motif either in one part only, in opposition to the chorus, or in joint development. In almost all Mozart's masses the effort is visible, at any rate in some places, to treat the stringed instruments independently; as his artistic sense matured, they were used more freely, and with more careful reference to sound effects. As a variation in later works, the damper was sometimes employed, and more rarely, the _pizzicato_.

Besides stringed instruments, trumpets and drums were generally used, being almost indispensable for solemn high mass. The constant use of trumpets, as of trombones (sackbuts), was founded on the Bible, which speaks of their employment in the Jewish temple worship; and also careful and highly elaborated trumpet music played so considerable a part in court festivities, that it could not well be dispensed with in church ceremonials. In two masses (139, 167, K.), Mozart has employed, in addition to the two usual trumpets called "clarini," a tromba, which has only to sound the low notes C and G, and to strengthen the drums.[54] As regards other wind instruments, we know that in 1757, "Oboes and German flutes were seldom heard in the cathedral, and the French horn, never."[55]

This severity was afterwards relaxed, until the oboe was used alone or as the principal wind instrument, generally to support the voice or to strengthen the harmony. It was

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allowed to assert its own individuality at a later time, but this could only be when it retained its proper place among the different combined wind instruments. Flutes were only rarely used to replace the oboe in soft passages; there were no clarinets in Salzburg. Bassoons served, as a rule, only to strengthen the bass; in various places where they, like the violoncello, were treated with some degree of independence it was so indicated in the score. Also when the tenors were associated with the wind instruments to complete the harmony they were supported by the bassoons. The horns at first closely followed the trumpets, but gradually attempts were made, by the use of sustained notes, to produce the sound effects peculiar to this instrument. The freer treatment of the wind instruments passed to the church from the opera, and those pieces which were altogether more freely treated than masses, prepared the way for the change. The orchestra of Mozart's two last Litanies is just as elaborate and careful as that of his operas, and the later one does not only employ obbligato solo instruments, but in many of its sections approaches modern instrumentation.

We are unfortunately in considerable ignorance as to what masters were studied by Mozart. What has usually been said of his diligent study of Bach, Handel, and the Italian masters, is neither demonstrable nor probable. There would scarcely be much opportunity at Salzburg for the study of any but Salzburg or south German musicians. It is well known that some of these, such as Eberlin, Michael Haydn, and Adlgasser, were earnestly studied and highly esteemed by Mozart. But he first became acquainted with Sebastian Bach[56] through Van Swieten in Vienna, although he may have come across detached organ or pianoforte compositions in Salzburg. He heard Handel's oratorios as a boy in London, but that was all, and even at Mannheim he took no great interest in the "Messiah." It was again Van Swieten who led him to this master.

We may grant a stronger influence to the Italian masters,

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although the older Italian church music was only exceptionally used at Salzburg.

Leopold Mozart speaks of a Gradual with which he had been much pleased as being the work of "the celebrated long-since deceased Lotti" (November 13, 1777). But we have seen with what zeal Mozart studied in Italy; and a youth with his genius learned rapidly, and could at once apprehend and retain whatever would be likely to benefit him. He must also have taken home with him from Italy much material for future use, as we have seen in the case of the compositions of Padre Martini. But what direction these studies took, and how far they extended, we are not informed. It is not probable that Mozart studied the old masters with the intention of forming his own style on theirs, but rather that he might gain that surer practice in technicalities which the tasks before him required.

THE FOOTNOTES OF CHAPTER 13

[Footnote 3: Schubart, Teutsch. Chron., 1775, p. 408; Dressier, Theaterschule, p. 42.]

[Footnote 4: J. E. Altenburg, Anleitg. zur heroisch-musik. Trompeter- Pauker-Kunst. (Halle, 1795,1., p. 26).]

[Footnote 5: [Schinn und Otter] Biographische Skizze von Michael Haydn (Salzburg, 1808).]

[Footnote 6: K. R[isbeck] expresses himself to the same effect, Briefe e. reis. Franz, I. p. 357. Michael Haydn became very industrious later in life.]

[Footnote 7: Wolfgang says of Schweizer (December 3, 1777), that he is as "dry and sleek as our Haydn, only his language is more refined."]

[Footnote 8: This book (mentioned in Cäcilia IV., p. 290) contains the following scores, in Mozart's handwriting:--

M. Haydn, In Te Domine speravi, fuga, a 4 voci, 2 viol., org.

Eberlin, Missa canonica, a 4 voci, org.

