570231 bk Mozart 11/15/07 11:35 AM Page 12 7 Coro Chorus Se vuoi, puniscimi If you will, punish me ma pria, Signore, lascia che almeno, but first, Lord, let at least che sfoghi, che si moderi your scorn find relief, il tuo sdegno, il tuo furore. your anger be tempered. Puniscimi, se vuoi, Punish me, if you will, lascia, che sfoghi il tuo furore. let your anger find relief. Vedi la mia pallida guancia inferma, Behold my pale weak face, Signore, deh, sanami, porgimi soccorso, Lord, heal me, bring me succour, MOZART aita, Signor, tu puoi, porgimi aita. help, Lord, you are able, bring help. 8 Aria Aria Tra l’oscure ombre funeste, Through the dark grievous shadows splende al giusto il ciel sereno, the serene heaven shines on the just, Davide serba ancor nelle tempeste and during the storms brings la sua pace un fido cor. peace to the faithful heart. Alme belle, ah sì, godete! Fair souls, ah yes, rejoice! alme belle! ah sì, godete, Fair souls! Ah yes, rejoice penitente né alcun fia che turbi audace, that no one dares to disturb quella gioia e quella pace, that joy and that peace di cui solo è Dio l’autor. of which God alone is the author. (Oratorio) 9 Terzetto Trio Tutte le mie speranze All my hopes ho riposte in te. I have placed in you. Trine Wilsberg Lund, Soprano Salvami, o Dio, dal nemico feroce Save me, O God, from the cruel enemy che m’insegue e che m’incalza, that pursues me and that presses upon me, o Dio, salvami! O God, save me! Kristina Wahlin, Soprano 0 Coro Chorus Chi in Dio sol spera: Who hopes in God alone Lothar Odinius, Tenor Di tali pericoli non ha timore. Has no fear of such dangers. Regina coeli, K.108 Immortal Bach Ensemble ! Regina coeli laetare, alleluia. Rejoice, O Queen of Heaven, alleluia. @ Quia quem meruisti portare For he whom you were worthy to bear Leipziger resurrexit, sicut dixit, alleluia. has arisen, as he said, alleluia. Kammerorchester # Ora pro nobis Deum. Pray for us to God. $ Alleluia, alleluia. Alleluia, alleluia. Morten Schuldt-Jensen 8.570231 12 570231 bk Mozart 11/15/07 11:35 AM Page 2 Wolfgang Amadeus Davide penitente, K.469 1 Coro Chorus MOZART Alzai le flebili voci al Signor I raised my weeping cries to the Lord (1756-1791) Alzai le flebili voci al Dio I raised my weeping cries to God Davide penitente, K.469 40:31 da mali oppresso. oppressed by evils. Alzai le flebili mie voci a Dio I raised my weeping cries to God 1 1. Coro: Alzai le flebili voci al Signor (Chorus, Soprano 1) 5:44 da mali oppresso. oppressed by evils. 2 2. Coro: Cantiam le glorie (Chorus) 2:04 2 Coro Chorus 3 3. Aria: Lungi le cure ingrate (Soprano 2) 4:27 Cantiam le glorie e le lodi, Let us sing the glories and praises 4 4. Coro: Sii pur sempre benigno, oh Dio (Chorus) 1:02 replichiamole in cento e cento modi Let us repeat them a hundred hundred ways del Signore amabilissimo. the praises of the most loving Lord. 5 5. Duetto: Sorgi, o Signore, e spargi (Soprano 1 and 2) 2:40 6 6. Aria: A te, fra tanti affanni (Tenor) 6:03 3 Aria Aria 7 7. Coro: Se vuoi, puniscimi (Chorus) 4:48 Lungi le cure ingrate, Far away from sad afflictions, respirate omai. feel free again. 8 8. Aria: Tra l’oscure ombre funeste (Soprano 1) 5:29 S’è palpitato assai If once you were afraid 9 9. Terzetto: Tutte le mie speranze (Soprano 1 and 2, Tenor) 3:38 è tempo da goder. now is the time to rejoice. 0 10. Coro: Chi in Dio sol spera (Chorus and Soli) 4:35 4 Coro Chorus Sii pur sempre benigno, oh Dio, Be ever gracious, O God Regina coeli, K.108 12:34 e le preghiere te muovano a pietà. and let our prayers move you to mercy. ! Regina coeli, laetare (Chorus) 2:45 5 Duetto Duet @ Quia quem meruisti portare (Soprano, Chorus) 3:16 Sorgi, Signore, e spargi i tuoi nemici. Arise, Lord, and scatter your enemies. # Ora pro nobis Deum (Soprano) 3:51 Sorgi, Signore, spargi Arise, Lord, scatter e dissipa i tuoi nemici. and disperse your enemies. $ Alleluia (Soprano, Chorus) 2:42 Fuga ognun che t’odia, Put to flight whomsoever may hate you, fuga da te che t’odia, Put to flight those who hate you, Trine Wilsberg Lund, Soprano 1 sorgi e spargi i tuoi nemici. arise and scatter your enemies. Kristina Wahlin, Soprano 2 6 Aria Aria A te, fra tanti affanni, In you, amid such tribulation, Lothar Odinius, Tenor pietà cercai, Signore, I sought mercy, Lord, che vedi il mio bel core, that you should see my good heart, Immortal Bach Ensemble che mi conosci almen. that at least you should know me. Udisti i voti miei, You have heard my prayers, Leipziger Kammerorchester e già godea quest’alma and already my soul has rejoiced per te l’usata calma since through you the storms in Morten Schuldt-Jensen delle tempeste in sen. my bosom have been calmed. 