David Rayl is director of choral programs and associate Ryan Kelly is assistant professor of choral music at dean for graduate studies and research at Michigan State West Chester University in West Chester, Pennsylvania University in East Lansing, Michigan
CHORAL JOURNAL Volume 53 Number 2 19 MMozart'sozart's MMisericordiasisericordias DominiDomini: A Conductor's Guide
GGenesisenesis AAndnd RReceptioneception Lent.2 Mozart immediately composed his student on his progress.6 his Misericordias Domini for SATB voices, It is unclear how satisfi ed Mozart Mozart traveled to Munich with strings, and basso continuo.3 The work’s was with the work. He wrote Martini his father in December of 1774 to text, “Misericordias Domini cantabo in that he was “obliged to compose this supervise the production of his op- aeternum” [I will sing of the Lord’s mercy motet in a great hurry” due to the era La fi nta giardiniera at the court forever], is from Psalm 89(88):1. Elector’s imposed deadline. He later theater on the Salvator Platz. The trip In 1776, Mozart sent a manuscript to referred to the work as his “offertory in extended into early 1775. A few days his composition instructor Padre Mar- counterpoint in D minor,”7 identifying it before Mozart’s departure, Maximilian tini for his comments.4 Martini affi rmed by the style in which he was instructed III Joseph, Prince-elector of the Holy Mozart’s efforts, writing that the piece to compose. Otto Jahn interprets this Roman Empire and Duke of Bavaria, had “all that is required by Modern as evidence that Mozart merely com- who was himself a skilled musician and Music: good harmony, mature modula- posed the work “as an exercise,”8 but composer, requested that he write a tion, a moderate pace in the violins, a he obviously admired the work to some contrapuntal offertory in time to be natural connection of the parts and degree, as he took a manuscript with copied, rehearsed and performed by good taste.”5 Martini also congratulated him on his 1777 journey to Mannheim the following Sunday, the fi rst Sunday of and Paris.9 The work must have been some- what popular in Mozart’s lifetime, as a number of manuscript copies, including a set of parts in Leopold’s hand, have been located in Bavarian churches.10 None other than Antonio Salieri is believed to have performed it for three A leader in performance tours for over 35 years different imperial coronation ceremo- nies in the early 1790s.11 Nineteenth-century critics were divided in their assessment of the work. In his 1843 biography of Mozart, Alex- ander Ulibicheff praised its “Bach-like science” combined with the “profound sentiment” typical of Mozart.12 Jahn (1882) commended the work for its “artistic and elaborate” counterpoint “harmoniously expressed and so con- sistently sustained.”13 Similarly, Franz Gehring (1883) called it one of “the noblest pieces of church music ever written, both on account of its psy- chological qualities and its delicacy of construction.”14 Such praise was not Let your music be heard universal, however. Anton Thibaut, the early nineteenth-century champion of Palestrina’s music, criticized the work You have musical gifts to share. as expressing two contrasting musical 800-GO WITTE affects when the text represents only We have a team of experts [email protected] one thought. For him, such gratuitous wittetours.com to make it happen. treatment of the words led to an inco- herent musical expression of the text:
20 CHORAL JOURNAL Volume 53 Number 2 Mozart's Misericordias Domini: A Conductor'sConductor's GuideGuide
The words are capable of division into two short sections: Misericordias Domini (the mercy of the Lord), cantabo in aeternum (I will sing forever), but the division is not a real one. For there can be only one fundamental idea—either ‘Misericordias Domini’ or ‘cantabo in aeternum.’ If the former, then the ‘cantabo’ should be subordinate; if the latter, the ‘Misericordias’ must be included in the exultation. Mozart has so far given way to the love of the picturesque…that the ‘Misericordias’ is to be sung softly, but the ‘cantabo in aeternum’ energetically and in a lively fugued passage.15
More recently, H. C. Robbins Landon described the work as “austerely mag- nifi cent”16 and Wulf Konold praised “its attention to the emotional content of the text.”17 Hellmut Federhofer described it as a “contrapuntal mas- terpiece [that] unites polyphony with expressive, tension-laden harmonies.”18
