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A Conductor's Guide to Representative Choral Music Of 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. iii iv 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 v 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 vi 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 vii 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 viii 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
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