Explanation: Discussion of Wolfgang Amadeus Mozart's Grand Mass in C Minor, K. 427/417a, will be Mozart's Grand Mass in C Minor divided into two parts. Part One will examine the circumstances and in­ K.427/417a fluences in Mozart's life during the time he wrote the Mass. Part Two by R. Paul Crabb will discuss possible reasons the Mass remained incomplete, the history of the manuscript, and a comparison of the two performing editions that are presently available. church subordinate to the state. Shortly after his arrival in Vienna Musical implications of this in 1781, Mozart became reac­ Part One political/ideological shift included quainted with the Weber family and limited use of instruments in church married one of the daughters, Con­ Mozart's Masses and the and the performance of musical stanze. There is a direct relationship Political Environment Masses only when the archbishop between Mozart's courtship of Con­ performed the service.3 In church stanze and the composition of the Wolfgang Amadeus Mozart's con­ services where the traditional Mass, although numerous details tributions to sacred choral repertory musical Mass was prohibited, con­ about that relationship remain are well-known to many choral gregational singing using German sketchy. A portion of a letter written musicians. In addition to litanies, of­ chorales was to be substituted by Wolfgang to his father on 4 fertories, and the familiar Vesperae (much to the dismay of many January 1783 is often cited when solennes de Confessore, K. 339, Catholics).4 A letter from Mozart to considering the effect the marriage Mozart wrote at least sixteen Masses his former teacher, Padre Martini, to Constanze had on Mozart and his before moving from Salzburg to written on 4 September 1776, fur­ motivation for writing Grand Mass in Vienna in 1781. The culmination of ther describes the imposed restric­ C Minor. Mozart's sacred choral composi­ tions: tions is reached in Grand Mass in C I made the promise in my heart of Minor, written during 1782-1783 in Our church music is very different hearts and hope to be able to keep it. When I made it my wife was not Vienna. In this Mass (scored for one from that of Italy, since a mass with the whole Kyrie, the Gloria, yet married; yet, as I was absolute­ flute, two oboes, two bassoons, two ly determined to marry her after horns, two trumpets, three trom­ the Credo, the Epistle Sonata, the Offertory or Motet, the Sanctus her recovery, it was easy for me to bones, violin I and II, viola, make it....The score of half a violoncello, bass, timpani, organ, and the Agnus Dei must not last longer than three quarters of an mass, which is still lying here double SATB chorus, and bass, hour. This applies even to the most waiting to be finished, is the best tenor, and two soprano soloists), proof that I really made the pro­ Solemn Mass said by the Arch­ 6 Mozart's mastery of compositional bishop himself. So you see that a mise. technique produced an effect so special study is required for this stunning that some scholars (e.g., kind of compositon. At the same In this letter, Mozart referred to hav­ Einstein, Landon, and Keys) label time, the mass must have all the ing made avow. What precisely was Grand Mass in C Minor as his best instruments-trumpets, drums, the vow? One can safely deduce that choral composition.! and so forth.s it was associated with Constanze, Mozart's musical achievements in but the specific relationship is the Mass are even more remarkable Mozart's Marriage and unclear. Was it a promise to com­ when one considers the musical Grand Mass in C Minor pose a Mass if Constanze accepted restrictions imposed by the rulers in his marriage proposal, or was it Salzburg and Vienna between 1772 Archbishop Colloredo's relation­ Mozart's effort to inspire and 1790.2 In Salzburg, Archbishop ship with Leopold and Wolfgang Constanze's recovery from an un­ Sigismund von Schrattenbach, who Mozart was strained. Not only were named illness?? Also, this letter reigned from 1753-1771, had been the prohibitive musical guidelines in cites an unfinished Mass. Was the an enthusiastic supporter of the arts. the musicians' disfavor, but Leopold Mass mentioned in the letter Grand Musicians, such as Eberlin, Michael was often overlooked by the arch­ Mass in C Minor, or was the refer­ Haydn, Leopold Mozart, and even bishop when filling important ence to a different composition? young Wolfgang, were able to work musical positions in the court. Due to inconclusive extant with little political interference. Disagreements between the twenty­ evidence, only conjectures can be The attitude of the Salzburg court five-year-old Wolfgang and the made concerning the promise and changed abruptly when, in 1772, Salzburg political rulers eventually its meaning. Most likely, however, Hieronymus Colloredo succeeded led to the infamous kick from Count the composition described in the let­ Schrattenbach as the archbishop in Arco and the composer's dismissal ter was the Mass, K. 427. The date of Salzburg. Colloredo, who was sup­ from his positions as court organist the letter (4 January 1783) coincides ported by Emperor Joseph II in and concertmaster. At that time with the time Mozart was writing this Vienna, soon attempted to make the Wolfgang decided to make his per­ Mass (1782-1783). Also, Grand Mass manent home in Vienna-a decision in C Minpr remained and still re­ Crabb is on the faculty at the University which eventually had a great impact mains "half a Mass" as Mozart re­ of Alabama in Huntsville. on Mozart and his music. ferred to it in the correspondence. August 1985 Page 13 Mozart took Constanze