A Conductor’s Guide to Representative Choral Music of Leopold Mozart (1719-87)

A document submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Ensembles and Conducting Division of the College-Conservatory of Music

2012

by

Sea Hwa Jung

B.M., Yonsei University 2005

M.M., Colorado State University, 2007

Advisor: L. Brett Scott, D.M.A.

Reader: Jonathan Kregor, Ph. D.

Reader: Earl Rivers, D.M.A.

Abstract

Leopold Mozart (1719-87) was a well-known musician to his contemporaries and his music was widely circulated. Although he is now primarily known as a violin instructor and court musician, his choral output is significant and was an important contribution to eighteenth century Salzburg choral music. In this document, representative works will be chosen and discussed in detail to provide a conductor’s guide to Leopold Mozart’s choral compositions.

In Chapter I, a brief summary of Leopold Mozart’s biography will be provided. An overview of Leopold’s choral output and compositional style, a review of the available sources and editions of his choral compositions, and the general features of his choral music will also be discussed. In Chapters II, III, and IV, selected works will be examined in various ways. Graphs, including structural analysis, key area, texture, and text incipit, will be provided along with a detailed discussion of Leopold’s compositional techniques. Performance issues will be discussed, and solutions will be suggested.

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CONTENTS

Abstract ……………………………………………………………………………………… iii Contents …………………………………………………………………………………….. v List of Figures and Structural Analysis ………………………………………….………….. vi List of Musical Examples ……………………………..…………………………………….. vii

Introduction …………………………………………………………………………………. 1

Chapter I – Leopold Mozart’s Choral Music a. Brief Biography …………………………………………………………… 4 b. Review of Sources and Editions ………………………………………...... 6 c. Background and Characteristics of Choral Music ………………………… 9

Chapter II – Masses d. Missa Brevis in C Major, Carlson IA2a (KV 115) ……………………….. 14 e. Missa Solemnis in C Major, Carlson IA2b ……………………………….. 21 f. Missa Brevis in A Major, Carlson IA3 …………………………………… 35

Chapter III – Litanies g. Litaniae de venerabili in C Major, Carlson IB1 …………………………... 4 2 h. Litaniae de venerabili in D Major, Carlson IB2 …………………………... 53 i. Litaniae lauretanae de B. V. M. in Eb Major, Carlson IB3 ……………...... 63

Chapter IV – Offertories j. Offertorium de Beata Virgo Maria in C Major, Carlson IC3 ……………... 70 k. Offertorium de Sanctissimo Sacramento, Carlson IC4 …………………… 75 l. Offertorium sub exposito venerabii, Carlson IC5 …………………………. 78

Conclusion ……………...…………………………………………………………………... 81

Bibliography ………………………………………………………………………………… 82

Appendices a. Text and Translation of the Litanies ……………………………………… 85 b. Text and Translation of the Offertories …………………………………… 91

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List of Figures

Figure 1.1: The Positioning of the Performance Forces at Salzburg Cathedral …………….. 13 Figure 2.1 the Chronology of Carlson IA2a ……………….………………………………... 15 Figure 2.2: The Differences and similarities between Carlson IA2a and Carlson IA2b ……... 23

List of Structural Analysis

Missa Brevis in C Major, Carlson IA2a (KV 115) …………………………………………. 20 Missa Solemnis in C Major, Carlson IA2b …………………………………………………. 29 Missa Brevis in A Major, Carlson IA3 ……………………………………………………... 40

Litaniae de venerabili in C Major, Carlson IB1 …………………………...... 50 Litaniae de venerabili in D Major, Carlson IB2 …………………………...... 58 Litaniae lauretanae de B. V. M. in Eb Major, Carlson IB3 ……………...... 69

Offertorium de Beata Virgo Maria in C Major, Carlson IC3 ……………...... 73 Offertorium de Sanctissimo Sacramento, Carlson IC4 ……………………………………... 77 Offertorium sub exposito venerabii, Carlson IC5 …………………………………………… 80

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List of Musical Examples

Example 1.1: Carlson IA2a, Kyrie m. 6, alto ……………………………………………….. 16 Example 2.2: Carlson IA2a, Kyrie mm. 18-22, soprano & tenor …………………………… 16 Example 2.3: Carlson IA2a, Gloria mm. 1-2 ………………………………………………. 17 Example 2.4: Carlson IA2a, Gloria mm. 38~45 ……………………………………………. 18 Example 2.5: Carlson IA2a, Credo mm. 42 ~46 ……………………………………………. 19 Example 2.6: Carlson IA2a, Credo mm. 72~75 …………………………………………….. 19 Example 2.7: Carlson IA2b, Kyrie m. 68 …………………………………………………… 24 Example 2.8: Carlson IA2b, Credo mm. 13-14 …………………………………………….. 25 Example 2.9: Carlson IA2b, Crucifixus mm. 1-3 …………………………………………… 26 Example 2.10: Carlson IA2b, Sanctus mm. 32-32 ………………………………………….. 27 Example 2.11: Carlson IA2b, Hosanna mm. 5-6 …………………………………………… 27 Example 2.12: KV192, Credo mm. 135-end ……………………………………………….. 36 Example 2.13: KV 257, Credo mm. 270-274 ………………………………………………. 36 Example 2.14: Carlson IA3, Credo mm. 1-3 ……………………………………………….. 36 Example 2.15: Carlson IA3, Gloria m. 1 …………………………………………………… 37 Example 2.16: Carlson IA3, Credo m.1 …………………………………………………….. 37 Example 2.17: Carlson IA2a, Credo mm. 122-123 …………………………………………. 38 Example 2.18: Carlson IA3, Credo mm. 89-90 …………………………………………….. 39 Example 3.1: Carlson IB1, Kyrie mm. 11-13 ……………………………………………….. 44 Example 3.2: Carlson IB1, Kyrie mm. 18-20 ……………………………………………….. 44 Example 3.3: Carlson IB1, Kyrie mm. 27-29 ……………………………………………….. 44 Example 3.4: Carlson IB1, Kyrie mm. 31-33 ……………………………………………….. 44 Example 3.5: Carlson IB1, Kyrie mm. 38-40 ……………………………………………….. 44 Example 3.6: Carlson IB1, Panis, mm. 1-2 …………………………………………………. 45 Example 3.7: Carlson IB1, Panis, mm. 5-6 …………………………………………………. 45 Example 3.8: Carlson IB1, Panis, mm. 10-11 ……………………………………………… 45 Example 3.9: Carlson IB1, Verbum mm. 6-10 ……………………………………………… 46 Example 3.10: Carlson IB1, Verbum mm. 58-63 …………………………………………… 47 Example 3.11: Carlson IB2, Tremendum mm. 1-8 …………………………………………. 48 Example 3.12: Carlson IB2, Kyrie mm. 13-16 ……………………………………………… 53 Example 3.13: Carlson IB2, Kyrie mm. 31-34 ……………………………………………… 53 Example 3.14: Carlson IB2, Kyrie mm. 72-end …………………………………………….. 54 Example 3.15: Carlson IB2, Panis vivus mm. 60-63 ……………………………………….. 55 Example 3.16: Carlson IB2, Panis omnipotentia mm. 105-end …………………………….. 56 Example 3.17: Carlson IB3, Kyrie m. 7 …………………………………………………….. 63 Example 3.18: Carlson IB3, Kyrie m. 7 revised …………………………………………….. 64 Example 3.19: Carlson IB3, Kyrie mm. 15-16 ……………………………….……………... 64

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Example 3.20: Carlson IB3, Salus Infirmorum mm. 1-2 …………………………………… 65 Example 3.20: Carlson IB3, Salus Infirmorum mm. 1-2 …………………………………… 66 Example 3.22: Carlson IB3, Regina Angelorum mm.27-28 ………………………………... 66 Example 3.23: Carlson IB3, Regina Angelorum mm. 74-75 ……………………………….. 66 Example 3.24: Carlson IB3, Regina Angelorum mm. 119-120 …………………………….. 67 Example 3.25: Carlson IB3, Agnus Dei mm. 24-25 ………………………………………… 67 Example 3.26: Carlson IB3, Agnus Dei mm. 33-34 ………………………………………… 69 Example 4.1: Carlson IC3, Coro mm. 33-35 ………………………………………………. 71 Example 4.2: Carlson IC3, Alleluja mm. 19-21 ……………………………………………. 71 Example 4.3: Carlson IC3, Alleluja mm. 39-42 ……………………………………………. 72 Example 4.4: Carlson IC3, Alleluja mm. 66-73 ……………………………………………. 72 Example 4.5: Carlson IC4, m. 1 …………………………………………………………….. 75 Example 4.6: Carlson IC4, m. 7 …………………………………………………………….. 76 Example 4.7: Carlson IC5, Coro: mm. 3-7 …………………………………………………. 79

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INTRODUCTION

As a church composer, Leopold stands at the height of his time.

-Wolfgang Plath1

Leopold Mozart (1719-87) has often been researched in the context of his influence on his famous son Wolfgang Amadeus Mozart (1756-91). It is easy to forget that Leopold was an active musician and composer during his lifetime and created a significant body of choral music.

Leopold himself emphasized his choral works in his autobiography: “Of the manuscript compositions by Herr Mozart which have become known, numerous contrapuntal and other church pieces are especially noteworthy.”2 His son Wolfgang also recognized the importance of his father’s choral works. In several letters to his father, Wolfgang asked to have copies of his father’s church compositions in order to study and even to perform them.

Some scholars have undervalued Leopold’s music, but many recent eminent Mozart scholars are reappraising his compositions. Ernst Fritz Schmid writes that “Leopold Mozart was a talented musician who well understood his craft as a composer....many of his church pieces, of which we find masses, litanies, offertories and many others in considerable number are among the best that he wrote.”3 German musicologist Christian Friedrich Daniel Schubart also states:

“his liturgical works are of greater worth than his chamber pieces.”4 Walter Senn and Wolfgang

Plath, directors of the Neue Mozart Ausgabe, state that “in this work Leopold Mozart has

1 Wolfgang Plath, “Zur echtheitsfrage bei Mozart,” from Mozart Jahrbuch, trans.by David Carlson (1971/72), 24. 2 Alfred Einstein, Mozart, His Character, His Work, trans. by Arthur Mendel and Nathan Broder, (New York: Oxford University Press, 1945), 5-6. 3 Ernst Fritz Schmid, “Leopold Mozart,” in Lebensblilder ausdem Bayerischen Schwaben, ed. by Götz Freiherrn von Pölnitz, trans. by David Carlson, (München: Max Hueber Verlag, 1954), Vol. 3, 357. 4 Christian Friedrich Daniel Schubart, Ideen zu einiger Ästhetik der Tonkunst, trans. by Linda Marianiello, (Vienna: Hildesheim, 1969), 157-58. 1 submitted proof of his eminent skill as a church composer,” and “as a church composer, Leopold stands at the height of his time.”5

Even though Leopold himself and later scholars emphasized the worth of Leopold’s choral music, his choral compositions have not been researched or frequently performed. The most extensive source for information on Leopold’s choral music is David Carlson’s dissertation.6 However, Carlson’s study has been limited to establishing the authenticity of certain choral compositions and providing a thematic catalogue.

I have chosen representative works from such liturgical genres as masses, litanies, and offertories not only because the majority of Leopold’s choral compositions are in these genres, but also because the chosen pieces exhibit both the diversity of compositional techniques and the juxtaposition of new and traditional forms that characterize his choral music.

A brief summary of Leopold Mozart’s biography will be provided in Chapter I. This biography will touch mainly on his professional career as a choral composer. An overview of

Leopold’s choral output and compositional style, a review of the available sources and editions, and the general features of his choral music will also be included in this chapter. In Chapters II,

III, and IV, each work will be examined in several ways. Graphic analysis including structural analysis, key area, texture, and text incipit will be provided with a detailed discussion of his compositional techniques. For indicating such as instructions and titles in the scores, certain texts are intentionally made bold. Performance issues will be discussed, and possible solutions will be suggested.

5 Walter Senn, ed., Preface from Sakramentslitanei in D von Leopold Mozart, trans. by David Carlson serie X: Supplement, Werkgruppe 28, Abteilung 3-5, Band 1, of Neue Mozart Ausgabe, IX 6 David Morris Carlson, The Vocal Music of Leopold Mozart (1719~1787). Authenticity, Chronology and Thematic Catalog, PhD Diss., (Ann Arbor: University of Michigan, 1976). 2

This conductor’s guide will focus exclusively on Leopold Mozart’s choral compositions.

Chosen representative works will be discussed in detail and a practical conductor’s guide will be provided to encourage conductors and performers to study and perform this significant body of literature created by one of most important composers in the eighteenth century.

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CHAPTER I

Leopold Mozart’s Choral Music

Brief Biography

Leopold Mozart, the eldest son of a bookbinder, was born in 1719 in Augsburg, Germany.

At an early age he learned to play the violin and organ and to sing. He also took Classical languages, literature, and philosophy classes at St. Salvator Jesuit College. He was a choirboy at the Church of St. Ulrich and St. Afra, and at the monastery of Heilig Kreuz. In 1737 he matriculated at Salzburg’s Benedictine University, an institution which consisted of students from all over south Germany and Austria.7

His career as a professional musician is not generally well-known. When he left the university, Leopold found his first employment in 1740 as valet and musician with one of the cathedral canons, the Swavian President of the Consistory, Count Johann Baptist Thurn-

Valsassina and Taxis. During this term, he composed and dedicated to his employer his first collection, a set of six church sonatas for two violins and basso continuo.8

Three choral works may have led to his appointment in 1743 as fourth violinist in the court orchestra of Archbishop Firmian.9 One of them, an oratorio-like Cantata written in 1741,

Christus Begraben, Carlson IF1, was for three voices, only the text of which has been preserved with recitatives, arias, a duet and concluding chorus. A school drama written in 1742, Antiquitas personata, Carlson IE1 and a passion cantata from 1743, Christus Verurtheilt, Carlson IF2, for 4

7 Ruth Halliwell, The Mozart Family: four lives in a social context, (Oxford: Oxford University Press, 1998), 4. 8 Ibid. 16. 9 Cliff Eisen, “Leopold Mozart,” in The New Grove Dictionary of Music and Musicians, 2nd Edition, ed. by Stanley Sadie, (New York: Grove’s Dictionaries, 2001) 4 voices and chorus are the other early works from before his appointment.10 With the exception of these three compositions, the historical background of his works is not well-known and most of them do not even have known composition dates.

