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MOZART: Requiem / Exultate, Jubilate / Laudate Dominum

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MOZART: Requiem / Exultate, Jubilate / Laudate Dominum

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Wolfgang Amadeus Mozart (1756 - 1791) Masterworks of Sacred Music Requiem in D minor, K. 626 Laudate Dominum, K. 339 Ave verum corpus, K. 618 Exsultate,...

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Wolfgang Amadeus Mozart (1756 - 1791)

Masterworks of Sacred Music

Requiem in D minor, K. 626

Laudate Dominum, K. 339

Ave verum corpus, K. 618

Exsultate, jubilate, K. 165

Mozart's life was all too short. Born in Salzburg in 1756, the son of a leading court musician, he amazed Europe as an infant prodigy, undertaking protracted tours under the guidance of his father. Adolescence and early manhood proved less satisfying. The Mozarts had security in Salzburg, but the city, under its new Archbishop, seemed to have little to offer, and Mozart was certain that he deserved something better. In 1781, after fulfilling a successful commission in Munich with his opera Idomeneo, he travelled to Vienna to join his patron, the Archbishop. When he was denied the opportunities that seemed within his grasp and particularly the chance of making some impression on the Emperor, he quarrelled with his employer and, not for the first hut now for the last time, was dismissed.

Mozart spent the last ten years of his life principally in Vienna, without consistent patronage adequate to his needs and without the constant presence and advice of his father, who remained in Salzburg. An imprudent marriage made increasing demands on his purse, and initial success in the theatre and in public subscription concerts was followed by disappointment and the need to borrow money to meet expenses normal to one of his station.

The circumstances surrounding the composition of Mozart's Requiem are well enough known. In July 1791 he received a commission for the composition of a Requiem Mass from Count Franz Walsegg zu Stuppach, who sought to commemorate the recent death of his wife by the performance of a work of this kind, which he would claim as his own. To commission the music he sent his steward Franz Anton Leutgeb to Mozart and paid an advance of 60 ducats, with promise of a further sum when the work was finished. The summer of 1791 was a busy one for Mozart. His German opera, Die Zauberf1ote, was to be staged in the early autumn, while Prague had commissioned a coronation opera from him, La clemenza di Tito, and this involved a journey to the Bohemian capital in September for the occasion. In May he had been appointed unpaid Assistant to the Kapellmeister of St. Stephen's Cathedral, with right of succession to the aging incumbent.

Constanze Mozart was later to claim that her husband had a premonition that the Requiem was an omen of his own coming death, a suggestion to which one may attach litt1e credence, however attractive the story may appear to the romantic imagination. Mozart seemed, in the summer of 1791, very much more cheerful than he had been, since his fortunes had taken an obvious turn for the better. In November, however, he was taken ill and within a fortnight he was dead, his death ascribed by his doctor to military fever, but the subject of much subsequent speculation. On 4th December he felt well enough, to sing with his friends parts of the Requiem, which was still incomplete. Benedikt Schack, Tamino in Die Zauberf1ote, sang the soprano part in falsetto, Mozart sang alto, the violinist Hofer, husband of Constanze's sister Josefa, Queen of the Night, sang tenor and Franz Gerl, whose wife played Papagena, while he took the part of Sarastro, sang bass. It is said that Mozart burst into tears and could go no further when it came to the Lacrimosa, of which, incidentally, he had written only the first eight bars. This was in the afternoon. In the evening his condition worsened and he died at five minutes to one on the morning of 5th December, to be buried a day or so later in an unmarked grave.

At his death Mozart left his setting of the Requiem unfinished. His widow Constanze might have been expected to entrust the completion of the work to her husband's pupil and her own constant companion Franz Xaver S�ssmayer.

Instead, apparently out of pique, she asked Josef Eybler to finish the composition and scoring. He later gave up the task and the unfinished score finally came into the hands of S�ssmayer, so that the best known form of the Requiem is the version started by Mozart, continued briefly by Eybler and completed by S�ssmayer. Others have in recent years replaced these additions and remodelled the work from Mozart's surviving autograph sketches.

Mozart had completed the composition and scoring of the Introit and Kyrie, used by S�ssmayer for the final Communion, Lux aeterna. The great Sequence, the Dies irae, was sketched fairly fully up to the verse Lacrimosa, dies illa, a point at which Eybler too gave up his tentative work on the score. S�ssmayer continued the Lacrimosa for a further 22 bars, completing it. Mozart had written the voice parts and bass of the Offertory, as he had for much of the Dies irae, and this S�ssmayer completed. Sanctus, Benedictus and Agnus Dei are the work of S�ssmayer.