to Salz­ heading on Mozart's manuscript of their compositions. Mozart was no burg during the summer of 1783 for these vocalises- "Per la mia Con­ exception; his ties to the first half of the purpose of improving her rela­ stanze" (For my beloved Constanze) the eighteenth century are readily tionship with Leopold and Wolf­ and "Per la mia consorte" (For my apparent. Leopold, Wolfgang's first gang's sister Nannerl. To aid in the beloved spouse)-establish that musical influence, was trained in the reconciliation, Wolfgang planned to these exercises were indeed for Con­ Baroque tradition in the elder have Constanze sing one of the stanze.6 Mozart's native Augsburg. Here soprano solo parts in the Mass. It The premier performance of Leopold was exposed to J. S. Bach is not known how many of the Grand Mass in C Minor probably oc­ both through the Leipzig cantor's soprano solos Constanze sang, but curred on 26 October 1783 in St. music-which was available com­ existing sketches of vocalises (K. Peter's Church of Salzburg. 9 mercially-and through Phillipp 393/385b) are similar to the solo Because the Mass currently exists in David Krauter, who was a former soprano part in the "Kyrie," sug­ an incomplete state-and scholars student of Bach's and was later gesting Constanze's participation in are unaware that the Mass was ever employed as a cantor in Augsburg's that opening movement. The finished-one questions the pro­ Annakirche. Further, one must not cedure for the first performance. It is discount the effect conservative unlikely the Mass was performed Salzburg composers-especially with an incomplete Mass text. One Michael Haydn and Eberlin-had on possible solution was for Mozart to Wolfgang. Compositions by these "borrow" music from earlier Masses two musicians were copied as exer­ to complete the missing sections. cises by Wolfgang, a practice that The practice of using a melody or reflects his (or Leopold's) opinion of part of a work in more than one their didactic value. Eberlin's composition was not, of course, un­ "Benedixisti Domini," for example, common with eighteenth-century was used as a reference for Mozart composers. One should also as late as 1775 in the nineteen-year­ acknowledge the possibility that the old's "Misericordias Domini," K. Mass was completed and parts of it 222/205a. 11 lost following the premier perfor­ There is another factor related mance. There is, however, no more specifically to Mozart's com­ evidence supporting this position of the Mass, K. 427, that argument.10 must not be overlooked. Soon after moving to Vienna in 1781, Mozart Baroque Influences on met and became a friend of Baron Grand Mass in C Minor Gottfried van Swieten. Van Swieten, a dedicated patron of the arts, was Many composers in the last half of director of Vienna's Imperial the eighteenth century displayed Library. In the early 1770s the Baron Baroque musical characteristics in had been ambassador to Frederick

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Page 14 THE CHORAL JOURNAL the Great, at whose court van Davidde penitente extract the music from the "Kyrie" and "Gloria" of the Mass, K. 427, for Swieten heard the music of the During the eighteenth century Bachs and Handel. Because the the occasion. Davidde penitente, K. composers often borrowed musical 469-with sacred Italian text by quality of the music so impressed ideas from their own works and from Lorenzo da Ponte-was the result. 14 van Swieten, he acquired some Bach those of other composers. In 1785 and Handel scores to take back to Mozart utilized this tradition on a The new oratorio contained few Vienna when he returned in 1776. grand scale for a new oratorio. He changes from the music that is in Through van Swieten, Mozart was had been commissioned by Vienna's common with Grand Mass in C able to study and become ac­ Tonkiinstler SozieUit to write music Minor. Two new arias (one for tenor quainted with music of the two great for a concert. Because he was and one for soprano) and a solo trio north German masters. In a letter pressed for time or, perhaps, felt the were added to complete the work. A dated 10 April 1782, Mozart men­ commission was not prestigious listing of the movements from the tioned that every Sunday at noon a enough to deserve the efforts of a Mass and their musical counterparts group of musicians (including new composition, Mozart decided to in Davidde penitente is as follows: Mozart) met at van Swieten's home "where nothing (was) played but Handel and Bach."12 It is difficult to assess the degree to which Mozart was affected by the sessions at van Swieten's. There is, however, strong evidence support­ ing the influence of these meetings. First, extensive use of counterpoint and employment of double chorus in the Mass, K. 427, which was being written during the time of Mozart's meetings at van Swieten's house, are reminiscent of Bach and Handel. For example, similarities can be readily identified in "Gloria in ex­ celsis" (measures 20-21, 42-43) from Mozart's Grand Mass and Handel's "Hallelujah Chorus" (measures 5-6, et al.) and in Mozart's "Qui tollis" (bass, measures 1-3) and Bach's "Crucifixus" (bass, measures 1-5) in the B-Minor Mass. 13 Additional contrapuntal examples written during the time of the meetings with van Swieten attest to Mozart's heightened interest in that compositional mode: numerous sketches of fugues and canons, ex­ tensive use of imitative technique in compositions (Serenade for Winds, K. 388/384a, Fugue in C, K. 394/383a, Fugue for Two Pianos, K. 426), and transcriptions for string quartet of five fugues from Bach's Well- Tempered Clavier.