8.570231 2 11 8.570231 570231 bk Mozart 11/15/07 11:35 AM Page 10 Solisten, die von Oboen, Fagotten und Streichern Italienreise war das Regina coeli KV 108, das im Mai Wolfgang Amadeus Mozart (1756-1791) akkompagniert werden: Dieses Tutte le mie speranze 1771 nach der Heimkehr in Salzburg entstand. Dem Davide penitente, K.469 • Regina coeli, K.108 („All mein Hoffen“) entstand als Arrangement des festlichen, mit je zwei Oboen, Hörnern, Trompeten und Quoniam tu solus sanctus. Der Schlusschor in C-dur – Pauken, Streichern, Solosopran und vierstimmigem Wolfgang Amadeus Mozart was born in Salzburg in The greater part of Mozart’s church music had been Chi in Dio sol spera („Wer allein auf Gott hofft“) – ist Chor nebst figuriertem Bass geschriebenen Anfang in 1756, the son of a court musician who, in the year of his written during his years in Salzburg, where it fulfilled die Einrichtung des Jesu Christe aus der Messe , und das C-dur folgt ein von den zwei Flöten und den Streichern youngest child’s birth, published an influential book on something of the requirements of his employment. In polyphone Di tai pericoli non ha timor („Solche begleitetes, zierreiches Sopransolo mit kontrapunktisch violin-playing. Leopold Mozart rose to occupy the Vienna from 1781 he had other preoccupations, but in Gefahren fürchtet er nicht“) entstand aus dem Cum gestaltetem Chor in F-dur. Nur von Streichern getragen position of Vice-Kapellmeister to the Archbishop of 1783 he had worked on another Mass setting, again with Sancto Spiritu, dessen liturgischer Text zunächst besser wird das anschließende a-moll-Sopransolo Ora pro Salzburg, but sacrificed his own creative career to that Salzburg in mind. In August 1782 he had married zur Musik passt. Darauf lässt Mozart eine neue Kadenz nobis („Bitte für uns“) mit der Bezeichnung Adagio un of his son, in whom he detected early signs of Constanze Weber, one of his former landlady’s folgen, die den Solisten einen letzten glanzvollen poco andante. Volles Orchester, Sopransolo und Chor precocious genius. With the indulgence of his patron, he daughters and a cousin of the composer Carl Maria von Moment gewährt. beschließen das Werk mit dem Alleluia. was able to undertake extended concert tours of Europe Weber. He had done his best at first to conceal his 1770 und 1771 hielten sich Mozart und sein Vater in which his son and elder daughter Nannerl were able relationship from his father, who disapproved of the in Italien auf. Unter anderem weilten sie einige Monate Keith Anderson to astonish audiences. The boy played both the keyboard match. It was not until a year later that the couple in Bologna, wo Mozart bei Padre Martini traditionellen and the violin and could improvise and soon write down travelled to Salzburg, where Constanze might meet her Kontrapunkt studieren konnte. Ein Resultat der Deutsche Fassung: Cris Posslac his own compositions. father-in-law and sister-in-law. The occasion brought Childhood that had brought Mozart signal success from Mozart his Mass in C minor, K.427, a composition was followed by a less satisfactory period of he had worked on intermittently and that was to remain adolescence largely in Salzburg under the patronage of a unfinished, without a completed Credo or Agnus Dei. It new and less sympathetic Archbishop. Like his father, was written in fulfilment of a promise to his new wife, Mozart found opportunities far too limited at home, who sang the soprano solo when the work was first while chances of travel were now restricted. In 1777, performed at the Benedictine church of St Peter in when leave of absence was not granted, he gave up Salzburg during the course of the couple’s first visit employment in Salzburg to seek a future elsewhere, but there together. It was to this earlier composition that neither Mannheim nor Paris, both musical centres of Mozart had recourse in 1785, when, at the height of his some importance, had anything for him. His Mannheim powers and fully occupied as a composer and performer, connections, however, brought a commission for an he was required to produce a composition for the opera in Munich in 1781, but after its successful staging Vienna Society of Artists, a charitable organization in he was summoned by his patron to Vienna. There which he had an obvious interest and in which he sought Mozart’s dissatisfaction with his position resulted in a membership, since the Society took responsibility for quarrel with the Archbishop and dismissal from his the care of the impoverished widows and orphans of its service.