Mozart's Masses. Nos. VIII.

, IX
Source: The Musical Times and Singing Class Circular, Vol. 5, No. 107 (Apr. 1, 1853), pp.
165-166+171
Published by: Musical Times Publications Ltd.
Stable URL: http://www.jstor.org/stable/3370784
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 T
THE MUSICAL TIMES. 165

THE MUSICAL TIMES, that we are tempted to quote it. The voices enter
piano on the second bar of the orchestral sym-
ianlJ Singing rlass &ircular.
phony with very unusual and agreeable effect :-
With which is inoorporated "THE MUSICAL REVIsW."Andante. h
r Violini.
APRIL 1st, 1853.
J P,,_,- ,: - .
MOZART'S MASSES. Corni in C.

Nos. VIII., IX.

H =S?-di fr1
- - -9- - i-
Contributed by E. HOLMES.
Bassi. - Voices.
THE eighth Mass in C is a Missa A brevis or short
Mass, for the minor festivals of the Church. The ,,!....
score is of a slight description, containing only,
beside the voices, parts for two violins,
Though two
thehorns,
notes of the score lie in this
and a bass, as if to place it within compass
compass, of thebe impossible with the a
it would
humblest performing pretensions, any extending
instrumentseven
to improve the harmonious ef
to those of many a German village
or the choir. Both
clear melodious progression of the p
the date and the origin of the work
Withare left to
regard in the
ob- entrance of the voices o
scurity. The object being to save time
second barin
ofper-
the symphony, we are rem
formance, and to get through the thatusual amount
it has of a gratification to comp
long been
words with as few repetitions as possible,
even Mozart times, to make a new p
from madrigal
is forced upon a peculiar task, and this up
spring it before
is which
an old one is completed.
communicates an interest even to so modest a is a memorable feature of contrivance in Mo
works, and the reader may remember
performance as this little Mass; for at no time
does the composer sacrifice his art to circum-
referred to a fine example of it in the slow m
stances, and write unworthy things becausemovement
an of the symphony in D (with th
opportunity is mean or some way unfavorable;
troductory Adagio). The more we look over
on the contrary, he makes circumstances bend to
instrumental works-the quartets, sympho
him, and whatever the occasion for his music,
and pianoforte compositions -of Mozart
insists that music of some sort shall speak. more we are convinced that he was the origi
The unity or keeping preserved in the style
ofof nearly all the principal effects that distin
this little Mass, which is of the most unadorned
modern music in the present century, the in
simplicity, will interest the musician. The great
tion of which is in far too hasty and gen
manner ascribed to Beethoven.
dramatic features of expression, the bold modula-
tion, and those surprising and masterly strokes The
of Gloria, in common time, commences with
genius which Mozart distributes with lavish hand
four bars of a symphony of no particular in-
terest in itself, but which is well introduced in
throughout his works in general, are here absent;
the different terminations and modulations of the
but though the tone is subdued, and the higher
powers of the master are held in subjection, voice parts of the composition, to give coherency
music of a very pretty and pleasing description
and subject where else they might be wanted.
is still made, and in the same modest vein in This mode of commencing is more or less cha-
which the composer commences he continues, racteristic of all the Masses. It mostly enables
proportioning one part to another throughoutthehis composer in a rapid manner to extend a
work with the nicest symmetry of style. design and pursue a subject through a long
Another gratifying characteristic of No. 8, is
series of modulations; preserving unity in the
the harmonious and effective dispersion of midstthe of variety, and satisfying in the hearer that
sounds in the little orchestra. This Mass having
natural love of connection and symmetry which
no indication of a figured bass for the organ, is inherent in the musician. The hearer requires
seems to have its harmony made completer than always as unerring a guide through the intricacies
others in the instruments of the orchestra, of andmusical composition, as he does in eloquence
the rich low tones of the horns in C supply and the public speaking; and the orator, in order
want of tenors, and fill the void between the that
two he may digress skilfully and effectively, pur-
violins and bass in a manner more agreeablesues to a thread of discourse. One still wonders,
the mental ear than when the orchestra is com- however, that the artistic mind of Mozart could
posed of violins and trumpets, leaving a wide produce the same thing under so many various
distance between them and the bass, to be filled
aspects.
up by voices and an organ. The effective dis- On looking carefully over this Gloria with the
instrumental score, more interest has been ex-
tribution of parts alluded to is most conspicuous
in the Kyrie, the opening of which affordscited so in us than the work at the first glance ap-
pleasing an example of Mozart's miniature stylepeared to promise. The counterpoint is con-