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August 1985 Page 15 Kyrie Alzai Ie flebili voci (chorus) been enforced for ten years, and Gloria Cantiam Ie glorie (chorus) Mozart was surely familiar with the Laudamus Lungi Ie care ingrate (solo) limitations. Therefore, it is doubtful Gratias Sii pur sempre (chorus) that these reforms would have Domine Deus Sorgi, 0 Signore (duet) caused him to abandon the work (New) A te fra tanti affani (solo) after he had begun composing K. Qui tollis Se vuoi punischimi (chorus) 427. (New) Fra roscure ombre (solo) A more cogent argument for the Quoniam tu solus Tutte Ie mie speranze (trio) Mass's being left unfinished might Jesu Christe, cum Sancto Spiritu, Amen Chi in dio sol (chorus) be as follows. It has been established that Mozart began writing K. 427 The strength of Davidde penitente movements) to music, one ques­ after making a vow, either to assist lies in the music itself. Whereas the tions why he did not finish the com­ Constanze's recovery from illness or text and the music in Grand Mass in position. to persuade her to marry him. Con­ C Minor combine to create an ar­ First it can be assumed that time stanze's health did return and the tistic whole, the Italian text does not was not a factor in Mozart's failure to marriage took place, which meant match the music's depth of expres­ complete the Mass. A birthday both of Mozart's possible goals had sion..For this reason some musi­ poem from Wolfgang to his sister been accomplished before the Mass cians prefer the incomplete Mass Nannerl, dated 31 July 1783 in was completed. Thus, the con· rather than the completed oratorio. Salzburg,15 assures scholars that tingencies affecting the writing of Mozart was in his native town nearly the Mass were no longer applicable. Part Two three months before the perfor­ It is conceivable that without this mance of K. 427. For a musician motivation Mozart did not feel com­ with Mozart's capabilities, this cer­ pelled to follow through on his pro· Incomplete Nature of the 16 Mass, K. 427 tainly would have been sufficient mise. time to complete the remaining Another plausible conjecture con­ The manuscript of Mozart's Grand movements if he had so desired. cerning the incompletion of K. 427 Mass in C Minor, exists in an in­ The church reforms of Emperor relates to Mozart's earlier exposure complete state. Sections that were Joseph II and ArchbishopColloredo to Bach and Handel at van Swieten's not finished include two movements represent a possible cause for the in­ Sunday morning meetings. of the "Credo," one of the "Osanna" completion of the Mass, K. 427. The Although Mozart respected and was choruses, and the "Agnus DeL" Con­ logic behind this reasoning, intrigued by the contrapuntal com­ sidering Mozart had already set the however, is questionable. The plexity of the Baroque masters' greater part of the Mass text (twelve church's restrictions had' already music, it was not a part of his innate musical language. The numerous existing sketches and fragments from this time (many of which are fugues and other contrapuntal in­ -5TH INC. cipits) demonstrate his struggle in adopting the older style. Some "The Concert Tour CO."TM scholars have suggested that counterpoint was not and possibly invites you to consider a could not become second nature for European Concert Tour Mozart, so he reduced his musical efforts in that compositional mode. for Your Performing Ensemble However, the contrapuntal style was We guarantee: outstanding performance sites the accepted style in sacred choral music, and Mozart attempted to re­ qualitative hotels (all with private faCilities) main true to tradition. Thus, K. 427, qualitative bi-lingual guides and which employs the style of Baroque A fantastic low price! counterpoint, was discontinued in ~~After 27 years we are known as "The Concert Tour Company"TM

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favor of a style that was more com­ timpani remained) and all of the the "Benedictus" was based entirely fortable for Mozart.17 The argument "Benedictus." Therefore, Andre's on Andre's edition.21 A reprint of of Mozart's inability to assimilate edition was of utmost importance this choral/orchestral score from the contrapuntal style is weakened, when the ·Mozart Gesamtausgabe Mozart Gesamtausgabe was pub­ however, when one considers many published its edition of K. 427 in lished by Kalmus in the form of a of his compositions written during 1882. Philipp Spitta, the editor, had miniature study score. and after the Mass, K. 427. the following sources at his In 1901 Alois Schmitt prepared a Probably the greatest single fac­ disposal. For the "Kyrie" and completed version of the Mass, K. tor contributing to the Mass's in­ "Gloria" Spitta was able to use 427, for the Mozart Society of completion was the cool reception Mozart's manuscript. The Andreedi­ Dresden. To complete the Mass Leopold and Nannerl gave Mozart tion plus Mozart's manuscript of the Schmitt used movements from and Constanze upon the couple's ar­ parts for wind instruments and tim­ Mozart's earlier sacred choral works. rival in Salzburg. One of the main pani were references for the "Sanc­ The "Kyrie" and "Gloria" were based purposes of the trip was to mend tus." 