It might be added that Count Walsegg was not deterred from his original intention and on 14th December 1793 had the Requiem performed as his own composition, an imposture that amused him greatly.

Mozart's Laudate Dominum is taken from his Vesperae solennes de contessore, written in Salzburg in 1780 during the uneasy period after his return from Paris and Mannheim and before his final dismissal from the service of the Archbishop.

The setting of the Ave verum, K. 618, belongs to the last summer of Mozart's life and was written in Baden, where his wife was taking the waters. It was composed for the celebration of the Feast of Corpus Christi and designed for his friend Anton Stoll, a schoolmaster with responsibility for a church choir.

The music, in its simple clarity, represents a more popular and less formal type of church music, rather in the spirit of those Josephine reforms to which Mozart had earlier taken such exception in Salzburg.

The motet Exsultate, jubilate, K. 165, belongs to a happier period of Mozart's life, when all seemed to lie before him. With his father he had first visited Italy late in 1769. A second visit followed in 1771, with the commission for a serenata, Ascanio in Alba, in Milan. The third and final visit took p1ace in the winter of 1772, with the reluctant assent of the new Archbishop of Salzburg. The primary object of the journey was to provide a new opera, Lucio Silla, for Milan, then ruled by Archduke Ferdinand, son of the Empress Maria Theresia. The leading singer in Lucio Silla was the castrato Venanzio Rauzzini, who was shortly to make his home in England, and it was for him that Mozart wrote his Exsultate, jubilate, a work that makes considerable demands on a singer. The motet is scored for pairs of oboes and horns, strings and organ. The opening section is followed by a brief recitative, modulating from the original key of F major to the A major of the succeeding Andante. The original key is restored for the final jubi1ant Alleluja.

Disc 1

Requiem in D minor, K. 626

(more info)

Performed by: St. Clement Concert Orchestra Leipzig Chamber Orchestra Berlin Radio Symphony Orchestra Slovak Philharmonic Orchestra Italian Radio Orchestras West German Radio Symphony Orchestra English Chamber Orchestra Royal Thomson Hall Orchestra Vienna Volksoper Orchestra Kammerorchester Der Philharmonie Kosice Neue Orchester Wiener Volksoper Orchestra Vienna Volksoper Symphony Orchestra
Composed by: Wolfgang Amadeus Mozart Victor De Sabata
Conducted by: Peter Marschik Elmer Iseler Uwe Gronostay Zdenek Kosler Morten Schuldt-Jensen Randall Swanson Gary Bertini George Guest Klaus Donath Christoph Spering
Miriam Allan, soprano
Anne Buter, mezzo-soprano
Ferruccio Tagliavini, tenor
Steve Davislim,
Patrice Michaels Bedi, soprano
Amy Anderson, mezzo-soprano
Kurt Hansen, tenor
Robert Heitzinger, baritone
Pia Tassinari, mezzo-soprano
Ebe Stignani, mezzo-soprano
Italo Tajo, bass
Kwangchul Youn, baritone
Doris Soffel, mezzo-soprano
Vladimir Ruso, organ
Gotthold Schwarz, bass
Magdalena Hajossyova, soprano
Jaroslava Horska, contralto
Jozef Kundlak, tenor
Stefan Klimo, choirmaster
William Kendall, tenor
Yvonne Kenny, soprano
Peter Mikulas, bass
Iride Martinez,
David Wilson-Johnson, bass
Derek Lee Ragin, alto
Monica Groop, mezzo-soprano
Thomas Quasthoff, bass
Helen Donath, soprano
Marcus Ullmann, tenor
Robert Swensen, tenor
Sarah Walker, mezzo-soprano
Krisztina Laki, soprano
Michael Knapp, tenor
Max Emanuel Cencic, soprano
Martin Snell, baritone

Introitus: Requiem aeternam - 5:03
Kyrie eleison - 2:44
Sequentia: Dies irae - 1:46
Sequentia: Tuba mirum - 4:17
Sequentia: Rex tremendae majestatis - 2:20
Sequentia: Recordare, Jesu pie - 6:27
Sequentia: Confutatis maledictis - 3:07
Sequentia: Lacrimosa dies illa - 3:20
Offertorium: Domine Jesu Christe - 3:33
Offertorium: Hostias et preces - 4:40
Sanctus - 1:38
Benedictus - 5:36
Agnus Dei - 3:45
Communio: Lux aeterna - 5:58

