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WOLFGANG AMADEUS MOZART Sacred Vocal WOLFGANG AMADEUS MOZART Series I Sacred Vocal Works WORK GROUP 1: MASSES AND REQUIEM SECTION 1: MASSES • VOLUME 1 PRESENTED BY WALTER SENN 1968 New Mozart Edition I/1/1/1 Masses · Volume 1 Neue Mozart-Ausgabe (New Mozart Edition) 1 WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna 1 Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications IV New Mozart Edition I/1/1/1 Masses · Volume 1 CONTENTS Editorial Principles . VI Foreword . VII Facsimile: leaf 1 r of the autograph of KV 49 (47 d) = No. 1 . XXI Facsimile: autograph of the fragmentary draft of the Gloria of KV 49 (47 d) = Appendix No. 1 . XXII Facsimile: leaf 1 r of the autograph of KV 139 (114 a = KV 3a : 47 a) = No. 2 XXIII Facsimile: leaf 1 r of the autograph of KV 65 (61 a) = No. 3 . XXIV Facsimile: leaf 1 r of the autograph of KV 66 = No. 4 . XXV Facsimiles: two pages from the parts material for KV 66 = No. 4 . XXVI Facsimile: sketch for the Gloria of KV 66 = Appendix No. 10 . XXVII Facsimile: page 1 of the Battuta part of KV 140 (Appendix 235 d = KV 6: Appendix C 1.12) = No. 5 . XXVIII 1. Missa brevis in G KV 49 (47 d) . 3 2. Missa in C minor KV 139 (114 a = KV 3a : 47 a) . 37 3. Missa brevis in D minor KV 65 (61 a) . 159 4. Missa in C (“Dominicus Mass”) KV 66 . 185 5. Missa brevis in G KV 140 (Appendix 235 d = KV 6: Appendix C 1.12) 285 A p p e n d i x 1. Fragmentary draft for the Gloria of the Missa brevis in G KV 49 (47 d) . .. 315 2. Alternative, possibly later version of measures 182–195 from the Credo of the Missa brevis in G KV 49 (47 d) = KV Appendix 20 a (KV 6: 626 b/25) . 316 3. Original, eliminated version of measures 24–35 from the Credo of the Missa in C minor KV 139 (114 a = KV 3a : 47 a) . 317 4. Original, crossed out conclusion of the Missa in C minor KV 139 (114 a = KV 3a : 47 a) . 319 5. Sketch for the Kyrie of the Missa brevis in D minor KV 65 (61 a), mm. 11ff. = mm. 32ff. (facsimile and transcription) . 320 6. First, crossed out version (draft) of the Benedictus from the Missa brevis in D minor KV 65 (61 a) . 320 7. Second, crossed out version of the Benedictus from the Missa brevis in D minor KV 65 (61 a) 320 8. Third, eliminated version of the Benedictus from the Missa brevis in D minor KV 65 (61 a) 321 9. Beginning of the Kyrie from the Missa in C KV 66 in the original instrumentation . 322 10. Sketch for the Gloria from the Missa in C KV 66, mm. 310ff. 324 11. First, crossed out version of the Credo (“Et resurrexit”, mm. 134ff.) from the Missa in C KV 66 . 326 12. Original, eliminated version of the final measures of the section beginning “Et resurrexit” (“non erit finis”, mm. 166ff.) of the Credo from the Missa in C KV 66 327 International Mozart Foundation, Online Publications V New Mozart Edition I/1/1/1 Masses · Volume 1 EDITORIAL PRINCIPLES The New Mozart Edition (NMA) provides for indicated according to the following scheme: letters research purposes a music text based on impeccable (words, dynamic markings, tr signs) and numbers in scholarship applied to all available sources – italics; principal notes, accidentals before principal principally Mozart’s autographs – while at the same notes, dashes, dots, fermatas, ornaments and smaller time serving the needs of practising musicians. The rests (half notes, quarters, etc.) in small print; slurs and NMA appears in 10 Series subdivided into 35 Work crescendo marks in broken lines; grace and ornamental Groups: notes in square brackets. An exception to the rule for numbers is the case of those grouping triplets, I: Spiritual Vocal Works (1–4) sextuplets, etc. together, which are always in italics, II: Theatrical Works (5–7) those added editorially in smaller print. Whole III: Songs, Part-Songs, Canons (8–10) measure rests missing in the source are completed IV: Orchestral Works (11–13) tacitly. V: Concertos (14–15) The title of each work as well as the VI: Church Sonatas (16) specification in italics of the instruments and voices at VII: Large Solo Instrument Ensembles (17–18) the beginning of each piece have been normalised, the VIII: Chamber Music (19–23) disposition of the score follows today’s practice. The IX: Keyboard Music (24–27) wording of the original titles and score disposition are X: Supplement (28–35) provided in the Critical