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166
166 THE MUSICAL
THE MUSICAL TIMES.
TIMES.

parts in the accompaniment, which render the

struct
the p
score, notwithstanding its small proportions, in-
mode
teresting. Effects are produced in it by those
That
slight means and rapid touches which denote the
end o
master. The Kyrie is one of the best movements.
must
It commences Adagio, 4, in a strain of solemnity
ment
and sweetness well adapted to the organ, but
whole score must be taken into account. The better still to the original accompaniments, which
music is orchestral, and the organ arrangement, have a piquancy and effect unobtainable but by
however appropriate to the genius of the instru- the instruments of an orchestra. There is a con-
ment, omits everything florid, which, with two in the first four bars of the Kyrie with a
nection
violin parts so carefully finished as these are, is intermediate subject in the Rondo of the
certain
just half the music. The independence ofpianoforte the quartet in G minor.% The favorite me-
vocal and instrumental parts, and the pains taken lodious ideas of Mozart seem to have beat about
to dispose them with effect, interest even more in his head a long time-their first indications are
than the ideas themselves. Wherever this music often to be traced in his most youthful works.
is now heard for pleasure, it must be with its The Gloria in 3 time, according to the usual
own little orchestra. mode of contrast of the Composer when he begins
The Credo is dignified, though without muchin common time, is melodious, brilliant, and
modulation, or imitation of parts in the counter- orchestral. The solos are mostly for a tenor
point. The principal melodies and interest of thevoice, as if to adapt the work to the means of
composition seem often thrown into the violinsome particular choir.
parts, which for devotional purposes are certainly The Credo is melodious, but less distinguished
pretty to a fault. The vocal quartet at 'Et exin its character than the preceding part. The
Patre' is accompanied with this melody in the ' Et Incarnatus' is a tenor solo, which proceeds
first violin: without interrupting the movement in which it
) _ P I r -' i. ! a= appears. Commencing with two violins only, the
( G ' I l I^ -_ - ' a-- T- - music of the Sanctus, notwithstanding an unusual
beginning, expresses the text with dignity, and
which makes us of opinion
the effects of the that the
orchestra are passage
peculiarly graceful
found favor in the ears of certain fair Salz-
and modern through holding notes of the horns
burgians, and tempted Mozart to present and
it tocontrast of the Celli and Basses. Mozart
them in more piquant form in his next Mass,
connects the Benedictus (a tenor solo) with the
where it more properly accompanies the words
subject of the Sanctus. This is in the Italian
Hosanna. The Sanctus differs in style from style of the day-pretty, and yet from its orna-
Mozart's other compositions of the kind, mental
and character somewhat faded. Hosanna is a
expresses the words with less than his wontedchorus which cannot still fail to be heard whenever
power. The Benedictus, a soprano solo, com- well performed with the feelings of exhilaration
mences with a promising and sentimental which kind its animated and joyful character inspires.
of melody, but it is not sustained with the vigour
The Composer had a tune to express which he
of Mozart, and seems altogether but a slight thing,
knew would be popular, and it being lively enough
designed for a slight occasion. The Agnus for Dei,a dance or for an opera melody, he introduces
in F, restores to us more of the composer'sitme-
by artful gradations. The voices repeat
lody and modulation, and the sustained harmonies
Hosanna
of the voices at ' Miserere' produce a very Ho - san-na in ex - eel - sis.
pleasing effect. In concluding his work, Mozart
fr .u 1 1 < I , I