Although Leopold and his wife Maria Anna struggled with the illnesses and deaths of five children between 1747 and 1756, he remained a very active composer. He rose steadily up the ranks of the violinists in the court orchestra and began to teach violin to the choirboys in

1744. In 1763, he advanced to the position of Vice Kapellmeister following the death of the

Kapellmeister Johann Eberlin, but could not attain the position of Kapellmeister.

The year 1756 was a turning point in Leopold’s life. He took over violin instruction at the Kapellhaus and wrote his famous Violinschule, which was the most recognizable achievement in his career and republished in many different languages after the first edition. His son Wolfgang was also born that year. After recognizing Wolfgang’s prodigious talent, Leopold turned his attention to his son’s development, even though he still continued to perform his works as a court musician.

Leopold stopped composing around 1771 and, after Wolfgang’s departure to Vienna, became increasingly more reclusive until he died in 1787.

10 Alfred Einstein, Preface in A Treatise on the Fundamental Principles of Violin Playing, trans. by Editha Knocker, (Oxford: Oxford University Press, 1985), xvi. 5

Review of Sources and Editions

The review of the existing literature on Leopold Mozart clearly shows a lack of scholarship on his choral music. Christian Broy has compiled the principal bibliography of

Leopold.11 A survey of this bibliography reveals that most of the listed sources focus on either

Leopold’s instrumental music or his relationship with his son.

In the early twentieth century, the first attempt to produce a thematic catalogue of

Leopold Mozart’s music was undertaken by Max Seiffert.12 Later, more works were found and added to the catalogue by such scholars as Cliff Eisen and David Carlson. Seiffert’s Ausgewälte

Werke von Leopold Mozart includes not only the catalogue but also the modern edition of

Litaniae de venerabili, Carlson IB1, and Offertorium de Sanctissimo Sacramento, Carlson IC4.

My guide to these works will be based on Seiffert’s edition.

Eisen has done extensive research on both Leopold and Wolfgang Mozart. Much of his research focuses on Leopold’s instrumental music. In his dissertation, he asserts “Leopold was the finest and most experienced teacher in Salzburg” and discusses both Leopold and Wolfgang

Mozart’s symphonies. 13 In Chapter V, he recreates the chronology of Leopold’s symphonies and briefly discusses the authenticity and chronology of his choral music with an example from

KV 115. Eisen also published modern editions of Leopold Mozart’s symphonies with prefaces that are useful to understand the historical background and musical features of Leopold’s

11 Christian Broy, “Leopold-Mozart-Bibliographie,” Mozart-Jahrbuch, (2005): 261-98. 12 Leopold Mozart, “Ausgewälte Werke von Leopold Mozart” ed. by Max Seiffert, Denkmäler der Tonkunst in Bayern: Vol. 9, Bd. 2, (Leipzig: Breitkopf & Härtel, 1908). 162-478. 13 Cliff Eisen, “The Symphonies of Leopold Mozart and Their Relationship to the Early Symphonies of Wolfgang Amadeus Mozart: A Bibliographical and Stylistic Study,” Ph. D. diss., (Cornell University, 1986), 202. 6 music.14 Eisen’s article Mozart and Salzburg is also a useful guide to the historical background of Salzburg music in the eighteenth century. 15

The most significant source of information on Leopold’s choral music is David Carlson’s dissertation. Through critical study of previous research and existing manuscripts, he asserted the worth of Leopold’s vocal works and established the authenticity of certain of these compositions. The thematic catalogue he provided is a primary source for the present study and has been used in recent publications of Leopold’s music.

Since a little more than ten of Leopold’s choral works are published, the availability of his music is an issue. As mentioned above, Seiffert made modern editions of one litany and one offertory.

Leopold’s well known Missa Solemnis in C major, Carlson IA2b, was published in a piano reduction by Douglas Townsend.16 The first performing edition in full score was edited by

Reinhold Kubik and published by Hänssler, and the first contemporary performance was done in

1981.17 Currently, Carus-Verlag publishes this composition.

The supplement of Neue Mozart-Ausgabe includes two litanies. Walter Senn edited

Litaniae de venerabili in D Major, Carlson IB2 and published it in 1973. Litanie lauretane de B.

V. M. in Eb Major, Carlson IB3, was edited by Ernst Hintermaier and published in 1990.18

14 Leopold Mozart, Sinfonia, edited by Cliff Eisen, (Wellington, New Zealand: Artaria, 1997). 15 Cliff Eisen, “Mozart and Salzburg,” in the Cambridge Companion to Mozart, ed. by Simon P. Keefe, (Cambridge: Cambridge University Press, 2003), 7-21. 16 Leopold Mozart, Missa Solemnis in C, ed. by Douglas Townsend, (New York: Sam Fox Publishing Company, 1963). 17 Leopold Mozart, Preface in Missa Solemnis in C, ed. by Reinhold Kubik, (Stuttgart: Carus-Verlag, 1995), XV. 18 Leopold Mozart, Neue Mozart-Ausgabe: Digitized Version, X/28/abt. 3-5/1, 1a, (Kassel: Barenreiter- Verlag, 2006). 7

The following are the published works and their current available editions:

Masses • Missa Brevis in C Major, Carlson IA2a (KV 115) – fragment o Carus-Verlag 40.642 • Missa Solemnis in C Major, Carlson IA2b o Carus-Verlag 27.008 • Missa Brevis in A Major, Carlson IA3 o Carus-Verlag 27.051 • Missa Brevis in F Major, Carlson IA4 (KV 116) – fragment o Kalmus Study Score; no. 995

Litanies • Litaniae de venerabili in C Major, Carlson IB1 o Denkmäler der Tonkunst in Bayern: Vol. 9, Bd. 2 • Litaniae de venerabili in D Major, Carlson IB2 o Neue Mozart-Ausgabe: Digitized Version, X/28/abt. 3-5/1 • Litaniae lauretanae de B. V. M. in Eb Major, Carlson IB3 o Neue Mozart-Ausgabe: Digitized Version, X/28/abt. 3-5/1a

Offertories • Offertorium de Beata Virgo Maria in C Major, Carlson IC3 o Carus-Verlag 27.289 • Offertorium de Sanctissimo Sacramento, Carlson IC4 o Denkmäler der Tonkunst in Bayern: Vol. 9, Bd. 2 • Offertorium sub exposito venerabii, Carlson IC5 o Köchel, Ludwig, Ritter von., Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts, 6th ed.19

Other Works • Veni Sancte Spiritus in C Major, Carlson ID3 o Kurthen, Wilhelm, “Studien zu W. A. Mozarts Kirchenmusikalischen Jugendwerken,” Zeitschrift für Musikwissenschaft, 1921, Beilage II20 • Psalm 130 o Carus-Verlag 2.11321

19 Ludwig Ritter von. Köchel, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts, 6th ed. by Franz Giegling, Alexander Weinmann [und] Gerd Sievers, Serie 3, No. 23., (Wiesbaden, Breitkopf & Härtel, 1964), 59-72. 20 Wilhelm Kurthen, “Studien zu W. A. Mozarts Kirchenmusikalischen Jugendwerken,” Zeitschrift für Musikwissenschaft, 1921, Beilage II, (Leipzig, Breitkopf und Härtel, 1971-), 366-70. 21 Armin Kircher, Chorbuch Mozart/Haydn, (Stuttgart, Carus-Verlag, 2005), 84. 8

Background and Characteristics of Choral Music

Leopold considered himself a “modern” composer, but later scholars had different views.22 The early nineteenth century scholar Schubart characterized Leopold’s style as follows:

“His style was a bit old-fashioned, but solid and filled with contrapuntal insight.”23 Twentieth century scholars generally agree that Leopold’s music strove for a fusion of different styles. His compositions seem more modern and innovative than contemporaries such as Johann Eberlin,24 but include older techniques, such as the stile antico contrapuntal approaches of the post-

Palestrina style.25 Alfred Einstein stated that Leopold’s music developed during ‘the old classical style,’ as represented by Corelli, Handel, and Bach, and began to give way to the ‘gallant style.’

Eisen remarks that “Leopold’s symphonies also represent the transition from late Baroque to early Classical in terms of overall form and style.”26

As discussed in the brief biography, some minor works contributed to Leopold’s early musical career, but Leopold’s major choral compositions were primarily masses, litanies and offertories. According to Carlson’s catalogue, twenty-seven choral compositions are extant, which includes five masses, five litanies and five offertories.

Settings of the Mass are the most prominent genre in Leopold’s choral output. He composed both missa brevis and missa solemnis settings. To have the appropriate length in the brevis setting, he mixed short contrapuntal and homophonic phrases. In Carlson IA2b, which is

22 Cliff Eisen, “Leopold Mozart,” in The New Grove Dictionary of Music and Musicians, 2nd Edition, ed. by Stanley Sadie, (New York: Grove’s Dictionaries, 2001) 23 Schubart, 157-58. 24 Heinz J. Herbort, Die Messen des Johann Ernst Eberlin, PhD diss., trans. by Linda Marianiello, (Münster: University of Münster, 1961). 25 Karl August Rosenthal, “The Salzburg Church Music of Mozart and His Predecessors,” trans. by Theodore Baker, The Musical Quarterly, 18/4, (1932): 560. 26 Cliff Eisen, The Symphonies of Leopold Mozart and Their Relationship to the Early Symphonies of Wolfgang Amadeus Mozart: A Bibliographical and Stylistic Study, Ph. D. diss., (Cornell University, 1986), 188. 9 a solemn mass setting, he begins the whole mass with sonata-allegro form and finishes certain movements with a fugue, following established traditions. Other than that, most of the sections in his choral music have a similar musical idea, but are developed in various ways. It is not easy to label the forms as A-A' or A-B because of the variety of his musical styles. At a result,

Roman numeral labels are used for the structural analysis in this document. In addition to this, some sections that are not divided into subsections are simply labeled with the beginning of the text. Leopold’s detailed text treatment, which is one of the most distinguished features in his mass settings, will be discussed in Chapter II.

The Litany is one of the major choral genres composed by Leopold Mozart. Carlson catalogued in his dissertation five litanies, of which three are published. The Litany is in a prayer form with petitions to God, the Virgin Mary, or the Saints in the form of a varying invocation by a leader and a fixed congregational response. Between 1926 and 1928, Karl

Rosenthal and Schneider arranged and catalogued all the music manuscripts dated from the seventeenth to the nineteenth centuries found in the Salzburg Cathedral library. Most of the litany settings in the catalogue, which Rosenthal and Schneider cataloged during this time, are either Litaniae Lauretanae or Litaniae de venerabili altaris sacramento.27

The most frequently set litany text is Litaniae Lauretanae (Litany of Loreto) whose name is taken from the Italian town of Loreto. The Loreto Litanies were used during daily afternoon or evening services and occasionally during private celebrations of Mass at both the cathedral and at St. Peter’s in Salzburg. Litaniae de venerabili altaris sacramento (Litanies of the

Venerable Sacrament of the Altar) is also one of the popular litanies. The text describes the

27 Karl Rosenthal, “Mozart’s Sacramental Litanies and Their Forerunners,” Musical Quarterly 27 (1948), 435. 10 mysteries and powers of the Eucharist. The Sacramental Litanies were used during the three-day ceremony in which the Blessed Sacrament is exposed on the altar for public worship. 28

Each composer could choose different ways to divide the litanies into separate movements. The Kyrie and Agnus Dei are set in the outer movements, but the arrangements of other movements are set based on greater consideration of the music than the text.29 The divisions of the movements in Leopold’s settings are as follows:30

Carlson IB1 – Kyrie, Panis vivus, Verbum caro factum, Panis omnipotentia, Viaticum, Pignus, Agnus Dei Carlson IB2 – Kyrie, Panis vivus, Verbum caro factum, Hostia sancta, Tremendum, Panis omnipotentia, Viatium, Pignus, Agnus Dei Carlson IB3 – Kyrie, Sancta Maria, Speculum Justitiae, Salus infirmorum, Regina angelorum, Agnus Dei

Leopold tried many approaches to text painting in his mass settings. A certain motivic idea is frequently set on many sections of texts which could be defined as a mono-motivic form.

Detailed examples will be discussed in Chapter III.

The Offertory setting is the third main genre Leopold favored, but its features are not very different from the two other genres. The three published offertories have different texts, performing forces and styles. Even though Leopold used various compositional techniques, he always concluded the whole work with a choral tutti.

Leopold’s string writing was well-crafted. One of the most distinguished features in his writing is the melodic and rhythmic independence of the strings from the choir. The violin, as well as the viola, is more virtuosic in his writings than any of his contemporaries. The viola

28 Bruno Kazenas, The litanies of Wolfgang Amadeus Mozart : a comparative analysis, DMA Dissertation, (Cincinnati: University of Cincinnati, 1985), 10-18. 29 Ibid., 37-38. 30 Ibid., 170-71 11 frequently doubles the basso continuo, appearing as col basso,31 or follows the violins, but

Leopold also uses the viola as an independent instrument. The oboe, flute and horn are seldom set in the Salzburg orchestra, but the trumpet and timpani are frequently used to reinforce the rhythm.

Leopold composed music for specific venues - the Salzburg Cathedral, St. Peter’s

Monastery, the Benedictines at Nonnberg in Salzburg, and the Cathedral at Lambach in upper

Austria between ca. 1740-68.32 The first two main venues, St. Peter’s Monastery and the

Salzburg Cathedral, had different performing conditions. The ensemble at St. Peter’s Monastery was composed of students and usually consisted of three sopranos, three altos, a fluctuating number of tenors and basses and the orchestra. In comparison, the Salzburg Cathedral not only exceeded St. Peter’s in terms of physical size, but the size of the choir and orchestra was much larger than at St. Peter’s monastery. The choir was about thirty voices and the orchestra comprised of twelve stringed instruments played by court musicians.