FFormalormal ConsiderationsConsiderations Mozart sets only one Latin sentence in the seven-minute piece but, contrary to many other works of this period, the text plays no role in determin- “Misericordias Domini.” The remainder ing the musical structure. Still, formal of the text, “cantabo in aeternum,” is considerations are never far from consistently set in a web of complex Mozart’s mind. To craft a compelling polyphony (B), within which several performance of this work, the conduc- contrasting motives are juxtaposed tor must examine its various musical against each other. A third type of music building blocks, develop an understand- (C) occurs when the text “Misericordias ing of how they combine to create a Domini” returns with the same rhythm large-scale formal structure, and deter- as A and is chanted on one pitch like a mine tangible means to communicate cantus fi rmus, while a tuneful melody in this structure to the listener. Mozart the violins hovers above it.19 The bulk of uses three types of music in the work. the musical substance and aural interest Reverent, homophonic statements (A), occurs in the B sections. Unlike A and C, often with chromatically infl ected har- which each present one thematic idea monies, provide an expressive setting of (Figure 1), the many B sections present
CHORAL JOURNAL Volume 53 Number 2 21 MMozart'sozart's MMisericordiasisericordias DominiDomini: A Conductor's Guide
several contrasting motives in constantly One plausible analysis is that Mozart (and some thematic) principles that varied combinations (Figure 2). superimposes the principles of sonata undergird sonata form are present: (1) At first glance, the piece might form onto this seeming “hodgepodge” an “exposition” that begins in tonic (d seem to be a loosely structured jumble of homophonic and contrapuntal sec- minor), followed fairly quickly by a move of the A, B, and C material (Table 1). tions (Table 2). Certainly the harmonic to a related key (F major) and proceed- ing to a strong cadence on the latter, (2) a “development” marked by the explo- ration of new keys that concludes with an extended preparation for the return of tonic, and (3) a “recapitulation” that begins with a return of both the opening theme and the tonic and proceeds to restate most of the signifi cant material from the “exposition” in the tonic.21 The work begins with A and B in d minor and reaches its fi rst important cadence in m. 14 on the dominant. The F chord that follows immediately in m. 15 is quite startling, in accord with James Webster’s observation that “… the es- tablishment of the new key [the second key area] is an event of aesthetic as well as tonal signifi cance.”22 For performance, consider ways to highlight this dramatic tonal shift. For example, one might opt for an equally startling change of tim- bre in the choir or a marginally slower tempo at the beginning of m. 15. In keeping with many sonata-form move- ments, Mozart immediately introduces a lyrical contrapuntal duet to contrast with the more dramatic music of mm. 3 –14 (see B4 in Fig. 2). The second key area remains comfortably in F until m. 27 when it begins a modulation that leads, in m. 36, to a half cadence in a minor. Various motives are heard in that key until m. 53 when the harmonic trajec- tory reverses course and returns to F. At m. 63, the exposition concludes with a
Table 1 Structural Overview #1
Themes: A B A B C B A B C B A
mm.: 1–2 3–14 15–16 17–22 23–26 27–36 37–38 39–48 49–52 53–63 64–65
22 CHORAL JOURNAL Volume 53 Number 2 Mozart's Misericordias Domini: A CConductor'sonductor's GuideGuide
Table 2 with extended ped- Structural Overview #1, Organization by Sonata Allegro Principle als on the tonic and dominant. This dual- Sections: Exposition Development Recapitulation Closing ity can be accentu- ated at m. 143 by a Themes: AB ABC BABC B ABABCAB ABCB AB pianissimo dynamic Key areas: d–V/d F F–a a–F f–V/d d d coupled with very mm.: 1–14 15–26 27–52 53–63 64–109 110 –139 139–158 pure, senza vibrato singing, followed by a crescendo in all cadence in F, the fi rst perfect authentic timbre, a slightly extended quarter rest parts in m. 150 into the forte, with a cadence of the piece. in m. 1094, and a slightly more deliber- similar approach in mm. 152–154. The development commences quite ate tempo