reproduces the Hosanna, the chief interest of I ----~--- ? I

___ __ fr (y - _ S
I J i I I II I
which centres in melodies for the instruments,
the voices accompanying. How the performers r f! - 1 A. Ad .1El
A J
I;of - tr I i j F i-
.-- c
or the occasion may have influenced the pen
the Composer in this little work, it is impossible to
Ho-san-na in ex -
say. The design is small, but it is consistently
carried out, and if the work were well performed
+ The phrase referred to in the Rondo of this quar
it would be sure to please through the abundance
remembered by many readers as one of the haunting
Mozart. It is first introduced in a Pianoforte Solo.
of its melodies, and the prettiness and contrivance
n ?I II I -N - ?7 , f '
I . . . . r I
displayed in the accompaniments.
The Ninth Mass in G, also a .Missa brevis for
minor festivals, has an orchestra of the same The corresponding f
with a very slight a
materials as the one preceding-two violins, of two an Adagio form
horns and bass. There is a delicacy in theosity.
in-
parallel
As
passages
an
is
index
n
to
strumentation, and a masterly distribution for
of all who desire to

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 THE
THE
MUSICAL TIMES.
MUSICAL TIMES. 171
171

Continued
Continuedfrom page 166. from page 16
D.-In
D.-In the
theSingle
SingleChoruses
Chorusesin in
" Israel
" Israel
in Egypt,"'
in Egypt,"'
bothboth
sides sides
to
tothis melody
this accompanying
melody
should on
should sing
sing the first violin--
together.
together. acco
_- - . --- ,._
--I r I II [ T . r I
W.
W. Jackson,
Jackson,Bradford.-We
Bradford.-Wehave
have
notnot
hadhad
timetime
to refer
to refer
to to
our
our Musical
MusicalLibrary
Library for
forthethe
purpose
purpose
of satisfying
of satisfying
our our
correspondent
correspondenton onthe
the
little
little
matters
matters
touched
touched
uponupon
in hisin his
and the sustained notes of the other instruments letter.
letter. His
Hisinterest
interest ininthethe
OldOldEnglish
EnglishSong Song
Writers,
Writers,
especially
especiallythe
theclass
class
heherefers
refersto,to,
probably
probably
exceed
exceed
our own:
our own:
as well as the voices render this piece of melodious wewe shall
shallnevertheless
nevertheless take
take
an an
opportunity
opportunity of placing
of placing
the the
contrast very pleasing. One easily recognizes in subject
subject onona afirm
firmbasis,
basis,
forfor
thethe
benefit
benefit
of posterity,
of posterity,
pre- pre-
it the author of the charming choruses in Figaro. mising
mising that
thaterrors
errors ininChristian
Christian Names,
Names,in a in
publication
a publication
The Agnus Dei has no uncommon features for written
writtenone oneday
dayandandissued
issued
thethe
next,
next,
are are
not not
always
always
to beto be
guarded
guardedagainst.
against.
Mozart, who concludes his work with a repetition
of the Hosanna chorus to the words 'Dona nobis.' King's
King's Lynn.-The
Lynn.-Theinformation
information sentsent
waswas
too too
late late
for our
for our
present
presentpublication.
publication.
In the score of the Ninth Mass there is likewise
Colored
ColoredEnvelopes
Envelopes are
aresent
sentto to
all all
Subscribers
Subscriberswhosewhose
payment
payment
no indication of a figured bass or of organ accom- in in advance
advanceisisexhausted.
exhausted. TheThe
paper
paper
willwill
be discontinued
be discontinued
paniment which may account for the nice finishing where
where the
theSubscriber
Subscriberobjects
objects
to renew.
to renew.
We We
againagain
remind
remind
of the parts. Mr. Novello, foreseeing that the those
those who
whoare
aredisappointed
disappointed in in
getting
getting
backback
numbers,
numbers,
that that
work would please, has added a viola part to only
only the
themusic
musicpages
pages
areare
stereotyped,
stereotyped,
and and
of the
of rest
the of
rest of
the
the paper,
paper,only
onlysufficient
sufficient
areare
printed
printed
to supply
to supply
the current
the current
complete the quartet of stringed instruments, sale.
which, when there are no horns, will be found
useful. When however the work can be produced
in its original completeness we should much prefer 23rief
23rief (thronide
(thronide of
ofthe
theIast
IastI IMonth.
Month.
it, being opposed in theory to the modern system of