Commentary in German. The original notation for transposing instruments has been For every volume of music a Critical retained. C-clefs used in the sources have been Commentary (Kritischer Bericht) in German is replaced by modern clefs. Mozart always notated available, in which the source situation, variant singly occurring sixteenth, thirty-second notes etc. readings or Mozart’s corrections are presented and all crossed-through, (i.e. instead of ); the other special problems discussed. notation therefore does not distinguish between long or Within the volumes and Work Groups the short realisations. The NMA generally renders these in completed works appear in their order of composition. Sketches, draughts and fragments are placed in an the modern notation etc.; if a grace note of Appendix at the end of the relevant volume. Sketches this kind should be interpreted as ″short ″ an additional etc. which cannot be assigned to a particular work, but indication ″ ″ is given over the relevant grace note. only to a genre or group of works, generally appear in Missing slurs at grace notes or grace note groups as chronological order at the end of the final volume of well as articulation signs on ornamental notes have the relevant Work Group. Where an identification generally been added without comment. Dynamic regarding genre is not possible, the sketches etc. are markings are rendered in the modern form, e.g. f and p published in Series X, Supplement (Work Group 30: instead of for: and pia: Studies, Sketches, Draughts, Fragments, Various). The texts of vocal works are adjusted following Lost compositions are mentioned in the relevant modern orthography. The realisation of the bass Critical Commentary in German. Works of doubtful continuo, in small print, is as a rule only provided for authenticity appear in Series X (Work Group 29). secco recitatives. For any editorial departures from Works which are almost certainly spurious have not these guidelines refer to the relevant Foreword and to been included. the Critical Commentary in German. Of the various versions of a work or part of a A comprehensive representation of the editorial work, that version has generally been chosen as the guidelines for the NMA (3 rd version, 1962) has been basis for editing which is regarded as final and published in Editionsrichtlinien musikalischer Denk- definitive. Previous or alternative forms are mäler und Gesamtausgaben [Editorial Guidelines for reproduced in the Appendix. Musical Heritage and Complete Editions]. The NMA uses the numbering of the Köchel Commissioned by the Gesellschaft für Forschung and Catalogue (KV); those numberings which differ in the edited by Georg von Dadelsen, Kassel etc., 1963, pp. third and expanded edition (KV 3 or KV 3a ) are given in 99-129. Offprints of this as well as the Bericht über die brackets; occasional differing numberings in the sixth Mitarbeitertagung und Kassel, 29. – 30. 1981 , edition (KV 6) are indicated. published privately in 1984, can be obtained from the With the exception of work titles, entries in the Editorial Board of the NMA. score margin, dates of composition and the footnotes, all additions and completions in the music volumes are The Editorial Board International Mozart Foundation, Online Publications VI New Mozart Edition I/1/1/1 Masses · Volume 1 FOREWORD The first volume of Masses in the New Mozart their extensive texts, to be minimised; this was, Edition (NMA) contains five compositions, until well into the 19 th century, considered in no written between 1768 and probably 1773. Of way disrespectful to the Liturgy. 3 Polytextual these, four (Nos. 1–4) appeared in the old Mozart underlay is encountered in Mozart only in the Edition (AMA), while KV 140 (Appendix 235 d = Mass KV 65 (61 a), Credo, measures 16ff., 24ff. KV 6: Appendix C 1.12), whose autograph is lost, and 84. The conclusions of the Gloria and Credo, was not included there because of reservations usually with the conventional Fugato, and the regarding stylistic points. Since then, sources have section “ Dona nobis pacem ”, in which the Mass been discovered which confirm the authenticity of closes in an expression of serenity customary the work and thus justify its inclusion in the since the beginning of the 18 th century and NMA.
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