in mm. 110–111. Following One further clue supports analyzing dramatically with the A material stated a perfect authentic cadence in m. 139 the work using sonata-form principles. in f minor. (Again, make the most of (only the second in the work!), a coda Note Mozart’s very careful placement this juxtaposition of major and parallel begins, based on some of the B material, of the orchestral motive shown in Figure minor.) Mozart then explores a variety of keys. At m. 88, a rather extraordinary passage begins in which the C material is heard twice in succession followed immediately by the A material. The choir chants the text in unison on G, G#, A, and, fi nally, B-fl at; that B-fl at then be- comes the root of a dominant seventh chord. This harmonically charged chord (m. 98) can be heard as the dominant of the Neapolitan or as an augmented sixth chord, both of which strongly imply movement toward V/i, which fi nally ar- rives at m. 1093. This high point of har- monic tension sets up the return of the opening music, again in d minor. When determining pacing, consider the devel- opment as one long, tension-building transition that delays and prepares this double return of the recapitulation.23 The recapitulation brings back all the melodic material of the exposition in d minor though in a different order.24 The conductor should explore ways to highlight the inherent drama of the development’s end and recapitulation’s beginning, perhaps with a change of
B A B C A B A B C B A B
66–70 71–72 73–87 88–97 98–99 100–109 110–111 112–128 129–133 134–138 139–140 141–158
CHORAL JOURNAL Volume 53 Number 2 23 MMozart'sozart's MMisericordiasisericordias DominiDomini: A Conductor's Guide
3. It occurs only three times, always just fl uenced by his study of contrapuntal and a balanced melodic style after key structural points in the piece: models by composers like Johann reminiscent of Palestrina’s.27 at m. 3 after the initial statement of A at Ernst Eberlin and Michael Haydn and the beginning of the exposition; at m. 66 informed by his study of stile antico Mozart could and did write in this after the statement of A that begins the counterpoint with Martini. However, style (e.g., Miserere, K. 85/K6. 73s and development; and at m. 112, following describing this work’s contrapuntal Quaerite primum regnum, K. 86/K6. 73v, the exact repetition of A at the begin- writing as exemplifying stile antico both written under Padre Martini’s guid- ning of the recapitulation.25 It is always misinterprets the term and can lead ance), but the contrapuntal sections of marked forte with vertical strokes on to confusing musical interpretations. Misericordias Domini are decidedly not each 16th note—a dramatic musical Stephen R. Miller offers this clear ex- in that style. The meter is C, not alla gesture that interrupts the very re- planation: breve, with an Italian tempo marking of strained statement of A and announces allegro, neither of which occurs in stile the structural importance of what has Stile antico [in the eighteenth antico writing, and the musical motives just occurred. century] generally indicates are far removed from those of Palestrina. the presence of ‘old-fashioned’ Rather, Mozart is writing here in the features associated with contemporary galant style of the mid- SStylistictylistic ConsiderationsConsiderations Renaissance polyphony, such eighteenth century, and this explains as alla breve metre (and a Martini’s previously mentioned refer- To effectively teach and perform concomitant avoidance of ence to modernity. As Einstein points Misericordias Domini, one must under- dance rhythms), imitative out, “for Padre Martini’s sensitive ear, stand its inherent style. Seeing prevalent textures, a traditional approach schooled in the polyphonic masterworks counterpoint, some modern writers to dissonance, scoring for full of the sixteenth century, this was modern characterize the work using the term choir (as opposed to solo music…[emphasis added]”28 When in- stile antico.26 Certainly Mozart was in- voices and/or reduced forces) terpreted with fi nesse, the work exudes galanterie—lines become more tuneful, articulations more playful, and the affect more joyful in keeping with the meaning of the text. Lightness, transparency, grace, and elegance should be the watchwords. THE ASCENDING VOICE III AArticulationrticulation CConsiderations onsiderations