'Credo in unum Deum and Et in­ on Mozart's manuscript, but relations between the newlyweds carnatus est were published as Schmitt's completed "Credo" was and Mozart's family. Because fragments from the manuscript, and derived from a number of sources: Leopold and Nannerl's affections were still refused to Constanze, Wolfgang had little hope of improv­ ing the situation with a performance of K. 427 even if Constanze were one of the soloists. As a result, he stopped working on the Mass NEW CHORAL MUSIC: although there was ample time to complete it before the date of the #485 Gloria in Excelsis Deo Dolores Hruby Unis.or 2-Pt 60<:: 18 #486 Happy Are They Natalie Sleeth 2 Part 85<:: concert. #487 Among the Stars of Night Robert Wetzler SATB 60<:: #488 Blessed Is the Man Ronald Anderson SATB 80<:: The Manuscript and Existing #489 Happy Christmas Night Beck /Sateren SATB 30<:: Editions19 #490 A Holy Mystery Is Here Gilbert Martin SATB 75<:: #491 One Family, One Faith Garry A. Cornell SATB 85<:: In 1799, the composer and #492 God Rest You Merry arr., John McIntyre SATB 75<:: publisher Johann Anton Andre #493 Song of Creation Margaret Tucker Unison 60<:: bought more than 280 manuscripts #494 All Poor Men and Humble arr., Robert Wetzler SATB 60<:: from Mozart's widow, Constanze. Among those manuscripts was the CHOiRMASTER CHRISTMAS CARDS Mass under discussion. After Andre received the autograph of K. 427, he XC-17, New for 1985 discovered only three complete $5.00 per dozen, or 50<:: each. movements: the "Kyrie," the Envelopes are included. "Gloria," and the "Benedictus." The "Sanctus" lacked only the second Includes musical setting af "Love Came Down at Christmas," a choir in the "Osanna." For the re­ Christmas greeting, and a word of mainder of the Mass Andre had only thanks. Ideal for sending to the autograph of the two sections of choristers and musician-friends. the "Credo": Credo in unum Deum, which was finished except for violin ALSO: II, viola, and wind parts; and Et incar­ OR-10 Interpretations Based on Hymn-Tunes, Book V, natus est, which consisted of the for Organ, by David Cherwien . .... '.' ... . $5.25 completed soprano solo, the basso HB-2 Shaker Tune for Handbells and Flute, continuo, and the parts for obbligato arr., Ellen Jane Lorenz . 80<:: woodwind instruments. It was from V-8 Wedding Blessing, Vocal Solo by Robert Wetzler . $1. 25 these sections of the autograph and from a copy of the "Kyrie," "Gloria," "Sanctus," and "Benedictus" found PACKETS FOR FALL-CHRISTMAS '85: in a south German monastery that Packet A: $7.50. This is the Packet that was used at our 25th Anniversary Celebration. Contains nearly 50 items! Andre published his edition of Packet B: $2.50. NEW publicatians only, as listed above. Choral Grand Mass in C Minor in 1840. An­ only. dre did not attempt to furnish miss­ PACKETS ARE YOURS TO KEEP! We cannot bill you for packets. ing parts; he followed the autograph Payment must be included with order. Don't forget to give us your exactly.20 name and address! The Prussian State Library pur­ chased all available Mozart ART MASTERS STUDIOS INC. manuscripts from the Andre family 2614 NICOLLET MALL SOUTH ~l MINNEAPOLIS MN 55408-1696 in 1893. Unfortunately, the process resulted in the loss of the "Sanctus" (only parts for wind instruments and August 1985 Page 17 Credo in unum Deum .from manuscript of K. 427 autograph for perusal and study.23 Et incarnatus est .from manuscript of K. 427 Landon based his edition on Andre's Crucifixus from Requiem by Johann Ernst Eberlin copy and the Gesamtausgabe (mistakenly attributed to Mozart) previously discussed. While Landon Et resurrexit.. .from K. 139/114a and K. 323 did complete some missing in­ Et in Spiritum Sanctum .from K. 262/246a strumental and vocal parts (clearly Credo in unam sanctam .from K. 322/296a, K. 337, and labelled as Landon's suggestions), from Credo in unum Deum, K. 427/417a no effort was made to complete the Et vitam venturi. K. 262/246a Mass text as Schmitt had done.

For the "Sanctus" Schmitt used It is interesting to note that Lan­ Differences and Similarities in the extant particella (containing don reported the "Benedictus" of Present Editions and a Comparison parts for wind instruments and tim­ the manuscript was lost in 1873 (see with Mozart's Manuscript pani) to restructure the choral parts. note 21), but Schmitt claims to have Schmitt's restructuring replaced based the same movement on the Of the movements that are in with double chorus the five-part and autograph when writing his edition common between the Schmitt and four-part choruses of the "Sanctus" in 1901. While it is possible Schmitt Landon editions, one finds many and "Osanna," respectively (as had saw the original "Benedictus," the similarities. There are, however, been printed in Andre's edition and current manuscript of K. 427 does some significant differences in the Gesamtausgabe). Schmitt's deci­ not include that movement. Schmitt musical detail. These differences sion to' change the choral voicing completed K. 427, employing music will be ·identified by citing the was based on Mozart's existing in­ from the Mass's own "Kyrie" for the measure number and beat (in strumental parts and the choral and "Agnus Dei." Breitkopf and Hartel, subscript) where a disparity occurs. string parts of the Andre edition. G. Schirmer, and Kalmus have pub­ (Example: Measure 1082 measure The copy of the score by Fischer lished Schmitt's edition. 108, beat 2). In some instances, in­ (see note 19) supports Schmitt's - The most recent printed edition of cipits more readily identify the decision, although recent evidence K. 427 was made by H. C. Robbins disagreements. In other instances, a suggests the original Salzburg per­ Landon, published by Eulen­ brief verbal explanation is sufficient. formance employed only one choir; burg/Peters in 1956. One unusual An asterisk after the editor's name the double choir effect was achieved aspect related to preparation of this indicates agreement with Mozart's through the use of trombones.22 edition was the unavailability of the autograph manuscript.

