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WOLFGANG AMADEUS MOZART Sacred Vocal Works

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WOLFGANG AMADEUS MOZART Sacred Vocal Works New Mozart Edition I/2/2 Vesper Psalms WOLFGANG AMADEUS MOZART Series I Sacred Vocal Works WORK GROUP 2: LITANIES, VESPERS VOLUME 2: VESPERS AND VESPER PSALMS PRESENTED BY KARL GUSTAV FELLERER AND FELIX SCHROEDER 1959 International Mozart Foundation, Online Publications III New Mozart Edition I/2/2 Vesper Psalms Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications IV New Mozart Edition I/2/2 Vesper Psalms CONTENTS Editorial Principles ……………..…………………………………………………….. VI Foreword………….…………………….……………………………………………… VII Facsimile: Leaf 1 r of the autograph of KV 193 (186 g) ……………………………….. XIV Facsimile: Leaf 1 v of the autograph of KV 321 ………………………………………. XV Facsimile: Leaf 7 v of the autograph of KV 321 ………………………………………. XVI Facsimile: Leaf 44 v of the autograph of KV 321 ……………………………………... XVII Facsimile: Leaf 3 v of the Violine I part of KV 339 …………………………………… XVIII Addendum 1988 ………………………………………………………………………. XIX Dixit et Magnificat for soloists, mixed choir, orchestra and organ KV 193 (186 g) …………………………………………………………………… 1 Vesperae solennes de Dominica for soloists, mixed choir, orchestra and organ KV 321 ……………………………………………………………….. 33 Vesperae solennes de Confessore for soloists, mixed choir, orchestra and organ KV 339 ……………………………………………………………….. 101 Appendix Magnificat for soloists, mixed choir, orchestra and organ KV 321 a (fragment) ……………………………………………………………………... 181 International Mozart Foundation, Online Publications V New Mozart Edition I/2/2 Vesper Psalms EDITORIAL PRINCIPLES The New Mozart Edition (NMA) provides for research volumes are indicated, for which the following scheme purposes a music text based on impeccable scholarship applies: letters (words, dynamic markings, tr signs and applied to all available sources – principally Mozart’s numbers in italics; principal notes, accidentals before autographs – while at the same time serving the needs principal notes, dashes, dots, fermatas, ornaments and of practising musicians. The NMA appears in 10 Series smaller rests (half notes, quarters, etc.) in small print; subdivided into 35 Work Groups: slurs and crescendo marks in broken lines; grace and ornamental notes in square brackets. An exception to I: Sacred Vocal Works (1–4) the rule for numbers is the case of those grouping II: Theatrical Works (5–7) triplets, sextuplets, etc. together, which are always in III: Songs, Part-Songs, Canons (8–10) italics, those added editorially in smaller print. Whole IV: Orchestral Works (11–13) measure rests missing in the source have been V: Concertos (14–15) completed tacitly. VI: Church Sonatas (16) The title of each work as well as the VII: Large Solo Instrument Ensembles (17–18) specification in italics of the instruments and voices at VIII: Chamber Music (19–23) the beginning of each piece have been normalised, the IX: Keyboard Music (24–27) disposition of the score follows today’s practice. The X: Supplement (28–35) wording of the original titles and score disposition are provided in the Critical Commentary in German. The For every volume of music a Critical original notation for transposing instruments has been Commentary (Kritischer Bericht) in German is retained. C-clefs used in the sources have been replaced available, in which the source situation, variant by modern clefs. Mozart always notated singly readings or Mozart’s corrections are presented and all occurring sixteenth, thirty-second notes etc. crossed- other special problems discussed. through, (i.e. instead of ); the notation Within the volumes and Work Groups the therefore does not distinguish between long or short completed works appear in their order of composition. realisations. The NMA generally renders these in the Sketches, draughts and fragments are placed in an modern notation etc.; if a grace note of this Appendix at the end of the relevant volume. Sketches kind should be interpreted as ″short ″ an additional etc. which cannot be assigned to a particular work, but only to a genre or group of works, generally appear in indication ″ ″ is given over the relevant grace note. chronological order at the end of the final volume of Missing slurs at grace notes or grace note groups as the relevant Work Group. Where an identification well as articulation signs on ornamental notes have regarding genre is not possible, the sketches etc. are generally been added without comment. Dynamic published in Series X, Supplement (Work Group 30: markings are rendered in the modern