AN INTERNATIONAL SYMPOSIUM AND CHORAL FESTIVAL OF SACRED A CAPPELLA MUSIC After examining the piece’s structure and considering its inherent style, the May 9-11, 2013 conductor must (1) assess each of the Malibu, California musical ideas that serve as the piece’s CALL FOR CHORAL PARTICIPATION building blocks, (2) determine their in- The Ascending Voice III is an international symposium and choral festival devoted exclusively dividual character and affect, based on to a cappella music in Christian worship. Held on one of America’s most beautiful campuses, the their musical content and the explicit symposium features presentations by the world’s leading authorities on this rich style of worship. or implicit articulation markings in the Daily concert lineup includes performances by: score, (3) decide precisely how each t5PQDPMMFHJBUFDIPSBMHSPVQT idea will “sound” in the voice and/or t4XFFU)POFZ*OćF3PDL instruments, and (4) determine how tćF-PT"OHFMFT.BTUFS$IPSBMF each idea interacts with the work’s tćF'FTUJWBM$IPSVTDPOEVDUFECZDr. Allen Hightower of Luther College formal structure. This process will yield Collegiate choirs wishing to apply for participation in the Festival Chorus an aural template to guide interpretive may visit www.pepperdine.edu/ascendingvoice, or e-mail Dr. Ryan Board decisions, shape the rehearsal process, at [email protected] for more information. and infl uence the performance.29 The music of A (mm. 1–31 et al) and
24 CHORAL JOURNAL Volume 53 Number 2 Mozart's Misericordias Domini: A CConductor'sonductor's GuideGuide
C (mm. 23–271 et al) is always marked end of the piece. By placing this seem- 36, m. 48). piano and works best when sung with ingly unimportant motive near the A new motive (B5) appears at m. 33 minimal vibrato. For the A material, this beginning and end of the work, Mozart as a countersubject to B1. The approach heightens the impact of the chromatic shows that the overarching structure is to both the eighth and sixteenth notes harmonies; for the C material, the purity never far from his mind.) of the sound accentuates the cantus At m. 104, Mozart offers the fi rst of fi rmus-like quality of the vocal part. In several contrapuntal duets: eight slightly the latter case, the strings should also detached eighth notes, heard only in play sweetly with minimal vibrato and the orchestra, contrasting with a slurred give particular attention to the articula- fi gure in the voices (B3). The shape of the New for solo voice tion (e.g., m. 23), adding a bit of space orchestral motive is simple, a crescendo between the two slurs and eschewing a through the fi rst three eighth notes Carol Songbook long, sweeping legato line. followed by a decrescendo, with the last As seen in Figure 2 above, these B note played lightly and a little short. 7 well-loved carols in sections are made up of a contrapuntal Mozart specifi es the articulation of the wonderful arrangements web of fi ve contrasting motives, with vocal parts by his use of slurs. The fi rst for voice and piano variants. Two of these are pairs of mo- note of each slur (e.g., alto, B-fl at at m. tives in a contrapuntal duet. Drawing 101 and F at m. 113) receives a slight listeners’ attention to the unique char- emphasis with a gentle decrescendo on acter of each motive highlights a musical the remaining notes. Avoid emphasizing variety that is balanced by the unifying the B-fl at on beat 4, which should be recurrence of A and C. part of the decrescendo beneath the slur. The B1 motive, which somewhat The contrapuntal duet (B4) in the resembles the character of the open- soprano and alto in mm. 17–19 marks ing vocal theme of Mozart’s Requiem, the beginning of the second key area (F). seems to call for an aggressively playful Emphasize the lyric nature of these two interpretation.30 Pay careful attention to lines, perhaps with a softer dynamic of the stressed and unstressed syllables of mezzo forte. Once again, the slurs are in- the text (Can-ta-bo in ae-ter-num) to tegral to the character of these motives prevent distorting the infl ection by ac- and require careful attention. The two- centing “-bo in.” Closing fairly quickly to note slur in the soprano in mm. 18–19 the “n” of “cantabo” (here and through- creates a sigh motive on each downbeat out the work) effectively shortens that can be enhanced by adding a slight and lightens the fi rst syllable. Keep