Kyrie Both editions are the same. Gloria in excelsis Deo Both editions are the same. Laudamus te (1) Schmitt omits measures 45-51 contained in the Landon* edition. (2) Landon* (Example 1; compare with Schmitt, Example 2. These are corresponding measures in the two editions. The discrepancy in the measure numbers is due to Schmitt's omission of measures 45-51.

Example 1. "Laudamus te," measures 54-55 (Landon).

II

.. ., W - -tr - - - II - , I

oJ ~- tIJI1 , . , h,,-:--;;:-- I "

Copyright 1956 by Edition Kunzelmann GmbH., CH ~134 Adliswil/ZH. Used by permission of C. F. Peters Corporation, New York. Page 18 THE CHORAL JOURNAL Example 2. "Laudamus te," measures Gratias Jesu Christe 47·48 (Schmitt). Both editions are the same. Both editions are the same. Domine Cum Sancto Spiritu (1) Measure 733 ; Soprano II Both editions are the same. Landon*: C#2 Credo in unum Deum 1 ca • Schmitt*: c (1) Measure 303 +: Tenor Qui tollis Landon*: d 1 1 (1) Measure 94 : Choir I, Tenor Schmitt: c b1 Landon: d (in vocal score, (2) Measure 381 : Tenor El in orchestral score) Landon*: Tenor divisi, g and d I Schmitt*:el Schmitt: g only (2) Measure 31 4 : Choir II, Alto Et incarnatus est I Landon*: (I (1) Schmitt omits measures 33·39 Copyright © 1956 G. Schirmer, Inc., Schmitt: gl contained in the Landon* edition. In New York. Reprinted courtesy of the Quoniam place of those seven measures he in­ publisher. (1) Measure 533 : Soprano I serts one measure (measure 33). Landon*: b 1 1082)~ Example 5. "Et incarnatus est," (3) Landon (measure Schmitt: c2 measure 33 (Schmitt). Schmitt* (measure 1012)J""'J (2) Measure 1131 : Soprano I (4) Schmitt omits measures Landon: Trill A 117-123 contained in the Landon* Schmitt*: No trill indicated edition. (3) Measure 1244 : Soprano II (5) Landon* (Example 3; compare Landon*: d2 with Schmitt, Example 4.) Schmitt: b 1 A Example 3. "Laudamus te," measures 124·127 (Landon). A ------I eJ ------Copyright © 1956 G. Schirmer, Inc., , New York. Reprinted courtesy of the ttl' , ~~ , publisher. " · . ., l I L....:l I I II (2) Landon* (measure 681): c 1 , ): n -..... ~ ~ ~a-- .:. ) j Schmitt (measure 621 b (with , optional c) (3) Schmitt omits measures 70-77 - contained in the Landon* edition. Copyright 1956 by Edition KunzelmannGmbH.• CH 8134 AdliswillZH. ased by Sanctus and Benedictus permission of C. F. Peters Corporation, New York. The facsimile of the Mass, K. 427, contains only sketches of the "Sanc· Example 4. "Laudamus te," measures 110·113 (Schmitt). tus" and "Osanna," and the "benedictus" is missing entirely. It is " therefore difficult to determine which editor is correct. In some in­ 4U te,------.-' glo.rL fi - ca. _ - stances the discrepancies between ~ the two editions are slight and may fr ~ . . . fr,/ -a"- • I· " be difficult to discern audibly. · In other instances the discre­ tV , I III'" I I pancies are more obvious and would ~~. ~ n r-... . ;, .;. .fL1I- ~ .;. ] ) be apparent to listeners. l'. Orchestration

Copyright © 1956 G. Schirmer. Inc., New York. Reprinted courtesy of the When studying the orchestration publisher. of the Mass, K. 427, one finds numerous similarities between the editions by Alois Schmitt and H. C. BUCKNELL CHORAL MUSIC RENTAL Robbins Landon. Closer inspection A professional music program Large selection, reasonable rates. Write for reveals some fundamental dif­ in an outstanding liberal·arts setting listing, terms and rates - New York Choral ferences. One of these differences is full member: NASM Society, 165 W. 57 St., New York, New York BUCKNELL UNIVERSITY 10019, Atl: Michael Deitch the role of the organ. Schmitt fre­ Dept. of Music, Room 107 quently employed the organ in Lewisburg, PA 17837 homophonic style. In contrast, Lan- August 1985 Page 19 don attempted to portray Mozart's bling the lower three choral movement Landon indicates the preferred use of tasto solo for the parts-alto, tenor, and bass-were continuation of the trombones, organ. Landon's alternating sections assumed in Salzburg sacred choral whereas Schmitt omits these three of tasto solo and figured bass are in music written in the eighteenth cen­ instruments. Due to the tradition of agreement with Mozart's instruc­ tury. In this case, however, confu­ that time, Mozart probably thought tions in the existing manuscript. sion is understandable due to the it unnecessary to specify trombones Another difference found when fact that Mozart did indeed write in each movement.26 comparing the orchestration in the "Tro" (trombone) in the soprano As in the "Kyrie," Schmitt uses Schmitt and Landon editions con­ part as well as in the customary alto, the organ sparingly in the "Gloria in cerns the organ in collaboration tenor, and bass parts. More than excelsis Deo." Figured-bass mark­ with the contrabass and violoncello.. likely this was an error. After the ings in Mozart's autograph suggest a It was common for church