Schmid described the placement of the musicians of the two institutions.33 The choir at

St. Peter’s Monastery was located in the loft at the back of the church. In the Salzburg Cathedral there were five lofts, four of which were located at the intersection of the cathedral quadrant and the fifth one located at the rear side of the church. One organ was placed in each loft and another was located in the altar along with a thirty-voice choir in a setting that assisted in the performance of antiphonal style music such as the Baroque concertato style. Although it is not necessary or may not be possible to perform in the same conditions as Leopold intended, it is

31 Manfred Herman Schmid, Mozart und die Salzburger Tradition, (Tutzing: Hans Schneider, 1976), 251- 62. 32 Armin Kircher, Foreword in Missa in A, trans. by John Coombs, (Stuttgart: Carus-Verlag, 2008), 6. 33 Schmid, 255. 12 helpful to know his performance setting. Schmid’s illustration follows, describing the performance setting at Salzburg Cathedral:34

[Figure 1.1: The Positioning of the Performance Forces at Salzburg Cathedral]

Organ

Continuo Group Choir Trombone Strings Soloists Oboe Conductor Flute

Trumpet Trumpet Timpani Timpani Horn

34 Schmid, 259. 13

Chapter II

Masses

Missa Brevis in C Major, Carlson IA2a (KV 115)

• Forces: SATB Choir with Organ Continuo • Performance Edition: Carus-Verlag 40.64235

Carlson IA2a, thought be composed no later than 1764,36 was long considered to be one of Wolfgang’s pieces and was catalogued as such by Ludwig von Köchel. Offenbach’s publisher,

Johann Anton André, purchased the manuscript of the Missa brevis in C major from Constanze

Weber. This original manuscript has disappeared, and later scholars followed Köchel’s assessment.37 According to the handwritten manuscript, the composition date was from the beginning of the 1770s and was thought to be one of young Wolfgang’s Italian counterpoint exercises.38 Hermann Abert pointed out “the strict counterpoint throughout” and “the extremely brief form of the individual movements” and confirmed it as Wolfgang’s composition.39 On the other hand, Alfred Einstein asserted that the work was associated with Salzburg church music, and showed the influence of Michael Haydn and Johann Eberlin.40 Bernhard Paumgartner, who published a performing edition of the piece, agreed with Einstein’s assertion. Since the original manuscript consisted only of the Kyrie through measure 9 of the Sanctus, the remaining of the movements were composed by Paumgartner.

35 Leopold Mozart, Missa brevis C-dur. Edited by Willi Schulze. Stuttgart: Carus-Verlag, 1983. 36 Carlson, 145. 37 Carlson, 146. 38 Karl Pfannhauser, “Epilegomena Mozartiana,” trans. by E. D. Echols, Mozart-Jahrbuch (1971/72), 299. 39 Hermann Abert, W. A. Mozart, tans. by Stewert Spencer, (New Haven: Yale University Press, c2007), 307. 40 Ludwig Ritter von Köchel, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amade Mozarts, trans. by E. D. Echols, (Ann Arbor: J. W. Edwards, 1947), 225. 14

Karl Pfannhauser was the first to suggest that this mass was written by Leopold rather than by Wolfgang. This view was supported by its association with Leopold’s Missa solemnis in

C Major, and Pfannhauser argued it was unlikely that it was composed by Wolfgang, who would have been eight years old at the time. The chronology of this mass is summarized in the following chart:41

[Figure 2.1: the Chronology of Carlson IA2a]

1800 Johann Anton André Purchased the manuscript from Wolfgang Amadeus (Offenbach Publisher) Mozart’s widow

1860 Ludwig von Köchel Found the manuscript in André’s house; Noted “at the beginning of the 1770s”

1862 Ludwig von Köchel Catalogued as Wolfgang’s KV115

1923 Herman Abert Considered it young Wolfgang’s counterpoint practice in the Italian style

1937 Alfred Einstein Associated with Wolfgang’s Salzburg studies in the manner of Michael Haydn and Johann Ernst Eberlin

1950 Bernard Paumgartner Agreed with Einstein’s assertion

1971 Karl Pfannhauser Initially suggested the possibility of it being Leopold’s music

Compared to other Salzburg composers’ Kyrie settings, Leopold’s Kyrie has a unique formal structure. Most of Kyrie settings are clearly divided into three parts following the text, but Leopold’s Kyrie was composed more based on music rather than text. In mm. 10-17, “Kyrie eleison” and “Christe eleison” are not placed in any pattern but appear freely. Although Leopold

41 Willi Schulze, Foreword in Missa brevis C-dur, trans. by E. D. Echols. (Stuttgart: Carus-Verlag, 1983), 3.

15 does not follow the standard text pattern, he uses a head motive in each part after five measures of slow introduction. The head motive appears in measure 6:

[Example 2.1: Kyrie m. 6, alto]: head motive

The soprano and tenor parts are interesting in the last five measures, moving in a similar pattern and making imitative writing.

[Example 2.2: Kyrie mm. 18-22, soprano & tenor]

Homophony and polyphony are both used, but polyphony dominates. This feature led some scholars to believe that this work was one of young Wolfgang’s counterpoint exercises.

Einstein calls the work a “motet mass,” in which counterpoint predominates, but not to the complete neglect of homophonic simplicity.42

The treatment of the text in the Gloria and Credo movements of a Missa brevis is interesting. Leopold mixed homophonic sections and short contrapuntal sections to set the extensive texts in both movements. Even though the writing is brief and concise imitation over all, both the Gloria and the Credo end with an extended fugal section.

42 Alfred Einstein, Mozart, his character, his work, trans. by Arthur Mendel and Nathan Broder, (New York, Oxford University Press, 1962), 346. 16

Another outstanding figure in the Gloria and Credo is rhythmic vitality through use of syncopation. After the incipit, he introduced syncopated rhythm from the very beginning. This rhythmic figure is used frequently in the Gloria and Credo as in the following example:

[Example 2.3: Gloria mm. 1-2]

Frequent tempo and meter changes are one of features in both the Gloria and the Credo.

Leopold set such texts as “misere nobis,” “crucifixus,” and “mortuos” in an adagio tempo. In the section of Musical Technical Terms in Leopold’s Versuch einer gründlichen Violinschule,43 the vivace tempo is considered to be between quick and slow, which is different from contemporary understanding. Since the Gloria and Credo start allegro and have adagio sections, he may have intended the vivace to be between allegro and adagio. The “miserere” section in the Gloria is an example of this. The slow tempo features minor and fully diminished chords.

43 Leopold Mozart, A treatise, 52-53. 17

[Example 2.4: Gloria mm. 38-45]

Leopold clearly divided out the last cum sancto section from the Gloria, but he did not mark any tempo change for the section. I would suggest an allegro tempo at the beginning. The key returns to C Major as in the beginning, and it further unifies the movement to have the cum sancto fugue with the same tempo as the beginning. I also suggest a fermata just before the new section to create a clear break before the final section.

Two clear examples of word painting are found in the Credo. As many composers conventionally did, Leopold used falling and rising melismatic dialogues between the soprano and alto voices on “descendit” and “ascendit,” which mean “descended” and “ascended.” At the same time, he added his own “new” technique. Both soprano and alto have very similar melismas, but the beginnings of the melisma are inverted. The soprano moves a whole step down from the first note. and the alto moves a step up.

18

[Example 2.5: Credo mm. 42-46]

[Example 2.6: Credo mm. 72-75]

A variety of dynamics can be added to this composition. The Gloria of Carlson IA2a includes extended homophonic passages. Sometimes these passages repeat the text, which calls for different dynamics. I would suggest a f-p-f dynamic contrast in measures 7-9 to reflect the text laudamus te, benedicimus te, and adoramus te. In measures 18-22, propter magnam gloriam tuam is repeated three times with a descending bass line and an ascending soprano line. I suggest using a gradual crescendo to gain more energy for moving forward to the next section.

The Gloria of Carlson IA2a includes a lot of text and provides no place to breathe. For efficient breath, a conductor needs to shorten and unify the value of the last note of phrases. It is necessary to have enough time between phrases and sections, not only for the breath, but also for the flow of the whole movement.

19

Structural Analysis of Carlson IA2a

Kyrie • Introduction (Adagio): mm. 1-5 (5) • Allegro. Alla breve: mm. 5-end (6+6+5)

Gloria • Allegro: mm. 1-37 (6+6+10+7+8) • Adagio-Vivace: mm. 38-67 (3+5+4+4+7+7) • Cum Sancto Spiritu: mm. 68-end (36)

Credo • I. (Allegro): mm. 1-47 (10+4+4+7+11+6+5) • II. (Adagio): mm. 48-69 (8+14) • III. (Vivace-Adagio): mm. 70-83 (3+4+7) • IV. (Vivace-Adagio): mm. 84-125 (9+7+8+8+5+5) • V. (Alla breve): mm. 126-end (61)

20

Missa Solemnis in C Major, Carlson IA2b

• Forces: SATB Soli, SATB Choir, Flute, 2 Horns, 2 Trumpets, Timpani, Strings and Organ Continuo • Performance Edition: Carus-Verlag 27.008/0144

As discussed earlier in this document, the Missa Brevis in C (Carlson IA2a) and the

Missa Solemnis in C (Carlson IA2b) are closely related to each other. When Pfannhauser initially suggested that Carlson IA2a was Leopold’s, the most convincing evidence was its relationship with his best-known choral work, Carlson IA2b. Many parts of Carlson IA2b are quoted from Carlson IA2a and developed in the manner of solemnis style. As part of creating a solemnis mass from a brevis mass, Leopold added instruments, which are flute, 2 horns, 2 trumpets, timpani, and strings to the original mass for voices and continuo.

Another way he developed the preexisting music was to add newly composed sections.

The differences and similarities between the two settings are illustrated in the following table:45

44 Leopold Mozart, Missa Solemnis in C, edited by Reinhold Kubik, (Stuttgart: Carus-Verlag, 1995). 45 Reinhold Kubik, Preface in Missa solemnis in C, trans. by Anthony Pringsheim, (Stuttgart, Carus-Verlag: 1995), XVII. 21

[Figure 2.2: The Differences and similarities between Carlson IA2a and Carlson IA2b]

Carlson IA2b From Carlson IA2a Newly Composed Kyrie eleison SATB w/soli Gloria in excelsis Deo SATB w/soli Laudamus te Soprano solo Gratias agimus tibi mm. 1-21 mm. 13-33 mm. 22-23 m. 34 (equivalent) mm. 24-27 (3/4 meter) mm. 35-37 (4/4 meter) mm. 28-33 Solo (Adagio) mm. 34-41 mm. 38-45 mm. 42-49 Solo (Adagio) mm. 50-57 mm. 46-53 mm. 58-65 Solo (Adagio) mm. 60-72 mm. 53-60 Quoniam tu solus Sanctus Alto Solo Cum Sancto Spiritu mm. 1-4 Slow Introduction mm. 5-end mm.68-end Credo in unum Deum SATB Et in unum Dominum Tenor Solo Et incarnates est mm. 1-6 mm. 48-53 mm. 7-end (6 measures) mm. 54-55 modified Crucifixus SAB Soli Et resurrexit mm. 1-3 Tenor Solo mm. 4-28 mm. 70-92 mm. 29-33 Added w/similar material mm. 34-94 B & S soli mm. 95-101 Tutti mm.102-end mm. 122-125 modified Et vitam venturi saeculi mm. 1-end mm. 126-end

The mass is a Cantata-Mass in which the longer movements, Gloria and Credo, are divided into several sections. It is in stile misto, which is composed of choruses alternating with

22 solo movements of a concertante or arioso character.46 Most of the choral writing is polyphonic contrasted with homophonic choral writing and solo sections.

The unusual instrumentation makes it likely that this mass was not composed for the

Salzburg Cathedral, but for the arch-chapter house of St. Peter.47 In the Salzburg tradition, many masses are composed as missa brevis type without viola. The viola writing in missa solemnis settings usually doubles the voices, but this mass has independent viola writing. The horn and trumpet writing also make this mass different from the typical Salzburg mass.

Many missa solemnis begin with a declamatory grandioso introduction performed by choir and full orchestra. The introduction of Carlson IA2b is composed for the choir and basso continuo without the other instruments. The texture is imitative rather than declamatory and homophonic.

The structural division in the Kyrie of Leopold’s mass is unique. The introduction sets

Kyrie eleison, then the allegro goes onto the Christe eleison. Not only in the introduction, but also in the Allegro, the division of the Kyrie text does not follow established conventions as mentioned in the section of Carlson IA2a.

Even if it is not clearly divided by text, the Kyrie is structured through the use of sonata- allegro form. His use of the sonata-allegro form is precise and strict. The orchestral exposition is reused for the first theme of the choral exposition, but it is slightly modified to support the choral parts and to modulate to the second theme.

46 Ernst Hintermaier, Die Salzburger Hofkapelle von 1700 bis 1806, Organization und Personal,diss. (Salzburg, 1972), 69. 47 Kubik, XV

23

Leopold uses dynamic contrasts to reinforce his syncopated rhythm: he places “fp” on the weak beat as a special effect on measure 68. Leopold also uses dynamics to ensure a proper balance between soloist and orchestra in this movement, and in other movements in the mass.

[Example 2.7: Kyrie m. 68]

After a jubilant opening in the Gloria, Leopold follows the convention of the cantata- mass by using a soprano soloist for the Laudate Te. The strings are decorated with trills and sixteenth notes, and the soprano passages are tuneful and virtuosic.

The majority of the Gratias agimus tibi movement is reused from Carlson IA2a, but new solo passages are inserted. His tempo changes frequently occur between text divisions. With

Carlson IA2a, since Leopold considered vivace as a tempo between quick and slow, the tempi changes between adagio and vivace tempi should be done not too extremely. The orchestral parts double the choral lines, but not the soloist lines.

The Quoniam tu solus Sanctus is set for alto soloist, and the whole Gloria ends with a long fugue on the Cum Sancto Spiritu text.

The Credo is also composed of multiple movements. It begins with an overture-like movement, Credo in unum Deum. Declamatory brass parts and virtuosic string parts support the antiphonal choral writing in measures 13-14 where the head motives of the upper and lower two parts in the choir are inverted with each other as in the following example:

24

[Example 2.8: Credo mm. 13-14]

The Et incarnatus est is from Carlson IA2a with added strings colla parte. The incarnation is painted with several fully diminished seventh chords that are resolved with dominant seventh chords.