Eberlin, Hymnus, Recessit Pater noster, a 4 voci.

Eberlin, Hymnus, Tenebræ factæ sunt, a 4 voci, org.

Eberlin, Graduale pro dominica in palmis, Tenuisti a 4 voci, org.

Eberlin, Offertorium pro dominica in palmis Improperium, a 4 voci, org. Eberlin, Communio pro dominica in palmis, Pater si potest, a 4 voci, org.]

M. Haydn, Tenebræ, a 4 voci, org.

Eberlin, Three Motetti. In nomine Domini; Christus factus est; Domine Jesu, a 4 voci.

M. Haydn, Ave Maria, pro adventu Domini, a sopr. solo c. rip.

Eberlin, Benedixisti, a 4 voci, org.

Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.

Eberlin, Kyrie, fuga, a 4 voci.

Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.]

[Footnote 9: Frz. Lorenz's "Haydns, Mozarts und Beethovens Kirchenmusik und ihre katholischen und protestantischen Gegner," is a plea for impartial judgment. Breslau, 1866.]

[Footnote 10: Cf. A. M. Z., XXIII., p. 683.]

[Footnote 11: Marpurg, Krit. Beitr., III., p. 195.]

[Footnote 12: A similar disposition is described by Mattheson (Neu eröff. Orch., I., p. 158).]

[Footnote 13: A short account is given by L[orenz], Deutsche Mus. Ztg., 1862, p. 265.]

[Footnote 14: The text of the masses and of other important church compositions is given in Appendix VI. [to the German original of this work].]

[Footnote 15: They are denoted in the text by large initial capitals.]

[Footnote 16: Biogr. Skizzen von Michael Haydn, p. 48.]

[Footnote 17: The beginning of such a Kyrie is preserved. (Anh. 18 K.).]

[Footnote 18: The first words "Gloria in excelsis Deo" are intoned by the priest from the altar in the prescribed way, and the choir fall in with the words "et in terra pax"; the same thing occurs at the beginning of the Credo, which the choir takes up at the words "Patrem omnipotentem." The first words are consequently frequently left uncomposed; sometimes, however, the choir repeat the words intoned by the priest.]

[Footnote 19: In accordance with this, the word "quoniam" is repeated before each comma in some masses. (257 K.)]

[Footnote 20: The Credo of this mass (257 K.) is mutilated in the printed score, the repeated--[See Page Image] with all that belongs to it having been struck out.]

[Footnote 21: In earlier times the chief emphasis was laid on the words "et homo factus est," which Beethoven makes so emphatic in his Mass in D.]

[Footnote 22: Mozart writes from Mannheim (November 4, 1777): "It is not the custom here to write a Benedictus, but the organist has to go on playing all the time."]

[Footnote 23: L. Mozart mentions a mass for Count Spaur, which may be this.]

[Footnote 24: In Italy three independent movements were made of the Kyrie, Christe, Kyrie, the last being an elaborate fugue. In Dresden also this was customary, and is to be found in the masses of Hasse, Naumann, and other Dresden composers, as also in Bach's B minor mass.]

[Footnote 25: A. M. Z., XIX., p. 368.]

[Footnote 26: A. Reissmann's Gesch. d. Mus., III., p. 39.]

[Footnote 27: A. M. Z., XI., p. 460.]

[Footnote 28: The date upon a copy at St. Peter's, in Salzburg, December 22, 1777, can only refer to the performance.]

[Footnote 29: Biogr. Skizze von Michael Haydn, p. 18.]

[Footnote 30: The Masses (220, 257-59,262, K.), were bound together in a little blue book, with the title in the father's hand, "V. Missæ in C," and a suggestion of the subjects. The first has been taken out, and was evidently the one which Wolfgang gave to the Abbot of the Holy Cross at Augsburg, as he writes to his father (November 20, 1777).]

[Footnote 31: Sometimes his church music was mutilated and distorted, sometimes operatic and other compositions were arranged for church performance. A great deal was given out with his name in which he had little part, such as a Mass in G Major (Anh., 23a K.), rightly omitted by Seyfried (Cäcilia, V., p. 77; cf. VI., p. 129), another doubtful Mass in B flat major (Anh., 233 K.), and finally, an unauthenticated Mass in G major (140 K.), which, in my opinion, is unworthy of Mozart, but which Köchel and Lorenz consider to be genuine.]