music of "Kyrie" was written, Mozart pro­ more involved use of the keyboard the late eighteenth century to have bably marked the trombone indica­ instrument. the bass instruments play with the tions in haste. In so doing he Schmitt also makes two in­ bass line of the organ part. Mozart's mistakenly wrote "Tro" on the strumental additions that should be insertion of the violoncello in soprano staff.25 identified. The two flutes and two "Quoniam" and "Credo in unum Another discrepancy is found in clarinets Schmitt notated in this Deum" might indicate he also the organ part of the "Kyrie." second movement are probably in­ wanted the cello to double the bass Schmitt omits the organ in several accurate.lt is known that neither of line.24 Landon instructed the cello to sections of this movement where these woodwind instruments was double the bass line of the organ, Mozart has indicated figured bass in readily available in Salzburg. whereas Schmitt created a part for the manuscript. Because the organ "Laudamus te": In this movement violoncello and contrabass that was is the only keyboard instrument Mozart specifically indicated the independent of the organ part. employed in the Mass, K. 427, bassoons should play with the con­ Other discrepancies between the presence of a figured bass would trabass/continuo. Landon followed two present performing editions are seem to indicate the composer the composer's instructions; more easily observed when each desired that that keyboard instru­ Schmitt, however, provided movement is discussed individually. ment be used. It should also be separate parts for the bassoons. "Kyrie": A noticeable disparity in noted that there are a few instances As in previous movements, the the opening movement is Schmitt's where the organ chord realized by organ part in Schmitt's edition is in­ employment of four trombones Schmitt does not agree with the complete when compared to compared to three trombones in the numbers written by Mozart. Mozart's figured-bass indications in Landon edition. Trombones dou- "Gloria in excelsis Deo": In this the manuscript.

.---i.

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Page 20 THE CHORAL JOURNAL "Gratias": Mozart again neglected "Credo in unum Deum": As in the to," and "Credo in unum Deum") to instruct the trombones to play, previous two movements, Schmitt Schmitt suggests flutes and although their participation can be includes flutes (two) and clarinets clarinets in the orchestration of the assumed. Landon included the (two) in "Credo in unum Deum." "Sanctus." trombones as tradition dictated. There is, of course, no such indica­ "Osanna": In this double fugue Schmitt omits the trombones in this tion in Mozart's autograph. Schmitt discontinues the flute parts section. The fact that the "Credo" re­ but instructs the clarinets to play ad Schmitt employs the organ for on­ mained an incomplete sketch has libitum with the oboes. ly three measures of the "Gratias" been discussed previously in this Landon continues to employ the although Mozart composed a study. Because Mozart left the organ in practice consistent with the figured bass for the greater part of movement unfinished, it is difficult earlier movements: alternating sec­ the movement. to ascertain Mozart's intended role tions of tasto solo and figured bass. "Domine": Schmitt and Landon for the trombones. Trombones are (The organ and string parts, as well agree with the autograph in most not included in the manuscript, and as the second chorus parts, do not aspects of this movement. Both both Schmitt and Landon exclude exist in the autograph manuscript.) modern editors correctly duplicate them in their respective editions. Schmitt refrains from using the the bass in the bassoon part. Because Mozart did not indicate organ in the first thirty-five One discrepancy does occur in an organ part in the manuscript, one measures of the forty-four measure the organ part of Schmitt's edition. can only conjecture about the fugue. In measure 36 Schmitt has Schmitt not only omits much of the keyboard's use in the "Credo." Lan­ the organ enter, doubling choir I and keyboard's part, but some of the don's edition contains alternating continuing for three measures. chords are inaccurate realizations of sections of tasto solo and figured Then, after two and one-half Mozart's figured bass. bass' that are consistent with measures of rest, the organ re-enters "Qui tollis": Besides the in­ Mozart's employment of the organ to assist in the cadential preparation complete organ part in "Qui tollis," elsewhere in the Mass, K. 427. The and the cadence. Schmitt suggests one other error: use of the organ in Schmitt's edition "I?enedictus": The only disagree­ "Clar. col Oboi ad lib." is a is infrequent, and it is in a ment in orchestration between the fallacious addition. homophonic style. Schmitt and Landon editions in this "Quoniam": Mozart's