The Crucifixus is newly composed music that is performed by the unusual combination of strings, trumpet, timpani and a solo trio of soprano, alto, and bass. This trio scoring is never used in other choral settings by Leopold. Schmid states the orchestration of this movement follows Viennese funeral music, because the muted trumpet and timpani were not used in funerals at the Salzburg Cathedral.48 Trumpet and timpani in this movement reinforce the rhythm rather than the melody.

48 Schmid, 118. 25

[Example 2.9: Crucifixus mm. 1-3]

For an effective performance, it is necessary to determine appropriate dynamics and articulation for this movement. The Reinhold Kubik edition would be a good reference. I believe the chosen combinations of f and p are drawn from some fragments of the cello part and take into account balance considerations between the orchestra and chorus. The diminuendo in the last three measures effectively creates a sense of funeral music. In terms of the choir’s articulation , declamatory singing with highlighted consonants works for “crucifixus,” and sigh- like singing follows for “etiam pro nobis.” To reinforce the harmonic tension at the text “passus,”

I recommend legato singing.

From C minor of Crucifixus, Leopold chooses C major for the Et resurrexit. It starts with a newly composed tenor melisma, then an exact quotation from Carlson IA2a. After the quotation, the vocal soli of bass and soprano are paired with the instrumental soli of trumpet and violin. It starts with the trumpet solo, and then the bass solo sings “Et in Spiritum Sanctum

Dominum” while the trumpet decorates the bass solo. The section is finally finished with paired trumpet and bass soli. The first violin and the soprano soli are written in the same way. It is necessary to match the articulations in those parts. the text painting of “resurrectionem” and tempo change from “resurrectionem” to “mortuorum” in the last five measures.

26

After the majestic opening of the Sanctus, a dramatic tempo change follows for “pleni sunt coeli et terra.” From Leopold’s specified marks of staccato and slurring in the string parts, a conductor can determine the articulation of the choir. He indicates two different kinds of articulation in measure 31 of Sanctus and measure 5 of Hosanna. A conductor may choose one, but the one of Hosanna would be more reliable after considering other articulation marks in the two movements.

[Example 2.10: Sanctus mm. 32-32]

[Example 2.11: Hosanna mm. 5-6]

The last two movements have various combinations between soli and choir. The Dona nobis pacem starts with various combinations of trios, the soli leading to sing the text “dona

27 nobis pacem” and choir answering with the text “pacem,” The chorus concludes the mass with the homophonic “dona nobis pacem.” The 3/4 meter Leopold uses to set the Dona nobis pacem creates a jubilant finish to the whole mass and is used again in the Missa brevis in A major,

Carlson IA3.

28

Structural Analysis of Carlson IA2b

Kyrie 1. Kyrie eleison – Sonata-allegro form • Introduction (Adagio): mm. 1-7 (2 ½ + 2 ½ + 2)

Measure numbers 1 2 3 4 5 6 7 Subdivision S+A T+B Imitation Imitation Keys & Cadences C V I V M Text Kyrie eleison

etc. Chorus + Basso Continuo only

• Orchestral Exposition (Allegro): mm. 8-23 (6+5+5)

8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

C V V I V I M

Full Orchestra f (composer’s dynamic marking)

• Vocal Exposition: mm. 24-41 (6+7+5)

24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Theme I Transition Theme II

V G V M Christe eleison, Kyrie eleison eleison eleison, Christe eleison

Orchestra + Choir (Tutti)

29

• Development: mm. 42-64 (5+8+9+1)

42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 Orchestral Interlude Soprano solo Alto solo f I V I c i G m M Christe eleison, Kyrie eleison Christe eleison, Kyrie eleison

Orchestral only Strings, continuo and soprano solo Strings, continuo and alto solo Orchestra- f between soprano phrases Orchestral-f between alto phrases

62 63 64 65

C I M

• Recapitulation: mm. 65-end (6+7+6)

65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 Theme I Transition Theme II

I V V V I

Christe eleison, Kyrie eleison eleison, Kyrie eleison eleison, Christe eleison

Tutti

Gloria 2. Gloria in excelsis (Allegro) • Prelude: mm. 1-11 (4+5+2) • I: mm. 12-28 (4+5+2+4+2) • II: mm. 29-37 (4+5) • Postlude: mm. 38-end (4)

3. Laudamus te (Un poco allegro e grazioso) – Soprano solo • Prelude: mm. 1-14 (6+8) • I: mm. 15-42 (11+10+7) • Interlude: mm. 43-47 • II: mm. 48-99 (6+7+4+14+9+4+8) • Postlude: mm. 100-end (4+4+8)

30

4. Gratias agimus tibi • Gratias (Adagio): mm. 1-10 (4) • Domine Deus (Vivace): mm. 11-23 (7+6) • Qui tollis: mm. 24-27 (4) • Miserere (Adagio): mm. 28-36 (6+3) • Qui tollis (Vivace): mm. 37-41 (5) • Suscipe (Adagio): mm. 42-53 (6+2+4) • Qui sedes (Vivace): mm. 54-57 (4) • Miserere (Adagio): mm. 58-end (6+2+7)

5. Quoniam tu solus Sanctus (Allegro moderato) – Alto solo • Prelude: mm. 1-28 (10+13+5) • I: 29-60 (10+6+6+5+5) • Interlude: mm. 61-74 (4+5+5) • II: 75-120 (8+6+5+5+5+5+5+7) • Postlude: 121-end (5+4+6)

6. Cum Sancto Spiritu Introduction (Adagio)

Measure numbers 1 2 3 4 Subdivision Introduction CM Keys & Cadences V

Text Cum Sancto Spiritu.

etc. Independent string line

Entry I (Allegro)

5 6 7 8 9 10 11 12 13 14 15 16 17 18 Sop/VlnI Subject Bass/Vc&DB Ten/Vla Alto/VlnI V I GM V

Cum Sancto Spiritu in Gloria Dei, Amen. Counter subject in “Amen”

31

Entry II

19 20 21 22 23 24 25 26 27 Bass/Vc&DB Sop/VlnII I V I CM V Cum Sancto Spiritu in Gloria Dei, Amen.

Bass has false entry on m. 27

Entry III

28 29 30 31 32 33 34 35 36 37 38 39 40 Ten/Vla Subject Ten/Vla Subject Sop/VlnI Sop/VlnI Bass/Vc&DB I V I V I IV I

Cum Sancto Spiritu in Gloria Dei, Amen. Amen. Strettos Plagal Cadence

Credo 7. Credo in unum Deum (Allegro) • I: mm. 1-12 • II: mm. 13-end (3+3+5+5+2) • 8. Et in unum Dominum (Moderato) – Tenor solo • Prelude: mm. 1-19 (6+7+6) • I: mm. 20-51 (6+6+10+5+5) • Interlude: mm. 52-55 (4) • II. mm. 56-98 (4+4+6+4+11+9+5) • Postlude: mm. 99-end (5)

9. Et incarnatus est (Adagio) • (8+5)

10. Crucifixus (Adagio) • (6+4+2+4+3+2+3)

32

11. Et resurrexit (Allegro) • Tutti I: mm. 1-33 (3+4+4+8+9+5) • Bass Solo: mm. 34-64 (9+10+12) • Soprano Solo: mm. 65-94 (7+9+5+9) • Tutti II: mm. 95-end (7+5)

12. Et vitam venture saeculi

Measure numbers 1 2 3 4 5 6 7 8 9 10 Subject Sop/VlnI Subject Alto/VlnII

Keys & Cadences CM

Text Et vitam venture saeculi. Amen.

etc.

11 12 13 14 15 16 17 18 19 20 Ten/Vla Bass/Vc & DB V/V V V

Et vitam venture saeculi. Amen.

21 22 23 24 25 26 27 28 29 Sop/VlnII Alto/VlnI I

Et vitam venture saeculi. Amen.

30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 Bass/Vc & DB Sop/VlnII Alto/VlnI Bass/Vc & DB V/V V

Et vitam venture saeculi. Amen.

33

45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 Sop/VlnII Bass/Vc & DB Alto/VlnI Ten/Vla V/V V V I V I

Et vitam venture saeculi. Amen.

Sanctus 13. Sanctus • Sanctus (Adagio): mm. 1-10 (3+3+4) • Pleni sunt (Allegro): mm. 11-23 (4+4+5) • Hosanna: mm. 24-end (4+7)

14. Benedictus (Soprano Solo with Flute or Violin Solo) • Prelude: mm. 1-29 (4+6+3+10+6) • Solo I: mm.30-80 (4+6+3+9+3+4+3+7+4+8) • Interlude: mm. 81-92 (8+4) • Solo II: mm. 93-141 (4+8+4+4+4+4+6+4+6+5) • Postlude: mm. 142-end (4+4+5+6)

15. Hosanna (Allegro): (4+7)

Agnus 16. Agnus Dei (Adagio) • Prelude: mm. 1-8 • Trio I: mm. 9-23 (7+8) • Trio II: mm. 24-34 (7+4) • Tutti: mm. 35-end (5)

17. Dona nobis pacem (Allegro) • I: mm. 1-20 (8+4+6+2) o Alto solo with tutti • II: mm. 21-42 (8+4+6+4) o Tenor solo with tutti • III: mm. 43-64 (8+4+10) o Alto solo with tutti • IV: mm. 65-end (6+2+4+3)

34

Missa in A Major, Carlson IA3

• Instrumentation: SATB Soli, SATB Choir, 2 Violins and Continuo, 3 trombones ad libitum • Performance Edition: Carus-Verlag 27.05149

Written about 1765, the Missa in A Major, Carlson IA3, had long been forgotten before being published by Carus-Verlag in 2008. The first cataloguer of Leopold’s works, Seiffert, mentioned it briefly in his own catalogue as lost.50 That was later proven to be incorrect by

Wilhelm Kurthen’s research.51

Even though the mass is not labeled as a missa brevis, it has features of a missa brevis setting. The performance duration would be around twenty minutes. The repetition of words in

Gloria and Credo is avoided. The orchestration of two violins and basso continuo is also typical of a Salzburg missa brevis setting.

Although the repetition of words is avoided, “Credo” is repeated several times as a common Salzburg practice in the middle of the seventeenth century. Wolfgang followed this tradition in the Masses KV192 and KV257.52

49 Leopold Mozart, Missa in A, edited by Armin Kircher, (Stuttgart: Carus-Verlag, 2008). 50 Seiffert, XLIX. 51 Kurthen, 342-43. 52 Armin Kircher, the Foreword from Missa in A, (Stuttgart: Carus-Verlag, 2008), 6. 35

[Example 2.12: KV192, Credo mm. 135-end]

[Example 2.13: KV 257, Credo mm. 270-74]

[Example 2.14: Carlson IA3, Credo mm. 1-3]

36

Interestingly, Leopold set short passages in choral parts in both movements that are not intonations but very similar.

[Example 2.15: Gloria m. 1]

[Example 2.16: Credo m.1]

37

Following Baroque tradition, the Kyrie of Carlson IA3 has four measures of slow introduction. Usually, the orchestra has colla parte in such an introduction, but Leopold set individual sixteenth notes for the violins. Even with the two different rhythmic figures between choir and violins, the instruments still generally double the pitches. The main body of the Kyrie also has interweaving “Kyrie” and “Christe” statements rather than traditional division as mentioned in Carlson IA2. As in Carlson IA2, the relatively short contrapuntal writing dominates the texture.

The Gloria alternates between choir and soli. Leopold emphasizes each statement of

“miserere” with a grand pause and tempo change. After the adagio section, the soprano sings a tuneful “quoniam tu solus Sanctus,” while the violins play sixteenth notes, dotted rhythms and dynamic contrasts. As in the conclusion of most Glorias, “Cum Sancto Spiritu” is written as a fugue.

As mentioned above, though the word “credo” is repeated several times by the choir, the

Credo in unum Deum is brief enough for a missa brevis setting because most of the texts are covered by soli often with telescoping technique (more than two different texts are sung simultaneously). As in the “Miserere” section of the Gloria, there is a dramatic pause and tempo change for “mortuorum” before moving onto the fugue in the last section of the Credo. In comparison to Carlson IA2a and Carlson IA2b, those masses have very similar gestures to present “ascendit” and “resurrectionem.”

[Example 2.17: Carlson IA2a, Credo mm. 122-23]

38

[Example 2.18: Carlson IA3, Credo mm. 89-90]

Leopold did not specify the tempo at the beginnings of the Gloria and Credo and of the last fugal section of the Credo, but it can be assumed that he wanted allegro. The same tempo for allegro in each movement is required.

The Sanctus is a chorale-like movement with contrasting short imitative and chordal passages. The three antiphonal dialogues in the beginning represent the most distinguished feature of the Sanctus movement. The Benedictus is a duet of soprano and alto soli accompanied by the continuo group. Both the Sanctus and the Benedictus conclude with a fugal section in stile antico.53

An arioso style melodic line is sung three times by different voices in the Agnus Dei movement. At first, only the tenor solo sings, and then bass solo takes over the melody but the soprano and tenor soli add support. Lastly, the soprano section leads the melody.

The dona nobis pacem is set in tempo arioso. Arioso has various definitions depending on the period, nationality, style, and composers, but, in general, it means short and not slow.

Since Leopold indicates Adagio after the arioso section in last two measures of the movement after the arioso section, Leopold may want this arioso not to be too slow as the adagio. It is also necessary to follow the dynamic contrasts clearly indicated by the composer in this movement.