[Footnote 32: A. M. Z., XVI., p. 612. The criticism of Rochlitz (fur Freunde der Ton-kunst, IV., p. 237) is feeble and colourless. Thibaut does not scruple to include Haydn and Mozart in his censure on those who write "our new masses and other church music in a purely amorous style, giving them an altogether operatic stamp, and imitating the most popular, and therefore the least refined operas" (Ueber Reinheit der Tonkunst, p. 10). The tendency of the romantic school was to favour the early Italian church music, very often ignorantly, and to the prejudice of Mozart. Cf. Tieck Phantas., I., p. 468.]

[Footnote 33: Ueber Reinheit der Tonkunst, p. 11.]

[Footnote 34: A. M. Z., III., p. 494.]

[Footnote 35: A. M. Z., III., p. 493.]

[Footnote 36: A. M. Z.f I., p. 116.]

[Footnote 37: It is very interesting to compare Michael Haydn's Litaniæ de venerabili sacramento in G minor (Leipzig: Breitkopf and Härtel), which was written at the same time and under similar circumstances. It is an excellent work, displaying the cultivation of a master both in design and execution. The fact of its being on the whole less graceful, and more serious, only shows the difference of the artistic nature of the two masters; the general conception is not essentially different, and Michael Haydn also yields to operatic influence.]

[Footnote 38: This movement ended originally in B flat major. Mozart rightly preferred to close the introduction in the dominant (F major), and thus gave greater breadth to the finale.]

[Footnote 39: Mozart has abbreviated it in three places, and has altered wherever necessary. The shortened fugue is printed in Cantate I.]

[Footnote 40: L. Mozart wrote at the beginning: "The solo of the Agnus Dei is written in the bass for Herr Meissner."]

[Footnote 41: One of these Regina coeli--we do not know which--was composed for Frau Haydn, and afterwards sung, as L. Mozart writes (April 12,1778), by Ceccarelli.]

[Footnote 42: I have grave doubts of the genuineness of a short Salve Regina for solo voices and chorus (92 K.).]

[Footnote 43: Perhaps this is one of the motetts which Wolfgang composed in Milan in 1771. A second aria in cavatina form, "Quaere superna," with an introductory recitative, "Ergo, inter est," in G major (143 K.), was evidently intended for an interpolation.]

[Footnote 44: When Mozart was travelling in 1777, his father wrote to him (October 4): "I inclose the chorale, which may be useful and even necessary to you at some time or other; you ought to know everything."]

[Footnote 45: P. Martini, Storia Univ., II., p. 281.]

[Footnote 46: Stadler's Defence of the Authenticity of Mozart's Requiem, p. 10.]

[Footnote 47: An analysis is given in A. M. Z., X., p. 43; cf. XIII., p. 305.]

[Footnote 48: Ulibicheff, II., p. 333: Pour rompre la monotonie que des paroles tant de fois répétées sur le même sujet devaient introduire dans un morceau de 160 mesures, d'un mouvement grave, le compositeur avait les ressources inépuisables de la modulation et de l'analyse contrapontique. Il les employa avec la science de Bach, avec la gravité onctueuse des maîtres catholiques du XVIIme siècle, avec le sentiment profond et le goût qui n'appartenaient qu'à Mozart.]

[Footnote 49: Thibaut, Ueber Reinheit der Tonkunst, p. 109.]

[Footnote 50: Zelter was not satisfied with Thibaut's judgment (Briefw. m. Goethe, IV., p. 37). Rochlitz (A. M. Z., XXVII., p. 461) attempts a lame apology for Mozart.]

[Footnote 51: Two violin parts, _ad libitum_, meant for support, are added.]

[Footnote 52: The Offertory, Sub tuum præsidium (198 K.), a duet for soprano and tenor, is simple and melodious, and has the soft and tender character appropriate to the worship of the Virgin.]

[Footnote 53: Marpurg, Krit. Beitr., III., p. 195.]

[Footnote 54: Altenburg, Anl. z. Tromp.-Kunst, p. 108.]

[Footnote 55: Marpurg, Krit. Beitr., III., p. 195.]

[Footnote 56: Rochlitz's remarks on Bach's influence over Mozart are unfounded (A. M. Z II., p. 641).]

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MOZART

BY DAVID WIDGER