Vesperae solennes de confessore, K. 339

(more info)

Performed by: Cologne Symphony Orchestra Camerata Cassovia Collegium Instrumentale Brugense Berlin Babelsberg Film Orchestra Budapest Philharmonic Orchestra Stuttgart Bach Collegium Cologne Gurzenich Orchestra
Composed by: Wolfgang Amadeus Mozart Patrick Peire Noel Edison Matthew Larkin
Conducted by: Klaus Knubben Gotthilf Fischer Ivan Fischer Johannes Wildner Helmuth Rilling Joseph Flummerfelt Dennis Keene
Robin Leigh Massie, soprano
Priti Coles, soprano
Maria Zadori, soprano
John Dickie, tenor
Barbara Schlick, soprano
Jan van der Crabben, bass
Philip McCann,
Simon Lindley, organ
Renaat Deckers, tenor
Marijke van Arnhem, mezzo-soprano
Andrea Martin, baritone
Anna di Mauro, mezzo-soprano
Karina Gauvin, soprano
Nancienne Parrella, organ
Mark Kruczek, organ
Marcus Ullmann, tenor
Klaus Hager, bass
Donna Brown, soprano
Hei-Kyung Hong, soprano
Eva Lind, soprano
Claudia Schubert, alto
Greta de Reyghere, soprano
Recording date: 10-15 June 1991

Laudate Dominum - 5:02

Ave verum corpus, K. 618

(more info)

Performed by: St. Clement Concert Orchestra Berlin Radio Symphony Orchestra Camerata Cassovia West German Radio Symphony Orchestra Berlin Symphony Orchestra Cologne Gurzenich Orchestra Vienna Volksoper Orchestra Wiener Volksoper Orchestra Vienna Volksoper Symphony Orchestra Munich Residence Orchestra
Composed by: Wolfgang Amadeus Mozart Anonymous Noel Edison
Conducted by: Peter Marschik Marcus Creed Klaus Knubben Hans Rudolf Zobeley John Pryce-Jones Johannes Wildner Randall Swanson Helmut Froschauer Joseph Flummerfelt Alphons von Aarburg
Priti Coles, soprano
John Dickie, tenor
Paul Halley, organ
Darius Battiwalla, organ
Andrea Martin, baritone
Anna di Mauro, mezzo-soprano
Walton Gronroos, baritone
Gabriele Schreckenbach, alto
Michael Thompson, horn
Celina Lindsley, soprano
Werner Hollweg, tenor
Daniel Winiger, organ

Ave Verum Corpus, K. 618 - 2:56

Exsultate jubilate, K. 165

(more info)

Performed by: Camerata Cassovia Camerata Salzburg CBC Radio Orchestra Concertgebouw Chamber Orchestra Quebec Symphony Orchestra Montreal Metropolitan Orchestra Philharmonia Orchestra Stuttgart Bach Collegium Studio orchestra Galicia Symphony Orchestra
Composed by: Wolfgang Amadeus Mozart Anonymous
Conducted by: Victor Pablo Perez Ed Spanjaard Johannes Wildner Joseph Rescigno Pascal Verrot George W. Byng Helmuth Rilling Walter Susskind Bernard Labadie Ernst Hinreiner
Priti Coles, soprano
Elisabeth Schumann, soprano
Maria Bayo, soprano
Elisabeth Schwarzkopf, soprano
Anna di Mauro, mezzo-soprano
Karina Gauvin, soprano
Lyne Fortin, soprano
Marcus Ullmann, tenor
Klaus Hager, bass
Donna Brown, soprano
Lenneke Ruiten, soprano
Gabriele Fuchs, soprano
Robert Kuppelwieser, organ
Claudia Schubert, alto
Recording date: 10-15 June 1991

Alleluia - 15:19

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Composer(s):
Anonymous; Mozart, Wolfgang Amadeus

Conductor(s):
Kosler, Zdenek; Wildner, Johannes

Orchestra(s):
Camerata Cassovia; Slovak Philharmonic Orchestra

Artist(s):
Hajossyova, Magdalena; Horska, Jaroslava; Kundlak, Jozef; Mauro, Anna di; Mikulas, Peter; Ruso, Vladimir

Label: Naxos Classics
UPC: 730099425926
Item Number: 8553259