53 Kircher, 6. 39

Structural Analysis of Carlson IA3

Kyrie 1. Kyrie • Introduction (Adagio): mm. 1-4 • Vivace: mm. 5-end (4+5+4+7+5+7)

Gloria 2. Gloria in excelsis • Tutti I: mm. 1-8 (3+5) • Soli: mm. 9-25 (4+4+3+2+2+2) • Tutti II: mm. 26-38 (3+2+3+3+2) • Tutti III (Adagio): mm. 39-45

3. Quoniam tu solus Sanctus (Allegro) • Soprano solo: mm. 46-69 (6+4+4+7+3)

4. Cum Sancto Spiritu • Tutti I: mm. 70-79 • Tutti II: mm. 80-end

Credo 5. Credo in unum Deum • Mm. 1-30 (9+6+4+5+5)

6. Et incarnates est (Andante) • Mm. 31-51 (4+9+8)

7. Crucifixus (Adagio) • Mm. 52-58 (2+3+2)

8. Et resurrexit (Allegro) • Mm. 59-93 (3+3+4+2+6+5+2+3+2+3+2)

9. Et vitam venturi saeculi (Allegro) • Mm. 94-115 (8+8+6)

Sanctus 10. Sanctus (Allegro) • Mm. 1-31 (7+4+7+4+9) 40

11. Osanna in excelsis • Mm. 32-end

Benedictus 12. Benedictus • Mm. 1-21 (7+7+7)

13. Osanna in excelsis • Mm. 22-end

Agnus Dei 14. Agnus Dei (Andante) • Tenor solo: mm. 1-6 (3+3) • Bass solo / Soprano and Tenor soli: mm. 7-15 (3+3) • Tutti: mm. 16-19 (3)

15. Dona nobis pacem (Tempo arioso) • Soli: mm. 19-49 (8+4+5+8+6) • Tutti: mm. 50-end (6+6+4+4+4+3+4)

41

Chapter III

Litanies

Litaniae de Venerabili in CM, Carlson IB1

• Instrumentation: SATB soli, SATB choir, 2 horns, 2 trumpets, timpani, strings, and continuo • Performance Edition: Seiffert, pp. 188-25454

Carlson catalogued five litanies in his dissertation, of which three have been published.

Carlson IB1 is one of two Litaniae de Venerabili that were published by Max Seiffert in 1908.

Reinhold Kubik, the editor of the Missa solemnis in C, Carlson IA2b, mistakenly labeled this litany, Carlson IB1, as one of the two solemn masses, Carlson IA1, which has not yet been published.55

Seiffert indicated that Carlson IB1 was composed about 1768,56 but Carlson asserted it was composed before 1762 after investigating Leopold’s letters.57 Carlson’s conclusion is reliable:

In a letter of December 14, 1774, Leopold asked his wife to search for his two Litanies “de Venerabili,” requesting that she send him the one in D-major, (IB2). The autograph of the D-major Litany is dated April, 1762, and since Leopold refers to this piece as “die neuere” (the newer) in the letter, it would appear that the Litany in C-major IB1 was composed sometime before that date.58

Seiffert’s edition includes not only the figured bass, but also the written out score for harpsichord and organ (added by Seiffert himself). Even if it was not usual to have a harpsichord

54 Leopold Mozart, “Ausgewälte Werke von Leopold Mozart,” Edited by Max Seiffert, Denkmäler der Tonkunst in Bayern, Vol. 9, Bd. 2, (Leipzig: Breitkopf & Härtel, 1908), 162-478. 55 Ibid., p. XV. 56 Ibid., pp. LVII and 188. 57 Carlson, pp. 128-29. 58 Ibid., p. 154 42 in the continuo group in Salzburg church music during this time, the harpsichord part added by the editor serves as a good reference for continuo performers. He also separated the cello part from the continuo group and placed it in the upper voices of the full score. He indicated editorial dynamic markings with brackets, but other markings, such as tempo and articulation, are not clearly indicated as the composer’s or the editor’s. Shortcomings of this edition include the use of c clefs in the soprano, alto and tenor parts, which make it difficult for modern performers to read.

Majestic music starts the Sacramental Litany. Leopold clearly divides the prelude from the main body with a fermata, not with a double line or tempo change, and set the same musical ideas in the both the orchestral prelude and choral entrance after the prelude. Since he conceived it as one section, he uses an andante tempo for the Kyrie instead of adagio and allegro, which makes it also unique from other Kyrie settings in his masses and litanies.

The orchestration of the Kyrie is typical for an eighteenth century solemn mass or litany setting. It is dominated by strings and reinforced by trumpets, horns and timpani. Leopold’s viola writing is more varied than his contemporaries. It is not limited to doubling the voices or violins, but also moves independently or with the cello, either together or antiphonally.

Leopold set the text of his litanies according to musical forms, not the natural divisions of the text. The text of the Kyrie is not an exception. After three declamatory “Kyries,” many different kinds of text are set as soli with the same motive, regardless whether they serve as an invocation or response. The following examples show the different kinds of text that are set in the same musical phrase:

43

[Example 3.1: Kyrie mm. 11-13]

[Example 3.2: Kyrie mm. 18-20]

[Example 3.3: Kyrie mm. 27-29]

[Example 3.4: Kyrie mm. 31-33]

[Example 3.5: Kyrie mm. 38-40]

Augmented sixth chords are a prominent feature in Leopold’s litany setting. Although he did not use these as frequently in his mass settings, the German sixth chord is placed right before

+6 the first cadence in measures 6-7 of the Kyrie: viiº7 – Gr. – V/V – V progression.

44

Leopold set three types of phrases for the Panis. Another type of augmented sixth chord, the Italian sixth, is used in one of them. The first phrase in the very beginning is used for the vocal parts and the two others for the orchestra. Two measures of each phrase are shown in these examples:

[Example 3.6: Panis, mm. 1-2]

[Example 3.7: Panis, mm. 5-6]

[Example 3.8: Panis, mm. 10-11]

Since the litany setting includes extended texts as in the Gloria and Credo of the mass, much of the text is telescoped and overlapped. The soli parts sing more text than the choir. As illustrated in the examples of the Kyrie, the solo or quartet sings different texts using the same or similar music. The Panis that is sung by the soli quartet is a good example of telescoped and overlapped texts.

The Verbum caro factum begins with a slow introduction in which the choral parts are homophonic and doubled by the strings. The voices and strings are in a relatively low registration which creates a dark timbre. When all the choral parts are in homophony, the trumpet and horn are added in imitative writing as in the following example:

45

[Example 3.9: Verbum mm. 6-10]

The solo quartet sections of measures 13-28 and measures 43-57 are closely related to each other. Both start with the same head motive in the soprano solo and have the same writing for the strings although in different keys. The progressions of the keys are C-G-D-A in measures

13-28 and C-G-D-A-D in measures 43-57.

Even though the Tremendum is not a separate movement, there is a change of style and tempo, Adagio e forte. While the choir sings long sustained notes on tremendum, the strings play

8th-16th-32nd repeated notes. As will be seen later, the writing is very similar to that in the Litany in D Major, Carlson IB2:

46

[Example 3.10: Carlson IB1, Verbum mm. 58-63]

47

[Example 3.11: Carlson IB2, Tremendum mm. 1-8]

Leopold’s instrumental writing is more interesting than the choral writing in this litany.

Two different phrases, measures 1-5 and 6-10 of the prelude are used as material for the entire movement of the Panis omnipotentia. In the Viaticum, the upper strings move independently

48 while the choral parts sing in homophony by measure 6. All strings double the choral parts of the adagio section. The Pignus then follows with a double fugue in stile antico.

Since the text of the Agnus Dei in the litany setting has three divisions, the music is also in three sections based on the using the following text division.

1. Agnus Dei qui tollis peccata mundi, parce nobis Domine. 2. Agnus Dei qui tollis peccata mundi, exaudi nos Domine. 3. Agnus Dei qui tollis peccata mundi, miserere nobis.

In this litany, Leopold set the first and second lines of text using a violin and soprano duet. An instrumental interlude in measures 61-72 is the same as the beginning of this movement. After three measures of transition, new music appears for the third text from measure 76. Measures 61-72 can be viewed as a prelude of the first two sections and the tutti of measures 76-82 like an introduction of the next section. The three measures before the tutti could be considered as a prelude for the next section. After seven measures of homophonic music, “miserere nobis” is set in fugal writing. The whole litany is concluded with a chordal

“miserere nobis” supported by the brass and timpani.

49

Structural Analysis of Carlson IB1

Kyrie (Andante) • Prelude: mm. 1-7 (3+4) • I: mm. 8-14 (3+4) • II: mm. 15-21 (3+4) • III: mm. 22-33 (5+4+3) • IV: mm. 34-41 (4+4) • V: mm.42-end (5+5+3)

Panis (Un poco allegro) • Prelude: mm. 1-12 (4+5+3) • I: mm. 13-28 (7+4+5) • Interlude: 29-36 (5+3) • II: mm. 37-60 (3+3+5+4+4+5) • Postlude: 61-end (5+4)

Verbum caro factum • Introduction (Adagio): mm. 1-4 • Tutti I (Vivace): mm. 5-12 (5+3) • Soli A: mm. 13-28 • Tutti II: mm. 29-42 (10+4) • Soli A': mm. 43-57 • Tutti III (Adagio e forte-Vivace): mm. 58-end (5+8)

Panis omnipotentia (Tempo giusto) • Prelude: mm. 1-10 • Quartet: mm. 11-45 (11+13+11) • Postlude: mm. 46-end

Viaticum (Adagio) (3+3+5)

50

Pignus (Fuga duplex a Diapason) - Alla breve Entry I

Measure numbers 1 2 3 4 5 6 7 8 Subdivision Bass/Vc&DB Subject CM Keys & Cadences

Text Pignus futurae gloriae, miserere nobis,

etc.

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Tenor/Vla Answer Alto/VlnII Subject GM CM

Pignus futurae gloriae, miserere nobis, Pignus futurae gloriae, miserere nobis,

25 26 27 28 29 30 31 32 Soprano/VnI Subject GM

Pignus futurae gloriae, miserere nobis,

Entry II (modified subjects)

33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Bass/Vc&DB Subject Tenor/Vla Answer CM

Pignus future gloriae, miserere nobis, Pignus future gloriae, miserere nobis,

Sop/VlnI modified .

49 50 51 52 53 54 55 56 57 58 Soprano/VlnI Subject FM

Pignus future gloriae, miserere nobis, Alto/VlnII modified

51

59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 Soprano/VlnI Answer GM

Pignus future gloriae, miserere nobis,

Bass/Vc&DB modified

77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93

miserere nobis,

94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 Bass/Vc&DB Tenor/Vla Alto/VlnII CM GM CM

Pignus future gloriae, miserere nobis,

Stretto Sop/VlnI

109 110 111 112 113 114 115 116 117 118 119 120 121 122

Pignus future gloriae, miserere nobis,

Bass/Vc Tenor/Vla Sop/VlnI

Agnus • Prelude (Adagio): mm. 1-12 • A: mm. 13-37 • A': mm. 38-60 • Interlude: mm. 61-72(75) • Tutti: mm. (72)76-82 • Fugal (Allegro): mm. 83-101 • Chordal: mm. 102-end

52

Litaniae de Venerabili in DM, Carlson IB2

• Forces: SATB Soli, SATB Choir, 2 horns, strings, and continuo • Performance Edition: Neue Mozart-Ausgabe X/28/abt. 3-5/159

The Litaniae de Venerabili in D major was composed in 1762. Leopold himself dated his autograph, and it was published by the Neue Mozart-Ausgabe, edited by Walter Senn, in 1973.

The introduction of the Kyrie is relatively longer than any one of the other solemn mass or litany settings. Leopold creates musical unity in the whole movement through dotted rhythms which are reminiscent of French overture style.60 Overall, the main body of the Kyrie is composed in sonata-allegro form. The orchestral writing in both the orchestral and vocal expositions are almost identical, but Leopold adds variety with modified horn writing as in the following example.

[Example 3.12: Kyrie mm. 13-16]

[Example 3.13: Kyrie mm. 31-34]

59 Leopold Mozart, “Litany of the Sacrament in D major,” Neue Mozart-Ausgabe, X/28/abt. 3-5/1, ed. by Walter Senn, (Kassel: Barenreiter-Verlag, 1973). 60 Kazenas, p. 39 53

The violin writing is virtuosic with dotted rhythms, triplets and fast notes. The first theme is declamatory in a forte dynamic, while the second theme is set in the first inversion sonority in a softer dynamic. The conductor needs to carefully balance the last two measures, because each instrument plays different rhythms that include grace notes, triplets and paused dotted figures.

[Example 3.14: Kyrie mm. 72-end]

The Panis vivus is set with the same instrumentation as the opening but with soprano solo.

The rhythmic figure in the beginning of the movement is similar to the beginning of the exposition in the Kyrie creating musical connections between the two movements. For the majority of the movement, the first and second violins are paired in terms of rhythm and notes, but Leopold pursues variety through moving the sixteenth note figures between two violins as the example 3.15. Finally, the cello and bass take over the sixteenth notes in measures 83-85.

54

[Example 3.15: Panis vivus mm. 60-63]

Leopold set three movements together without stop: the Verbum caro factum, Hostia sancta and Tremendum. The Verbum caro factum is an introduction-like movement to Hostia sancta. A German augmented sixth chord appears before the cadence as in Carlson IB1.

The Hostia sancta is a long slow movement with various configurations of soli, duet and choir. The dynamic contrast is a noticeable feature in this movement. Every single fp needs to be treated carefully. The fp in the choir of mm. 28-31 is added by the editor who considered the dynamics of the orchestra. It is important to emphasize the word, “miserere.” The Tremendum is another slow movement with long sustained notes in the choir and triplets in the orchestra as discussed in Carlson IB1. After the introduction-like or transition-like eight measures, an allegro passage concludes the long movement.

The Panis omnipotentia is a typical solo movement that has two vocal sections surrounded by orchestral ritornellos. The tenor solo sings numerous lines of text and concludes with a cadenza-like “Miserere.” Upper strings are paired together and the viola is mostly independent. In the last two measures, the conductor needs to unify the two kinds of dotted rhythms, played in the uppers strings against the lower strings.

55

[Example 3.16: Panis omnipotentia mm. 105-end]

The Viaticum is an introduction to the next movement, Pignus. The string parts do not have the same rhythm as the choir but double the choir’s pitches exactly. The horns join and reinforce notes and rhythms after the fermata. Energy is gained through a crescendo and moves on to the next movement with a chord progression of Italian augmented sixth, dominant and tonic chords. Like Carlson IB1, this movement in Carlson IB2 is a long fugal movement in the stile antico.