form, e.g. f and p Studies, Sketches, Draughts, Fragments, Various). Lost instead of for: and pia: compositions are mentioned in the relevant Critical The texts of vocal works have been Commentary in German. Works of doubtful adjusted following modern orthography. The realisation authenticity appear in Series X (Work Group 29). of the bass continuo, in small print, is as a rule only Works which are almost certainly spurious have not provided for secco recitatives. For any editorial been included. departures from these guidelines refer to the relevant Of the various versions of a work or part of Foreword and to the Critical Commentary in German. A comprehensive representation of the a work, that version has generally been chosen as the rd basis for editing which is regarded as final and editorial guidelines for the NMA (3 version, 1962) definitive. Previous or alternative forms are reproduced has been published in Editionsrichtlinien musikalischer in the Appendix. Denkmäler und Gesamtausgaben [Editorial Guidelines The NMA uses the numbering of the for Musical Heritage and Complete Editions]. Köchel Catalogue (KV); those numberings which differ Commissioned by the Gesellschaft für Forschung and in the third and expanded edition (KV 3 or KV 3a ) are edited by Georg von Dadelsen, Kassel etc., 1963, pp. given in brackets; occasional differing numberings in 99-129. Offprints of this as well as the Bericht über die the sixth edition (KV 6) are indicated. Mitarbeitertagung und Kassel, 29. – 30. 1981 , With the exception of work titles, entries in published privately in 1984, can be obtained from the the score margin, dates of composition and the Editorial Board of the NMA. footnotes, all additions and completions in the music The Editorial Board International Mozart Foundation, Online Publications VI New Mozart Edition I/2/2 Vesper Psalms FOREWORD Of the psalms and the settings of the canticle Magnificat of his subordinates has to provide in return for a certain in Mozart’s Vespers, Alfred Einstein wrote, “ No-one annual salary. ”5 In the instrumentational practice of the knows Mozart who does not know his pieces in this 17th century, 6 the trombones were counted as part of the genre .” As early as 1774, Mozart had written a Dixit and choir, regardless of whether the parts were written out or Magnificat , that is, an opening and a final piece for the not. These were improvised from the choral parts if Vespers, for Salzburg. 1 We know as little about the individual parts had not been written out. This use of occasion for which this Dixit and Magnificat KV 193 trombones is ad libitum in contemporary performance (186 g) was written as about the reasons for Mozart’s practice and, like the organ, served to support the choir. 7 compositing the complete Vespers KV 321 and 339 in the years 1779 and 1780. 2 That this Vesper was intended for The scoring and also the hurried composition of the two Salzburg Cathedral can be deduced from the absence of Vespers betray that they were works for Salzburg horns, since Leopold Mozart reported in 1757 that “the Cathedral. The additional evidence of the sequence of flute is seldom, the French Horn never to be heard in the psalms shows that the Vespers can only have been Cathedral Church ”. 3 This report delivers a clear picture of intended for a church whose Office Liturgy was the capacities available for church music in Salzburg celebrated according to the Roman Breviary. 8 St. Peter’s Cathedral. It lists by name 8 violinists, 2 viola players, 2 is therefore ruled out, as the Vesper in the Benedictine cellists, 2 double-bass players, 4 bassoonists, of whom 2 Breviary only has four psalms. were simultaneously oboists, 3 oboists and flautists, 2 horn players and also 3 organists and harpsichordists as In its transmission, the Vesper KV 321 is usually members of the Royal Chapel. 4 As solo singers, 5 described as Vesperae de Dominica and the Vesper KV sopranos (castratos) and 4 basses are listed, in addition to 339 as Vesperae solennes de Confessore . The term whom “ 2 to 3 sopranos and as many altos from the High “Vesperae de Dominica ” is liturgically incorrect. Prince’s College are constantly required ”. The choir is According to liturgical ordnances, the Vesperae de formed by the 21 canons, 8 choristers and 15 choir-boys. Dominica comprehend the psalms 109, 110, 111, 112, 113 “Finally, 3 trombonists are additionally employed along (In exitu Israel ) and not Ps. 116 ( Laudate Dominum ), with the choir, to play namely the alto, tenor and bass which is included in both Vespers by Mozart.
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