autograph "Et incarnatus": Schmitt omits movement (not contained in the contains alternating sections of the organ part for the entire move­ manuscript) comes in the use of the tasto solo and figured bass in this ment, whereas Landon employs the organ. Schmitt omits the organ for movement. For that reason' organ through use of his own figured the complete "Benedictus." Schmitt's failure to include an organ bass and tasto solo markings. Landon's edition again alternates part in "Quoniam" is questionable. Because "Et incarnatus" remained a sections of figured bass and tasto "Jesu Christe": In this brief six­ sketch, Mozart's complete inten­ solo (clearly indicated as the editor's measure movement, Schmitt pro­ tions are unknown. suggestions). vides two flute parts and suggests "Sanctus": Mozart's existing use of clarinets with the oboes. Both sketch of the "Sanctus" contains no Summary of these additions are probably not strings or organ. Schmitt and Lan­ authentic. Schmitt also employs the don agree on the string parts, but While many scholars en­ organ in parallel octaves rather than opinion differs on the use of the thusiastically commend Schmitt for providing a realization of Mozart's organ. Landon continues to employ bringing Mozart's Grand Mass in C figured bass. the organ in alternating sections of Minor back into prominence, his The Landon edition agrees with figured bass and tasto solo. Schmitt methods and procedures for com­ the manuscript. provides homophonic organ accom­ pleting the Mass are questioned. Did "Cum Sancto Spiritu": Schmitt's paniment. Mozart intend to employ the same orchestration of this fugue is a con­ As in previous movements ("Qui music for the "Kyrie" and the tinuation of the orchestration of tollis," "Jesu Christe," "Cum Sanc- "Agnus Dei"? Are Mozart's earlier "Jesu Christe." Thus the flutes and clarinets remain intact. The employment of the organ in Schmitt's edition does not seem to coincide with Mozart's manuscript. The 160 voice Anchorage, Alaska, Community Chorus now ac­ Mozart wrote the word "tasto" above the bottom staff at the beginning of cepting applications for a guest musical director and conductor the "Cum Sancto Spiritu." This for the Spring, 1986, concert. This part-time position involves would suggest an organ part at the conducting rehearsals on Monday evenings from January 13, start of this movement. Therefore, 1986, through March 31, 1986, and added rehearsals as needed. one questions Schmitt's failure to Dress rehearsal April 3; concerts on April 5 and 6, 1986. Salary include the organ in "Cum Sancto DOE. Application deadline is Sept. 30, 1985. Send resume, Spiritu" until the final thirty-three credentials, any tapes or letters of recommendation to: An­ measures. (The organ plays in only chorage Community Chorus, P.O. Box 103738, Anchorage, Ak. fourteen of those thirty-three 99510. measures.) Landon's edition coincides with Mozart's manuscript once again. August 1985 Page 21 works inserted by Schmitt in K. 427 ment's restrictions, an explanation of the be coincidental. It is known that a copy of worthy of the mature product of political influences is helpful when studying Bach's a·Minor Mass was in van Swieten's the Mass, K. 427. library. [Isabelle P. Emerson, "The Role of 1782-1783? Certainly, the fact that 3Landon, Essays, p. 92. Counterpoint in the Formation of Mozart's Schmitt mistakenly included the 40tto Jahn, Ufe of Mozart, trans. Pauline Late Style" (ph.D. dissertation, Columbia "Crucifixus" by Eberlin (attributing D. Townsend (New York: Kalmus, 1970), University, 1977), p. 29.] it to Mozart) detracts from the 2:395. 14Davidde penitente is the first (known) col· credibility of Schmitt's effort.27 5Emily Anderson, ed" The Letters of laboration of Mozart and da Ponte. Future Mozart and His Family, 2 vols., 2nd ed., rev. successes of this duo included Le Nozze di Although the autograph was by A. Hyatt King and Monica Carolan (Lon· Figaro, K. 492; Don Giovanni, K. 527; and unavailable to Landon, his 1956 edi­ don: Macmillan, 1966), p. 124. Cosi fan tutte, K. 588. tion is in closer agreement with 6Anderson, The Letters of Mozart, 2nd ed., l5Anderson, The Letters of Mozart, 2nd ed., Mozart's manuscript than is 2:800. 2:858·859. Schmitt's edition. Landon's employ­ 7Keys, Mozart, p. 158; Eric Blom, Mozart 16Erich Hertzmann, "Mozart's Creative Pro· (London: J. M. Dent and Sons Ltd., 1940), p. cess," in The Creative World of Mozart, ed. ment of both orchestra and voices 124. Lang, p. 23. closely follows the original. In addi­ BLudwig Ritter von Kochel, Chronologisch· t7Einstein, Mozart, p. 135; Hugh Ottoway, tion, Landon's editorial markings, thematisches Verzeichnis siimtlicher Tonwerke Mozart (London: Orbis Publishing, 1979), p. and, in some cases, completion of Wolfgang Amade Mozarts, 7th ed., edited by 108. Franz Giegling, Alexander Weinmann, and 16Goeffrey Crankshaw, "Mozart's Mass in C parts (clearly identified as editorial Gerd Sievers (Wiesbaden: Breitkopf and Minor," Musical Opinion 77 (February suggestions) coincide with much of Hartel, 1965), p. 418. 