The last movement, Agnus Dei, starts with a soprano solo that sings the first statement of the Agnus Dei, and continues with a bass soloist for the second statement in A major.61 The key returns to D major with the choir’s tutti. Even if violin I is not indicated as a solo, it is soloistic as in Carlson IB1. The difference between the Agnus Dei in the two litanies is that the violin I goes back to the accompaniment when the soprano solo takes over the melody. The other strings keep repeating the 32nd notes from the beginning to the end. The soloists have the same musical

61 The division of Agnus Dei in Litany settings refers to the section of Carlson IB1 in this document. 56 idea, and the choir begins with homophonic passages, moves on with paired voices, and concludes with the repeated “Miserere.”

57

Structural Analysis of Carlson IB2

Kyrie eleison – Sonata-allegro form

Introduction (Adagio maestoso): mm. 1-12 (6+6)

Measure numbers 1 2 3 4 5 6 7 8 9 10 11 12 Subdivision 3+3 2+4 Vii° Keys & Cadences DM 7 V/V I /V - I 7 Text Kyrie eleison th th etc. Dotted 16 notes and 16 notes in strings

Orchestral Exposition (Allegro): mm. 13-30 (8+6+4)

13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Theme I (4+4) Theme II (4+2+4)

D A D M M M

Vocal Exposition: mm. 31-48 (8+4+4+2)

31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Theme I Theme II (4+4) A V M Kyrie eleison, Christe eleison, Christe audi nos

. Development: mm. 49-57 (4+5)

49 50 51 52 53 54 55 56 57 Theme I material new material

I Em V i DM V-I

Pater de caelis, Deus, Fili Redemptor mundi Deus, Miserere nobis. Miserere nobis. Spiritus Sancte Deus, Miserere nobis.

58

Recapitulation: mm. 58-end (5+5+4+2)

58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 Theme I Theme II

V-I V I

Sancta Trinitas, unus Deus, Miserere nobis, Miserere nobis. Miserere nobis,

Panis vivus • Prelude (Allegro moderato): mm. 1-21 (11+6+4) • I: mm. 22-44 (9+14) • Interlude: mm. 45-48 • II: mm. 49-86 (9+8+8+9+4) • Postlude: mm. 87-end (6)

Verbum caro factum Horns, Organ, Strings and SATB • Introduction (Adagio): mm. 1-7

Hostia Sancta (Un poco adagio) • Prelude: mm. 1-10 (3+4+3) • Alto solo: mm. 11-23(6+6) • Choir: mm. 24-33 (4+6) • Tenor solo: mm. 34-46 (3+4+6) • Bass solo: mm. 47-61 (6+6+2) • Choir: 62-74 (6+5+2) • Duet S+A: 75-84 (4+6) • Duet T+B: 85-end (8+3+3)

Tremendum • Introduction (Adagio): 1-8 • Allegro: 9-end (5+5)

Panis omnnipotentia • Prelude (Tempo Moderato): mm. 1-21 (6+4+4+4+3) • I: mm. 22-53 (4+4+8+7+4+5+7) • Interlude: mm. 54-60 (7) • II: mm. 61-98 (5+9+5+9+4+6+8)

59

• Postlude: mm. 99-end (8)

Viaticum • Adagio: 1-end (4+4)

Pignus - fugue Allegro Entry I

Measure numbers 1 2 3 4 5 6 7 8 Subdivision Bass/Vc&DB Subject DM Keys & Cadences

Text Pignus futurae gloriae, miserere nobis,

etc.

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Tenor/Vla Answer Alto/VlnII Subject AM DM

Pignus futurae gloriae, miserere nobis, Pignus futurae gloriae, miserere nobis,

Horn

25 26 27 28 29 30 31 32 33 34 35 36 37 38 Soprano/VnI Subject Episode AM V6-5 I DM

Pignus futurae gloriae, miserere nobis, Pignus future gloriae, miserere nobis,

Entry II

39 40 41 42 43 44 45 46 47 48 Bass/Vc&DB Subject DM

.

60

49 50 51 52 53 54 55 56 57 58 Tenor/VlnII Answer AM

59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 Alto/Vla. Subject Soprano/VlnI Answer DM AM

Pignus futurae gloriae, miserere nobis, Pignus future gloriae, miserere nobis,

74 75 76 77 78 79 80 81 82 83 Tenor/Vla Subject bm

Pignus futurae gloriae, miserere nobis,

Episodes

84 85 86 87 88 89 90 91 92 93 False Entry in Bass

94 95 96 97 98 99 100 101 102 103 104

61

105 106 107 108 109 110 111 112 113 114 115 116 False Entry in Bass and Alto

117 118 119 120 121 122

Coda

123 124 125 126 127 128 129 130 131 132 Bass/Vc Subject DM

Pignus futurae gloriae, miserere nobis,

133 134 135 136 137 138 139 140 141 142 143 144 145

6+ Gr.

Miserere nobis.

Agnus Dei Andante • Prelude: mm. 1-4 • Soprano Solo: mm. 5-18 (6+8) • Bass Solo: mm. 19-32 (6+8) • Chorus: mm. 33-end (4+4+4+7)

62

Litaniae Lauretanae de B. V. M. in EbM, Carlson IB3

• Forces: SATB Soli, SATB Choir, 2 oboes, 2 horns, 3 trombones, strings, and continuo • Performance Edition: Neue Mozart-Ausgabe X/28/abt. 3-5/1a62

The Loreto Litany in Eb Major, Carlson IB3, is the longest work of 647 measures among

Leopold’s solemn litanies. Seiffert identified two different litanies in Eb Major,63 but Carlson corrected this and combined the two works into one composition stating: “Seiffert 4/8 simply lacks the opening Andante of the Kyrie and begins instead with the Allegro of measure fifteen.”64

Compared to the other solemn mass and litany settings, the tempo of the introduction in

Carlson IB3 is faster than other introductions in his published works. The Kyrie of Carlson IB1 also starts in an andante tempo. However, since it is not a separated introduction in Carlson IB1, the introduction of Carlson IB3 is the fastest in Leopold’s published works. Not only is the tempo unique, but the instrumental writing of the introduction, which mostly does not double the choir, is also unique. The upper strings are set independently in the beginning. The oboe mainly reinforces the rhythm and pitches as does the horn, but it also occasionally doubles the choir.

Investigating the whole litany, Leopold doubles the oboe with the choir or strings, in terms of rhythm and pitch. However, the rhythm of the oboe in measure 7 is not matched with other parts, so it could be adapted and performed as I suggest in example.

[Example 3.17: Kyrie m. 7]

62 Leopold Mozart, “Lorettan Litany in E flat major,” Neue Mozart-Ausgabe: Digitized Version, X/28/abt. 3-5/1a, (Kassel: Barenreiter-Verlag, 2006). 63 Seiffert, pp. XLVII-XLVIII. 64 Carlson, p. 159. 63

[Example 3.18: Kyrie m. 7] – revised

After finishing the introduction with a soft dynamic, the allegro section of the Kyrie begins with four measures of instrumental prelude. The main body is composed of two representative motives from the string parts in the prelude:

[Example 3.19: Kyrie mm. 15-16]

The violins and viola move sometimes independently and sometimes with the choir. In measures 24-28, the violins play antiphonally with the soli while other orchestral parts are

64 reduced to highlight the vocal soli. Measures 44-52 are written similarly, and the orchestra for the soli of “Miserere nobis” is reduced even further.

The Sancta Maria begins with horns, basso continuo and strings, without viola, which is rare in the solemnis setting of the masses and litanies. The soprano solo sings in Bb major in the first section, and the alto solo takes over in F major. Then the alto and tenor soli sing together, and the tenor solo sings the varied main theme in the same key as the beginning. The orchestra and choir are relatively independent, and the orchestra doubles the choir more and more by the end.

After the two pairs of vocal solo duets in the Speculum Justitiae, the Salus Infirmorum is set in adagio. The orchestra consistently plays one rhythm, and the choir is homophonic in texture.

[Example 3.20: Salus Infirmorum mm. 1-2]

The Regina Angelorum is in three sections, which include two sections of soprano solo and one with the full chorus. All start with the same motive. The Violin I writing effectively supports the solo, either doubling, playing sustained notes, or playing antiphonally. The first

65 violin becomes more virtuosic in the second section and then doubles the homophonic choir in the final section.

[Example 3.21: Regina Angelorum mm.1-2]

[Example 3.22: Regina Angelorum mm. 27-28]

[Example 3.23: Regina Angelorum mm. 74-75]

66

[Example 3.24: Regina Angelorum mm. 119-20]

The Agnus Dei, as in the other two Sacramental Litanies, is divided in three sections based on the text. It has a similar structure to the Regina Angelorum, in which the first two sections are sung by a soloist and the last by tutti chorus. The first two sections of the Agnus Dei are sung by an alto solo with optional solo instrument, which could be a viola, oboe or trombone.

Two main motives are set in all of the three sections as in the examples. The entire litany ends with homophonic choir doubled by the orchestra with several contrasting dynamics, ending in a piano dynamic.

[Example 3.25: Agnus Dei mm. 24-25]

67

[Example 3.26: Agnus Dei mm. 33-34]

68

Structural Analysis of Carlson IB3

Kyrie • Introduction (Andante): mm. 1-14 • I (Allegro): mm. 15-28 (4+5+4+1) • II: mm. 29-39 (4+2+4+1) • III: mm. 40-52 (4+4+3+2) • IV: mm. 53-56 • V: mm. 57-60 • VI: mm. 61-end (3+3+3)

Sancta Maria (Allegro moderato) • Prelude: mm. 1-20 • Soprano Solo: mm. 21-45 • Interlude I: mm. 46-61 • Alto Solo: mm. 62-84 • Interlude II: mm. 85-91 • Duet Alto & Tenor: mm. 92-103 • Tenor Solo: mm. 104-32 • Tutti: 133-end (10+12+6+16)

Speculum Justitiae (Allegro moderato) • Prelude: mm. 1-29 • Duet Soprano & Alto: mm. 30-65 • Duet Tenor & Bass: mm. 66-end

Salus Infirmorum (Adagio): mm. 1-36 (10+12+14)

Regina Angelorum (Allegro) • Prelude: mm. 1-26 (6+6+4+5+5) • Soprano solo I: mm. 27-73 (8+11+8+4+7) • Soprano solo II: mm. 74-118 (8+6+6+11+11+3) • Tutti: mm. 119-end (6+8+7+5)

Agnus Dei (Andante) • Prelude: mm. 1-23 (9+14) • Alto Solo I: mm. 24-58 (4+5+4+4+4+7+7) • Alto Solo II: mm. 59-103 (4+7+5+4+7+5+13) • Interlude: mm. 86-103 (5+5+6+2) • Tutti: mm.104-end (4+6+2+5+4+4+5+6) 69

Chapter IV

Offertories

Offertorium de Beata Virgo Maria in C Major, Carlson IC3

• Instrumentation: SATB Soli, SATB Choir, 2 trumpets, timpani, 2 violins, and continuo • Performance Edition: Carus-Verlag 27.28965

Five of Leopold’s offertories are catalogued in Carlson’s dissertation, and three of them are currently published. Various forces are used in the published works. The soprano solo movement of Carlson IC3 is the only one sung by one soloist. The recitative in Carlson IC5 is also unique in his choral music. The orchestration goes beyond the standard missa brevis setting to include trumpet, timpani and viola in certain offertories.

Offertorium de Beata es, Virgo Maria, Carlson IC3, was written around 1760 and had its first known performance in 1769.66 It has always been considered as Leopold’s work.67 It is written in three movements: an opening chorus, a soprano aria and a closing alleluia chorus, and it is scored for SATB choir, two trumpets, timpani, two violins and basso continuo. This motet written in the honor of Mary is used in place of the offertory chant of the mass.

A decorated fanfare-like instrumental introduction opens the first movement. Following the Salzburg tradition, violas are omitted from the orchestra, and the choral parts are typically doubled by violins and basso continuo. Leopold sets the Marian Antiphon “Beata es” in the opening chorus. The choral texture of the first movement is homophonic and declamatory. The final choral phrase uses hemiola.

65 Leopold Mozart, Beata es, Virgo Maria: Offertorium de Beata Maria Virgine, Edited by Armin Kircher, (Stuttgart: Carus-Verlag, 2007). 66 Kircher, 4. 67 Carlson, 171. 70

[Example 4.1: Coro mm. 33-35]

The second movement is a virtuosic da capo soprano aria in A minor, the parallel minor key. It is characterized by virtuosic violin writing and the absence of trumpets. A sudden grand pause occurs after the beginning of section B to emphasize “Mater plena gratia [Mother, full of mercy].”

The Alleluia chorus is the last movement of the composition. It is a double fugue with increasingly prominent trumpet and timpani writing, reminiscent of the Baroque style. Trumpets and timpani decorate exuberantly with two themes. The two trumpet themes are shown in the following examples:

[Example 4.2: Alleluja mm. 19-21]

71

[Example 4.3: Alleluja mm. 39-42]

In general, Leopold’s contrapuntal writing is strict. Suspensions and other dissonances in his music are always resolved in the proper way. The last part of the Alleluia is a good example of his treatment of dissonance.

[Example 4.4: Alleluja mm. 66-73]

72

Structural Analysis of Carlson IC3

1. Coro (Allegro) • Prelude: mm. 1-11 (5+6) • Tutti: mm. 12-34 (6+4+4+9) • Postlude: mm. 35-end (8)

2. Aria (Tempo moderato) • Prelude: mm. 1-17 (5+4+8) • Solo I: mm. 18-37 (4+7+9) • Solo II: mm. 38-61 (6+11+7) • Solo III: mm. 62-end (4+4+4+5)

3. Alleluja

Measure numbers 1 2 3 4 5 6 7 8 9 10 11 12 Subject Tenor Subject – Bass Countersubject Alto/VlnII – Sop/VlnI

Keys & Cadences CM V I GM

Text Alleluja

etc.