the crescendo into the fi rst note of the melismas light and dance-like, and treat slur and a bit of space after its second the dotted quarters with a gentle and note. Mozart is also specifi c about the natural decrescendo (rather than a full articulation of the alto in mm. 20–21. quarter note with an eighth rest). Each Add a little space before and after the line should gracefully decrescendo as it slur, and most importantly, “lean” on the approaches the end of “aeternum” (typi- fi rst note of the slur in those measures, In high and lowlow voice volumes $19.95 each cally the last two beats of the phrase). even though it is on the off-beat. In m. A contrasting motive of three eighth 21, avoid accenting the third beat, which 2 Perfect repertoire for notes (B ) appears briefl y in the tenor has the unaccented syllable “-bo” on an recitals, services, and and bass at m. 8. These eighths should eighth note. The vertical strokes in the concerts at Christmas be energized and detached but sung violins at m. 22 indicate a slight accent with proper accentuation (can-tab-o), separation that should be emulated by Available from music stores or direct from not merely as three even, short eighths. OUP’s US distributor, Edition Peters: the voices as well. This same articulation 718-416-7800, [email protected] (Interestingly, this motive does not recur is either specifi ed or implied in similar until m. 150, eight measures before the instances throughout the work (e.g., m. www.editionpeters.com
CHORAL JOURNAL Volume 53 Number 2 25 MMozart'sozart's MMisericordiasisericordias DominiDomini: A Conductor's Guide should be light and detached, again with times the instrumental parts offer clues out with attention to drama. Though its attention to stressed and unstressed syl- to the articulation of the voices. For moderato tempo is presumably slower lables. Although seemingly unimportant example, in mm. 20–21 we have added than Mozart’s prescribed allegro, the here, B5 takes on increasing signifi cance slurs to the viola part to match the performance sounds decidedly galant.31 later in the piece, appearing as the coun- alto; in mm. 34 and 55 we have omit- Marcus Creed’s recording with the tersubject to a new motive (B6), intro- ted the slurs in the violins to match the RIAS-Kammerchor is warmly recorded duced at m. 76 in the development and prevailing string (and vocal) articulation. and offers sparkling articulations with at- as the primary melodic material near the Similarly, in the descending chromatic tractive color changes at sections, an al- beginning of the recapitulation at m. 112. line fi rst heard in the bass at m. 29 the legro tempo that eschews pedantry, and In contrast to the non-legato music articulation should take its cue from mm. a musically balanced approach between that immediately precedes it, B6 begins 35–36, where the wedges in the strings baroque and galant.32 Finally, Morton with a slurred descending sixth, followed (and, by implication, the voices) indicate Schuldt-Jensen’s recording with the by an ascending scale in half notes, which a light tenuto with slight separation. On GewandhausKammerchor pays great might be ever so slightly emphasized the other hand, in mm. 73–75 B3 recurs, attention to text stress and decay with and separated. Because of the motive’s but this time without slurs in either the sensitive messa di voce. The recording is lyric nature at the beginning, reduce the vocal or instrumental parts. This seems a little dry, with an odd balance between dynamic to mezzo forte or mezzo piano to be Mozart’s intent rather than a care- chorus and orchestra, however the with a crescendo through the ascending less omission, so we suggest highlighting performers’ phrasing is very musical.33 scale. the contrast created by the absence of Though there are other recordings By eighteenth-century standards, slurs with a rather detached articulation. available from noted ensembles, we fi nd Mozart is remarkably consistent in his many to be uninspiring because they do articulation markings. In cases where not bring out the score’s innate galant the prevailing context suggests that he EEditionsditions style and articulations. is inconsistent, we have usually opted This article is based primarily on the to interpret the score so that similar full score and performing parts edited by motives are treated consistently within