1954):275; Eric Blom, Mozart (London: J. M. the recent research on K. 427. For 9Anderson, The Letters of Mozart, 2nd ed., Dent and Sons Ltd., 1940), p. 125. these reasons, the author of this arti­ 2:834. 19A discussion of the manuscript and ex· cle suggests careful consideration of IORecent research has shed new light con· isting editions would be incomplete without cerning the incomplete "Credo." The celebra· mentioning three additional copies of K. 427 the more recent edition when study­ tion of St. Amand, Bishop of Maastricht, was not discussed in the text. First, in 1847 a ing Mozart's Grand Mass in C Minor, an annual special occasion in the Church of Viennese musician, Joseph Drechsler, com· K.427/417a.28 St. Peter every October 26. It was customary pleted the Mass, K. 427, for a performance. to sing large·scale Masses minus the "Credo" The score was not published and the music for these celebrations when the mentioned no longer exists. NOTES date did not fall on a Sunday. If October 26 Another copy of K. 427 was commissioned did fall on a Sunday, the Mass usually includ· by Johann Anton Andre. This copy, by Peter 1Alfred Einstein, Mozart: His Character, His ed the "Credo." October 26 was a Sunday in Matthaus Fischer, is housed in the Austrian Work, trans. Arthur Mendel and Nathan 1783. [Monika Holl and Karl·Heinz Kohler, National Library. Broder (London: Oxford University Press, Foreword to Neue Mozart Ausgabe, Grand In addition, parts for three trombones and 1982), p. 348; H. C. Robbins Landon, ed., Mass in C Minor, K. 427/417a (Kassel: organ of K. 427 were located in the Heilig Essays on the Viennese Classical Style (Lon· Barenreiter, 1983), p. X.] Kreuz of Augsburg. Some corrections are don: The Cresset Press, 1970), p. 90; Ivor "Einstein, Mozart, p. 147. marked in Mozart's own hand. It is interesting Keys, Mozart: His Music and His Ufe. (London: 12Anderson, The Letters of Mozart, 2nd ed., to note these parts are in B·flat minor. One Granada Publishing, 1980), p. 159. 2:800. possible reason for this transposition is that 2Although Grand Mass in C Minor, l3Simiiarities between Bach's a·Minor Mass Constanze was unable to sing the high notes K. 427/417a, did not conform to the govern· and Mozart's Grand Mass in C Minor may not in the original key (Holl and K6hler, Foreword to Neue Mozart·Ausgabe, pp. xi, xv, and xvi). A copy of the autograph (still unavailable in the West) and a copy of the Heilig Kreuz edition were examined by the author for this study. 2°Holl and Kohler, Foreword to Neue Mozart·Ausgabe, p. xvi. 2lWolfgang Amadeus Mozart, Missa in C MinorK. 427/417a, ed. by H. C. Robbins Lan· don (New York: Ernst Eulenburg Ltd., 1956), Christmas Music From p. xiii. SANJO MUSIC CO. 22Holl and Kohler, Foreword to Neue Compositions By Mozart·Ausgabe, pp. xvii·xviii. 23For an excellent account of Mozart's MARSHALL BIALOSKY manuscript of K. 427, as well as other A Christmas Collage - SATB a cappella 2.50 valuable manuscripts, see Paperchase by 10 carols done in canonic or quodlibet style, Nigel Lewis (London: Hamish·Hamiiton, Ltd., interesting new textures, and easy to do. . 1981). Red Bird in a Green Tree - SATB a cappella 2.50 A cumulative, secular Christmas song SImilar to the 24Holl and Kohler, Foreword to Neue "Twelve Days", but without the mechanical repetitions, Mozart·Ausgabe, p. xvii. and using much more variety and polyphony. 25Holl and Kohler, Foreword to Neue The Twelve Blessings of Mary - SATB a cappella ....2.50 Mozart·Ausgabe, p. xvii. A North Carolina Christmas spiritual given an entirely new musical setting to the old words. 26 Holl and Kohler, Foreword to Neue He Came All So Still - SSAA a cappella 2.00 Mozart·Ausgabe, p. xvii. A new musical setting of the medieval English text. 271n defense of Schmitt, it should be said A Christmas Hymn - mezzo-soprano (or alto) voice, that Mozart had copied Eberlin's "Crucifixus" clarinet, viola, cello, and finger cymbals 7 .00 as an exercise. Therefore, the composition A solo song setting of three verses from Richard Wilbur's poem, "A Christmas Hymn" was indeed in Mozart's hand; this may explain An effective contrast to the choral section of your Schmitt's error. Christmas program. 2BThe cost of the piano/vocal score of the Mass, K. 427, in the 1982·1983 catalogs of All of the above music is available from the: Kalmus and Peters is $6.00 and $9.50, SANJO MUSIC CO. respectively. The 1983·1984 catalog from G. Box 7000·104 • Palos Verdes Peninsula, CA 90274 Schirmer listed the same Mass for $9.95. Postage costs will be extra. Perusal copies must be purchased, but the cost will be deducted from future orders.

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