13 14 15 16 17 18 19 20 21 22 23 24 Bass/Vc – Ten/VlnII Sop/VlnI – Alto/VlnII CM V I

Alleluja

Trumpet and Timpani

25 26 27 28 29 30 31 32 33 34 35 Tenor Subject-like Bass/Vc Countersubject-like G M Alleluja

Episode

73

36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 Tenor - Soprano Bass/Vc Subject-like – Alto countersubject C V M Alleluja

Trumpet and Timpani Episode

52 53 54 55 56 57 58 59 60 61 62 63 Alto Subject – Tenor Counter ??? Sop/VlnI – Alto I

Alleluja

Trumpet and Timpani Trumpet and Timpani

64 65 66 67 68 69 70 71 72 73 74 75 Coda 6-7 7-6 7-6 7-6 7-5 I-V I

Alleluja

Trumpet and Timpani Tpt. & Timp.

74

Offertorium de Sanctissimo Sacramento in A Major, Carlson IC4

• Forces: ST Soli, SATB Choir, 3 trombones, 2 violins, and continuo • Performance Edition: Seiffert, pp. 179-8768

Max Seiffert’s edition includes the Offertorium de Sanctissimo Sacramento, Carlson IC4.

Seiffert asserted that it was composed in 1750, but Carlson questions this because of lack of evidence.69 It is composed of two divided sections, in which the first is sung by soloists and the second is sung by the choir. The orchestration is basically the same as in a missa brevis setting, composed of strings without viola. Three trombones are scored in the Seiffert edition, but they are colla parte, doubling the alto, tenor and bass of the choir.

Leopold chose Psalm 23:5 and alleluia. He used the first half of Psalm 23: 5 for the soprano and tenor soli. The text and translation are in Appendix A of this document.

The first section is a duet that uses the same motive in each section and develops it in various ways in the first violin or vocal parts. As the first violin takes the motive, it becomes more soloistic while supported by the other instruments.

[Example 4.5: m. 1]

68 Leopold Mozart, “Ausgewälte Werke von Leopold Mozart,” Edited by Max Seiffert. Denkmäler der Tonkunst in Bayern, Vol. 9, Bd. 2, (Leipzig: Breitkopf & Härtel, 1908), 179-87. 69 Carlson, 172. 75

[Example 4.6: m. 7]

The duet is set in an andante tempo. The second section begins adagio and finishes allegro. Between the two tempi, Leopold uses a vivace tempo. The conductor must be aware of

Leopold’s tempo changes, especially the tempo change in the last section, which is relatively fast in 3/4 meter.

As in the missa brevis settings, Leopold mixed homophonic and polyphonic textures in the second section. The polyphonic lines are introduced in a strict and short manner, and homophony concludes each section. The alleluia section begins homophonically but develops with fugato. The subject is presented in each part, and a paired imitation is placed in the lower two parts twice. The whole offertory ends with a declamatory alleluia.

76

Structural Analysis of Carlson IC4

I. Andante • Interlude: mm. 1-6 • Soprano solo: mm. 7-14 (3+3+2) • Tenor solo: mm. 15-22 (3+5) • Postlude: mm. 23-end

II. Adagio-Vivace • Mm. 1-2 o Introduction • Mm. 3-15 (4+2+3+4) • Alleluja (Allegro): mm. 16-end o Mm. 16-19 – Chordal Alleluja o Mm. 20-28 – Soprano Subject / Alto Countersubject o Mm. 29-37 – Alto Subject / Tenor Countersubject o Mm. 38-46 – Tenor Subject / Bass Countersubject o Mm. 47-54 – Bass Subject / Soprano Countersubject o Mm. 55-end (6+6+5) – Coda

77

Offertorium sub exposito venerabili in D Major, Carlson IC5

• Forces: SATB Soli, SATB Choir, 2 horns, 2 violins, viola, and continuo • Performance Edition: Köchel, Ludwig, Ritter von., Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts, 6th ed.70

The Offertorium sub exposito venerabili, Carlson IC5, was originally catalogued by

Köchel as Wolfgang Amadeus Mozart’s work, the first half as KV177 and the second half as

KV342. However in 1880, the two were published together in the Wolfgang Amadeus Mozart

Werke: Kleinere geistliche Gesangwerke, Serie 3, and were catalogued under KV177. The number KV342 was eliminated in the 1905 revision. Seiffert had attributed this as one of

Leopold’s works in 190871, and Carlson catalogued it as Carlson IC5.

Seiffert was correct in attributing the Offertory to Leopold rather than Wolfgang. Although the Ottobeuren manuscript disappeared since 1908, Leopold's authorship is assured by the St. Peter source which is not only attributed to him, but contains entries in his handwriting.72

The most distinguished feature of Carlson IC5 has recitatives. Those recitatives open a duet and a chorus with related texts. The first half that was considered as KV177 begins with the soprano’s recitative with text from Hosea 14:8 of the Latin Vulgate Version. The main text is not from the Bible, but rather an anonymous poem. The second half, which was considered as

KV 342, is based on Daniel 3:84-90 of the Latin Vulgate. The last part of the whole offertory concludes with the Gloria patri. The text and translation are in Appendix B.

Carlson IC5 is unique among the Offertories by having a viola part. As was done by

Leopold in his other works, the use of the viola was not limited to supporting other parts, but also

70 Ludwig Ritter von Köchel, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts, 6th ed. (Leipzig: Breitkopf & Härtel, 1952), 59-72. 71 Seiffert, XXXIX 72 Carlson, 176. 78 moves independently. The violins are paired most of the time, and the horns reinforce pitches and rhythms.

After a soprano and then a tenor solo, both soloists sing two different texts antiphonally, but they sing the same text together in the last part of each phrase. A conductor must rehearse to ensure the same articulation in each voice to highlight the transfer of the text. Since the violins double the vocal soli, the articulation of the soli and the violins should also be rehearsed to match accordingly.

The chorus of Carlson IC5 is a choral Psalm tone. All voice parts sing the psalm tone, and the orchestra part is written with ornamentation with 16th, 32nd and triplets. There is dynamic contrast in the orchestra, but this should not disturb the choral parts in terms of balance.

Since the chorus sings the psalm tone in unison, keen intonation of each part is critical to achieve a unified sound.

[Example 4.7: Coro: mm. 3-7]

79

Structural Analysis of Carlson IC5

Recitative (Soprano) o 6 measures

Duet / Soprano and Tenor o Interlude: mm. 1-22 (6+4+4+3+5) o Soprano solo: mm. 23-57 (4+4+4+6+3+4+4+6) o Tenor solo: mm. 58-105 (4+6+4+6+4+6+7+4+4+3) o Soprano and Tenor duet: mm. 106-42 (4+4+6+4+4+3+4+3+5) o Postlude: mm. 143-end (6+3+3+3)

Recitative (Bass) o 4 measures

Chorus (Andantino) o I: mm. 1-39 (8+5+6+7+6+7) o II: mm. 40-end (6+6)

80

Conclusion

.

For many years, scholars ignored the importance of Leopold Mozart’s significant body of choral compositions. This is clearly reflected in Karl Geiringer’s statement in 1937 about

Leopold’s choral music: “Quite a number of his works are worthy of our attention. (However,)

Our time will perhaps have less understanding for Leopold’s numerous church compositions, the production of which was part of his duties.”73

It was not until Carlson’s groundbreaking research of Leopold’s choral music in 1976 that this began to change, leading to the first contemporary performance of Missa Solemnis in C major, Carlson IA2b in 1981. Recent publications also reflect this gradual rediscovery of his choral music.

This document has been written to encourage the performance of Leopold Mozart’s choral music. By analyzing selected pieces from the three main genres (mass, litany and offertory), from a conductor’s perspective, the author hopes to exhibit the diversity of his compositional techniques, provide a greater understand his choral music, and suggest guidance for a conductor in preparing these works..

73 Karl Geiringer, “Leopold Mozart,” the Musical Times, Vol. 78, No. 1131, (May, 1937), 402. 81

Bibliography

Abert, Hermann. W. A. Mozart. Translated by Stewart Spencer. New Haven: Yale University Press, 2007.

Broy, Christian. “Leopold-Mozart-Bibliographie.” Mozart-Jahrbuch (2005): 261-98.

Carlson, David Morris. “The Vocal Music of Leopold Mozart (1719-1787): Authenticity, Chronology and Thematic Catalog.” Ph.D. diss., University of Michigan, 1976. de Catanzaro, Christine D. “Sacred music in Mozart’s Salzburg: Authenticity, chronology, and style in the church works of Cajetan Adlgasser.” Ph. D. diss., University of North Carolina at Chapel Hill, 1990.

Eisen, Cliff and Stanley Sadie. The New Grove Mozart. London: Macmillan Publishers Limited, 2002.

Eisen, Cliff. “The Symphonies of Leopold Mozart and Their Relationship to the Early Symphonies of Wolfgang Amadeus Mozart: A Bibliographical and Stylistic Study.” Ph. D. diss., Cornell University, 1986.

______. “Mozart and Salzburg.” in the Cambridge Companion to Mozart. Edited by Simon P. Keefe. Cambridge: Cambridge University Press, 2003: 7-21.

Einstein, Alfred. Mozart, his character, his work; Translated by Arthur Mendel and Nathan Broder. New York: Oxford University Press, 1962

Geiringer, Karl. “Leopold Mozart.” The Musical Times 78, no. 1131, (May, 1937): 401-4.

Gutman, Robert W. Mozart: a cultural biography. New York: Harcourt Brace, 1999.

Halliwell, Ruth. The Mozart Family: four lives in a social context. Oxford: Clarendon Press, 1998.

Herford, Julius. “The Choral Conductor’s Preparation of the Musical Score.” In Choral Conducting Symposium. Edited by Harold A. Decker and Julius Herford. Upper Saddle River, NJ: Prentice Hall, 1988: 199-251.

K., I. “Review: [Mass in C, K. 115 by Mozart; Bernhard Paumgartner].” Music & Letters 32, no. 2, (Apr., 1951): 188-89

Kazenas, Bruno. The litanies of Wolfgang Amadeus Mozart : a comparative analysis. DMA Dissertation. Cincinnati: University of Cincinnati, 1985.

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Kurthen, Wilhelm. “Studien zu W. A. Mozarts kirchenmusikalichen Jugendwerken.” Zeitschrift für Musikwissenschaft. Edited by Alfred Einstein. 3 Jahrgang; 1921: 366-70.

Mozart, Wolfgang Amadeus. The letters of Mozart and his family. Chronologically arranged, translated and edited with an introduction, notes and indexes by Emily Anderson. New York: Norton, 1985.

______. Messe C-dur. Edited by Bernhard Paumgartner. Salzburg: Haydn-Mozart Presse, 1950.

______. Supplement: sacred and secular vocal works. New York: Kalmus, 1960.

______. “Offertorium sub exposito venerabili.” Wolfgang Amadeus Mozart Werke: Kleinere geistliche Gesangwerke. Serie 3. Leipzig: Breitkopf & Härtel, 1952: 59-72.

Mozart, Leopold. “Ausgewälte Werke von Leopold Mozart.” Edited by Max Seiffert. Denkmäler der Tonkunst in Bayern, Vol. 9, Bd. 2. Leipzig: Breitkopf & Härtel, 1908: 162-478.

______. Beata es, Virgo Maria: Offertorium de Beata Maria Virgine. Edited by Armin Kircher. Stuttgart: Carus-Verlag, 2007.

______. Missa in A, Edited by Armin Kircher, Stuttgart: Carus-Verlag, 2008.

______. Missa brevis C-dur. Edited by Willi Schulze. Stuttgart: Carus-Verlag, 1983.

______. Mass in C; for solo voices, mixed chorus, and orchestra. Edited and piano reduction by Douglas Townsend. New York: S. Fox Pub. Co, 1963.

______. Missa Solemnis in C. Edited by Reinhold Kubik. Stuttgart: Carus-Verlag, 1995.

______. “Litany of the Sacrament in D major.” Neue Mozart-Ausgabe: Digitized Version. X/28/abt. 3-5/1. Kassel: Barenreiter-Verlag, 2006.

______. “Lorettan Litany in E flat major.” Neue Mozart-Ausgabe: Digitized Version. X/28/abt. 3-5/1a. Kassel: Barenreiter-Verlag, 2006.

______. “Psalm 130.” Chorbuch Mozart. Edited by Armin Kircher. Stuttgart: Carus-Verlag, 2005: 169.

______. Sinfonia. Edited by Cliff Eisen. Wellington, New Zealand: Artaria, 1997.

______. A treatise on the fundamental principles of violin playing. Translated by Editha Knocker. Oxford: Oxford University Press, 1985.

Pfannhauser, Karl. “Epilegomena Mozartiana.” Translated by E. D. Echols. Mozart-Jahrbuch (1971/72).

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Rosenthal, Karl August. “Mozart’s Sacramental Litanies and Their Forerunners.” Translated by Arthur Mendel. The Musical Quarterly, 27/4, (1941): 433-55.

______. “The Salzburg Church Music of Mozart and His Predecessors.” Translated by Theodore Baker. The Musical Quarterly 18/4, (1932): 559-77

Schroeder, David. Mozart in revolt: strategies of resistance, mischief, and deception. New Haven: Yale University Press, 1999.

Warland, Dale. European Choral Masterworks. Recorded in performance, Nov. 5, 1983, Colonial Church of Edina, Minneapolis, MN. Cincinnati: University of Cincinnati, 2007.

Windt, Nathan. A Conductor’s Guide to Selected Short, Pre-Viennese Liturgical and Sacred Choral Works of Wolfgang Amadeus Mozart. DMA Document. Cincinnati: University of Cincinnati, 2008.

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Appendix A

The Text and Translation of the Litanies

The Sacramental Litany74

Kyrie eleison, Christe, eleison Lord have mercy on us, Christ have mercy on us Kyrie eleison, Christe, audi nos. Christe exaudi nos. Lord have mercy on us, Christ hear us, Christ graciously hear us. Pater de caelis, Deus, miserere nobis. God, the Father of heaven, have mercy on us. Fili, Redemptor mundi, Deus, miserere nobis. God the Son, Redeemer of the world, have mercy on us. Spiritus Sancte Deus, miserere nobis. God the Holy Ghost, have mercy on us. Sancta Trinitas, unus Deus, miserere nobis. Holy Trinity, one God, have mercy on us.