Hellmut Federhofer, based on the Neue CConclusiononclusion a section. Sometimes the vocal parts Mozart Ausgabe and published by Bären- Choirs should sing Mozart’s Miseri- inform the instrumental parts; at other reiter in 2006. The other authoritative cordias Domini, K. 222 more regularly. edition is Robert Münster’s Carus edi- Mozart valued the work, and it was tion of 2002. Though they differ in some often performed during his lifetime details of articulation, we recommend and after his death, including at several both scholarly editions for performance. imperial coronations. Padre Martini’s However, the editions published by Mark complimentary description remains Foster (1972), Novello (1985), Arista true today. The work is technically acces- By (1987), and Kalmus (n.d.) are completely sible to intermediate-to-advanced high Paul Brandvik unusable, because they contain none of school choruses as well as community Author of Mozart’s articulation markings. and college choruses. Though the coun- The Compleet Madrigal Dinner terpoint might be challenging for inex- Booke perienced singers, its relative simplicity THIRTY SCRIPTS, each containing All RRecordingsecordings and the text’s brevity makes this piece DIALOGUE (including greeting, toasts, festivi- ties, and humorous Renaissance play) necessary There are few recordings of the work signifi cantly less demanding than many for A SUCCESSFUL MADRIGAL DINNER! available for purchase, and the most suc- others of the eighteenth century. The For complete info: VISIT OUR WEB SITE: cessful ones bring out the work’s grace work is not diffi cult for orchestral musi- www.madrigaldinner.com and charm with a galant interpretation. cians and can be effectively performed Nikolaus Harnoncourt’s recording with with chorus and piano. Moreover, it is knight-shtick press, llc the Arnold Schoenberg Chor features an attractive and extremely well-crafted Box 814, Bemidji, MN 56619-0814 work. Through attention to form, style, 218-586-2270 very expressive decisions, sensitive [email protected] tempo changes and color contrasts at and its explicit and implicit articulations, sections, and musical phrasing through- today’s choral conductor can stretch
26 CHORAL JOURNAL Volume 53 Number 2 Mozart's Misericordias Domini: A CConductor'sonductor's GuideGuide
the mind and ear of both performer Volume I Haydn and Mozart (Maryland: Online, Oxford Music Online, http://www. and audience and yield a compelling Scarecrow Press, 2002), 172. oxfordmusiconline.com/subscriber/ performance. 5 Bruce C. MacIntyre, “Offertory” in The article/grove/music/26197 (accessed Cambridge Mozart Encyclopedia October 4, 2011). (Cambridge: Cambridge University 23 Ibid. NOTES Press, 2006), 369. 24 For discussion of this practice in other 6 Otto Jahn, Life of Mozart (London: Novello, works, see Charles Rosen, The Classic 1 We provide specifi c performance choices Ewer, & Co., 1882), 278. Style: Haydn, Mozart, Beethoven (New throughout the article that come from 7 Wolfgang Amadeus Mozart, The Letters of York: W. W. Norton, rev. ed. 1997), 72 our study, rehearsal, and performance of Wolfgang Amadeus Mozart, translated and James Hepokoski, “Beyond the the work. Alternative choices that realize by Lady Wallace (New York: Hurd and Sonata Principle,” Journal of the American appropriate performance practices are Houghton, 1866. Volume 1), 126. Musicological Society 55/1, 130. certainly possible and encouraged. 8 Jahn, Life of Mozart, 278. 25 At m. 112, the motive is found in the basso 2 Franz Gehring, Mozart (New York: Scribner 9 Maynard Solomon, Mozart: A Life (New York: continuo only. and Welford, 1883), 53. Harper Collins, 1995), 103. 26 Bruce C. MacIntyre, “Offertory,” In The 3 Robert Münster outlines the issue of the 10 Münster, Misericordias Domini, 2. Cambridge Mozart Encyclopedia “missing” viola part in his Foreward to 11 Leopold II as Holy Roman Emperor, Frank- (Cambridge: Cambridge University the Carus edition: The fi rst published furt, 1790, and as King of Bohemia, Press, 2006), 369. version (Leipzig: Kühnel, 1811) and Prague, 1791, and Francis II as Holy 27 Stephen R. Miller, "Stile antico," In Grove several copies, contain parts for viola, Roman Emperor, Frankfurt, 1792. H. C. Music Online, Oxford Music Online, oboes, and horns. Scholars agree that Robbins Landon, 1791: Mozart’s Last Year
CHORAL JOURNAL Volume 53 Number 2 27