additional accompaniments, which, however skil- PHILHARMONIC
PHILHARMONIC SOCIETY.-The
SOCIETY.-Thefirstfirstconcert
concertofof
this
this
society
society was
fully or judiciously performed, always to a certain was held
held on
onthe
the14th.
14th.InInthe
theconstruction
constructionofof
thethe
programme we discover a laudable desire to introduce
degree alter the plan and corrupt the integrity of
new works to the subscribers. The rigid adherence to the
a work. In some modern things of importance-old school of music having been long a source of com-
even in operas of Mozart and overtures of plaint to the best friends of this highly-reputed society, we
Beethoven, the original scores have received
regard the change as a very great improvement. A new
symphony by Gade, a friend of the late lamented Mendels-
additions for the sake of creating effect, proving
how a well-meant design in its origin may become sohn, whose good opinion he had ensured by originality of
conception and by the skilful treatment of his subjects.
an evil of magnitude when it receives countenanceIn the symphony to which we have alluded these charac-
from current and ordinary practice. Both Men-
teristics are certainly prominent. There are also a plea-
delssohn and Berlioz have strongly questioned thesant flow of melody and a graceful style of instrumentation
present in the work, which will recommend it no less to
right of any musician to retouch the works of
another musician. the general ear than to the profession. Beethoven's over-
ture in C, the "Eroica" Symphony, and Spohr's overture
Yet the difference is great between altering to
a the Bergeist, were played with the well-known ability of
work gratuitously for the public without respon-
this band. Mrs. F. B. Jewson played a concerto on the
pianoforte; Mr. Lucas, Mr. Hancock, and Mr. Howell
sibility of authorship or notice to hearers, and
played Corelli's trio, and Madame Castellan and Miss
an addition made to supply a want, with the name
of the writer attached to it, and which can be Dolby sustained the vocal burthen. The concert was, as
usual, well attended.
received or omitted at pleasure.
To be continued.
NEW PHILHARMONIC SOCIETY.-This new institution
commenced its second season on the 16th. Since last
year, Mr. Beale has retired from the management, and
Hector Berlioz is no longer the conductor: Herr Lind-
TO CORRESPONDENTS.
painter has succeeded to the post of the latter; Mr. Willy
J. B., St. Feock, Truro.-Your letter, which is on is the leader, vice Sivori. The overture to Egmont, the
business,
should be addressed to our publisher, who will Prisoners'
doubtless Chorus from Fidelio, and the Dervishes' Chorus
attend to it. from the Ruins of Athens, Mendelssohn's Scottish Svm-
Clericus, Hinckley.-See answer to J. B. phony, and Beethoven's concerto in C minor, played
by Madlle. Clauss, the chorus from Gluck's Iphigenia,
Mendelssohn's
The Musical Times is sent to aUl Mechanics' Literary Insti- Athalie, and Weber's Kampf und Sieg,
tutions, Lyceums, Athent7ums, in the reading written in 1825, to celebrate the battle of Waterloo, were
rooms of
which it is generally filed. included in the selection.
Diapason is thanked. THE HARMONIC UNION.-The Messiah, under the di-
rection of
A Subscriber from the beginning.-A Master competent to Mr. Benedict, brought a large assembly
together in Exeter Hall. Mr. Benedict's admirable
answer your queries would charge 10s. 6d. per lesson, he
orchestra-such as is seldom heard within these walls-
could hardly do so in fewer than four lessons; it is there-
fore unreasonable in you to ask this informationgave fine
in effect to the accompaniments of the oratorio-
the principal
addition to what you have received for three-halfpence a instrumentalists being selected from the
bands of the Royal Italian Opera and Philharmonic So-
month, for which you have " subscribedfrom the beginning."
cieties, without the admixture of materials which, while it
A. S.-The Decani side in the Cathedral is the left, strengthens
and is so in power, weakens in effect, rendered the per-
called from the Dean sitting on that side-the opposite
formanceisone of considerable merit in the estimation of the
oqced the Cantoris.
lovers of the higher kind of art. The solo vocalists were

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