Panis vivus, qui de caelo descendisti, miserere nobis. O Living Bread, who from heaven descended, have mercy on us. Deus absconditus et Salvator, miserere nobis. Hidden God and Savior, have mercy on us. Frumentum electorum, miserere nobis. Grain of the elect, have mercy on us. Vinum germinans virgines, miserere nobis. Vine sprouting forth virgins, have mercy on us. Panis pinguis et deliciae regum, miserere nobis. Wholesome Bread and delicacy of kings, have mercy on us. Iuge sacrificium, miserere nobis. Perpetual sacrifice, have mercy on us. Oblatio munda, miserere nobis. Clean oblation, have mercy on us. Agne absque macula, miserere nobis. Lamb without spot, have mercy on us. Mensa purissima, miserere nobis. Most pure Feast, have mercy on us. Angelorum esca, miserere nobis. Food of angels, have mercy on us. Manna absconditum, miserere nobis. Hidden manna, have mercy on us. Memoria mirabilium Dei, miserere nobis. Memory of God's wonders, have mercy on us. Panis supersubstantialis, miserere nobis. Supersubstantial Bread, have mercy on us. Verbum caro factum, habitans in nobis, miserere nobis. Word made flesh, living in us, have mercy on us. Hostia sancta, miserere nobis. Holy Victim, have mercy on us.

74 Translation based on Bruno Kazenas’ “The litanies of Wolfgang Amadeus Mozart: A Comparative Analysis” and Treasury of Latin Prayers , http://www.preces-latinae.org/thesaurus/Euch/LitDeSS.html, , [accessed January, 30, 2012] 85

Calix benedictionis, miserere nobis. Cup of blessing, have mercy on us. Mysterium fidei, miserere nobis. Mystery of faith, have mercy on us. Praecelsum et venerabile Sacramentum, miserere nobis. Most high and venerable Sacrament, have mercy on us. Sacrificium omnium sanctissimum, miserere nobis. Most holy of all sacrifices, have mercy on us. Vere propitiatorium pro vivis et defunctis, miserere nobis. True propitiatory Sacrifice for the living and the dead, have mercy on us. Caeleste antidotum, quo a peccatis praeservamur, Heavenly antidote, by which we are preserved from sin, have miserere nobis. mercy on us. Stupendum supra omnia miraculum, miserere nobis. Most stupendous of all miracles, have mercy on us. Sacratissima Dominicae Passionis commemoratio, Most holy Commemoration of the Passion of Christ, have mercy miserere nobis. on us. Donum transcendens omnem plenitudinem, miserere Gift transcending all abundance, have mercy on us. nobis. Memoriale praecipuum divini amoris, miserere nobis. Extraordinary memorial of divine love, have mercy on us. Divinae affluentia largitatis, miserere nobis. Affluence of divine largesse, have mercy on us. Sacrosanctum et augustissimum mysterium, miserere Most holy and august mystery, have mercy on us. nobis. Pharmacum immortalitatis, miserere nobis. Medicine of immortality, have mercy on us. Tremendum ac vivificum Sacramentum, miserere nobis. Awesome and life-giving Sacrament, have mercy on us. Panis omnipotentia Verbi caro factus, miserere nobis. Bread-made-Flesh by the omnipotence of the Word, have mercy on us. Incruentum sacrificium, miserere nobis. Unbloody sacrifice, have mercy on us. Cibus et convivia, miserere nobis. Our food and guest, have mercy on us. Dulcissimum convivium, cui assistunt Angeli ministrantes, Sweetest banquet at which the Angels serve, have mercy on us. miserere nobis. Sacramentum pietatis, miserere nobis. Sacrament of goodness, have mercy on us. Vinculum caritatis, miserere nobis. Bond of love, have mercy on us. Offerens et oblatio, miserere nobis. Offerer and offering, have mercy on us. Spiritualis dulcedo in proprio fonte degustata, miserere Spiritual sweetness tasted in its own fountain, have mercy on us. nobis. Refectio animarum sanctarum, miserere nobis. Refreshment of holy souls, have mercy on us. Viaticum in Domino morientium, miserere nobis. Viaticum of those dying in the Lord, have mercy on us. Pignus futurae gloriae, miserere nobis. Pledge of future glory, have mercy on us.

86

Agnus Dei, qui tollis peccata mundi, parce nobis, Domine. Lamb of God, who takest away the sins of the world, spare us, O Agnus Dei, qui tollis peccata mundi, exaudi nobis, Lord. Domine. Lamb of God, who takest away the sins of the world, graciously Agnus Dei, qui tollis peccata mundi, miserere nobis. hear us O Lord. Lamb of God, who takest away the sins of the world, have mercy on us.

87

The Loreto Litany75

Kyrie eleison, Christe, eleison Lord have mercy on us, Christ have mercy on us Kyrie eleison, Christe, audi nos. Christe exaudi nos. Lord have mercy on us, Christ hear us, Christ graciously hear us. Pater de caelis, Deus, miserere nobis. God, the Father of heaven, have mercy on us. Fili, Redemptor mundi, Deus, miserere nobis. God the Son, Redeemer of the world, have mercy on us. Spiritus Sancte Deus, miserere nobis. God the Holy Ghost, have mercy on us. Sancta Trinitas, unus Deus, miserere nobis. Holy Trinity, one God, have mercy on us.

Sancta Maria, ora pro nobis. Holy Mary, pray for us. Sancta Dei Genetrix, ora pro nobis. Holy Mother of God, pray for us. Sancta Virgo virginum, ora pro nobis. Holy Virgin of virgins, pray for us. Mater Christi, ora pro nobis. Mother of Christ, pray for us. Mater Ecclesiae, ora pro nobis. Mother of the Church, pray for us. Mater Divinae gratiae, ora pro nobis. Mother of divine grace, pray for us. Mater purissima, ora pro nobis. Mother most pure, pray for us. Mater castissima, ora pro nobis. Mother most chaste, pray for us. Mater inviolata, ora pro nobis. Mother inviolate, pray for us. Mater intemerata, ora pro nobis. Mother undefiled, pray for us. Mater amabilis, ora pro nobis. Mother most amiable, pray for us. Mater admirabilis, ora pro nobis. Mother most admirable, pray for us. Mater boni Consilii, ora pro nobis. Mother of good counsel, pray for us. Mater Creatoris, ora pro nobis. Mother of our Creator, pray for us. Mater Salvatoris, ora pro nobis. Mother of our Savior, pray for us. Virgo prudentissima, ora pro nobis. Virgin most prudent, pray for us. Virgo veneranda, ora pro nobis. Virgin most venerable, pray for us. Virgo praedicanda, ora pro nobis. Virgin most renouned, pray for us. Virgo potens, ora pro nobis. Virgin most powerful, pray for us. Virgo clemens, ora pro nobis. Virgin most merciful, pray for us. Virgo fidelis, ora pro nobis. Virgin most faithful, pray for us.

75 Translation based on Bruno Kazenas’ “The litanies of Wolfgang Amadeus Mozart: A Comparative Analysis” and Treasury of Latin Prayers, http://www.preces-latinae.org/thesaurus/BVM/Laurentanae.html, , [accessed January, 30, 2012] 88

Speculum iustitiae, ora pro nobis. Mirror of justice, pray for us. Sedes sapientiae, ora pro nobis. Seat of wisdom, pray for us. Causa nostrae laetitiae, ora pro nobis. Cause of our joy, pray for us. Vas spirituale, ora pro nobis. Spiritual vessel, pray for us. Vas honorabile, ora pro nobis. Vessel of honor, pray for us. Vas insigne devotionis, ora pro nobis. Singular vessel of devotion, pray for us. Rosa mystica, ora pro nobis. Mystical rose, pray for us. Turris Davidica, ora pro nobis. Tower of David, pray for us. Turris eburnea, ora pro nobis. Tower of ivory, pray for us. Domus aurea, ora pro nobis. House of gold, pray for us. Foederis arca, ora pro nobis. Ark of the covenant, pray for us. Ianua caeli, ora pro nobis. Gate of heaven, pray for us. Stella matutina, ora pro nobis. Morning star, pray for us.

Salus infirmorum, ora pro nobis. Health of the sick, pray for us. Refugium peccatorum, ora pro nobis. Refuge of sinners, pray for us. Consolatrix afflictorum, ora pro nobis. Comforter of the afflicted, pray for us. Auxilium Christianorum, ora pro nobis. Help of Christians, pray for us.

Regina Angelorum, ora pro nobis. Queen of Angels, pray for us. Regina Patriarcharum, ora pro nobis. Queen of Patriarchs, pray for us. Regina Prophetarum, ora pro nobis. Queen of Prophets, pray for us. Regina Apostolorum, ora pro nobis. Queen of Apostles, pray for us. Regina Martyrum, ora pro nobis. Queen of Martyrs, pray for us. Regina Confessorum, ora pro nobis. Queen of Confessors, pray for us. Regina Virginum, ora pro nobis. Queen of Virgins, pray for us. Regina Sanctorum omnium, ora pro nobis. Queen of all Saints, pray for us. Regina sine labe originali concepta, ora pro nobis. Queen conceived without original sin, pray for us. Regina in caelum assumpta, ora pro nobis. Queen assumed into heaven, pray for us. Regina Sanctissimi Rosarii, ora pro nobis. Queen of the most holy Rosary, pray for us. Regina familiae, ora pro nobis. Queen of the family, pray for us. Regina pacis, ora pro nobis. Queen of Peace, pray for us. 89

Agnus Dei, qui tollis peccata mundi, parce nobis, Lamb of God, who takest away the sins of the world, spare us, O Domine. Lord. Agnus Dei, qui tollis peccata mundi, exaudi nobis, Lamb of God, who takest away the sins of the world, graciously Domine. hear us O Lord. Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who takest away the sins of the world, have mercy on us.

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Appendix B

The Text and Translation of the Offertories

Offertorium de Beata Virgo Maria in C Major, Carlson IC3

1. Coro 1. Chorus

Beata es, Virgo Maira, Thou art holy, Virgin Mary, quae omnium portasti Creatorem: who carried him, creator of all, genuisti qui te fecit, who bore him, who made ye, et in aeternum permanes Virgo. pure forever ye shall remain.

2. Aria 2. Aria

Virgo parens Salvatoris, Virgin, who the Savior hath borne, Genitrixque Redemptoris, Mother of the Redeemer, Sponsa Sancti Spiritus, Bride of the Holy Spirit: tibi laudes canibus. We sing thy praise. Sis a nobis benedicta, Be ye blessed, Mater plena gratia. Mother, full of Mercy.

3. Alleluja 3. Alleluia76

76 Armin Kircher, Text Translation in Beata es, Virgo Maria, (Stuttgart: Carus-Verlag, 2007), 6. 91

Offertorium de Sanctissimo Sacramento in A Major, Carlson IC4

Parasti in conspectu meo mensam, You prepare a table before me adversus eos, qui tribulant me.77 in the presence of my enemies.78

77 Psalm 22:5 [Vulgate]. 78 Psalm 23:5 [NIV]. 92

Offertorium sub exposito venerabili in D Major, Carlson IC5

Recitativo:

Convertentur sedentes in umbra eius: They will be converted, sitting in his shadow. They will live on vivent tritico, wheat, et germinabunt quasi vinea: and they will grow like a vine. memoriale eius sicut vinum Libani.79 His memorial will be like the wine of the cedars of Lebanon.80 Duetto:

Ut cervus per juga, As a deer in a yoke, per saltus et asperos cales through groves and rough mountain paths dum sitis agitat ad lympham, while she pursues water in a thirst, properat donec inveniat umbra tegentem, until she finds covering shade and resounding fountain, fontem strepentem, ut recreat se, hurries, in order to take a rest.

Ut pastor in corde tristatur, As a pastor grieves in his heart, per rupes vagatur, wanders through rocks dum quaerit inclamt, dum quaerit perditam inclamat while he is looking for his deviating dear little sheep, sheep deviam charam oviculam, charam. roving in a cavern, wandering dear little sheep dum quaerit in clamat vagam balantem antris errantem cries out, in order to bring her(little sheep) to himself charam oviculam, ut trahat ad se.

Sic pectus ardore calescit, So, the heart burns with fervor and stretches toward eucharistic Et eucharisticas tendit ad epulas feast Ut nova mente consolidet spe as to solidify minds with a new hope

Sic Jesus amore languescit So, Jesus becomes languid with love and invites wandering Et vagam anxiam invitat animam disturbed souls. Ut revertentem consolidet spe as to solidify returning souls with a hope.

79 Hosea 14: 8 [Vulgate] in modern Bible Hosea 14:7. 80SacredBible.org, http://www.sacredbible.org/studybible/OT-33_Hosea.htm, [accessed November, 15, 2011] 93

Recitativo:

Benedicite sacerdotes Domini Domino Priests of the Lord, bless the Lord: laudate et superexaltate eum in saecula praise and exalt him above all forever.

Coro:

Benedicite servi Domini Domino Servants of the Lord, bless the Lord: laudate et superexaltate eum in saecula praise and exalt him above all forever.

Benedicite spiritus et animae iustorum Domino Spirits and souls of the just, bless the Lord: laudate et superexaltate eum in saecula praise and exalt him above all forever.

Benedicite sancti et humiles corde Domino Those who are holy and humble in heart, bless the Lord: laudate et superexaltate eum in saecula81 praise and exalt him above all forever.

Benedicite omnes religiosi Domino Deo deorum All those who are pious, bless the Lord, the God of gods: laudate et confitemini ei quia in omnia saecula praise him and acknowledge him because his mercy is for all 83 misericordia eius82 generations.”

Gloria patri et filio et spiritui sancto Glory to the Father, and to the Son, and to the Holy Spirit: Sicut erat in principio et nunc et simper As it was in the beginning, is now, 84 Et in saecula saeculoru. Amen. and will be forever. Amen.

81 Daniel 3:84-87, [Vulgate] 82 Daniel 3: 90, [Vulgate] 83 SacredBible.org, http://www.sacredbible.org/studybible/OT-32_Daniel.htm, [accessed November 15, 2011] 84Choral Public Domain Library, http://www2.cpdl.org/wiki/index.php/Gloria_Patri, [accessed November 16, 2011] 94