Mozart's Masses. No.

I
Source: The Musical Times and Singing Class Circular, Vol. 5, No. 101 (Oct. 1, 1852), pp. 67-
70
Published by: Musical Times Publications Ltd.
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 THE MUSICAL TIMES.
THE MUSICAL TIMES.
67 6

THE MUSICAL TIMES, OLbbb - r _____ I -I

ant inging QTlas Citrculatr.
Ky - ri - e
With which is incorporated "THE MUSICAL "V1lW."
OCTOBER 1st, 1852.
%., - L l -_' I I _
MOZART'S MASSES. A Mass in C, inscribed
Missa in honorem S. Simae Trinifatis, del
No. I.
Sigr. Cavaliere A. JF. Mozart nel Giugno,
Contributed by E. HOLMES. 1773, in Salisburgo. The orchestral parts are
two violins, bass, oboes, trumpets, and drums.
THE Masses of Mozart, collected and published
by Mr.V. Novello, including the Requiem amount
A Mass in C, in which, after a symphony, the
to fifteen, and of these, more than half were
voicesob-
begin the Kyrie with a fugue on two sub-
jects, the bass leading. The accompaniments
tained from MS. scores and private collections.
The editor used all diligence to render his
arework
for two violins, two oboes, two trumpets, and
complete, and caused enquiries to be made drums,
in the organ, and bass.
principal libraries of the Continent concerning
From a comparison of Mr. Novello's collection
works which he imagined Mozart had written for with the catalogue of Andr6, in which
of Masses
religious establishments in Bohemia. Though
so many of them are unmentioned, the natural
unsuccessful in these enquiries, Mr. Novello was would appear to be, that many more
inference
still right in the suspicion that more remained
works of this kind remain to be known than have
than had come into his possession, and theyetrapid
come to light through either source.
growth of the work after he first took it in hand
It is not with the idea of hastening the appear-
favored and encouraged the idea.
ance of any supplementary volume of the Masses,
The information which has turned up within
still less of throwing any censure on the service
these few years through the publication of the
which Mr. Novello has performed towards the
catalogue of that portion of Mozart's original
musical world in giving us his arrangements, that
manuscripts which fell into the hands of M. Andre,
we adopt this subject. The era of Mozart's
of Offenbach, would have been of the highest Masses, their object, their effect on the com-
value to the editor had it occurred in time. In
poser's career, their testimony of his diligence
the Offenbach catalogue a great number of the
and rapidity in composition, seemed to us to offer
works collected by Mr. Novello are unmentioned,
a theme which might be pursued with interest
and we have his diligence entirely to thank for
and profit to the musical reader. The difficulty
our acquaintance with them; on the other hand
which there is in ascertaining all that a master
there are six Masses at least which have escaped
the notice of the editor. wrote, whose life was not extended to thirty-six
years; the perpetual growth of a fame for com-
The list of them is curious. A Mass in G,
position founded at twelve years of age or earlier;
composed in 1768, at Vienna. The score has
the certainty that of this music a great part must
only a quartett of stringed instruments as accom-
for ever remain unknown to us-all these matters
paniment.
are fertile in reflection on the wonderful career
A Mass in D minor, composed in January, the
of genius. But it is of the first consequence that
next year, at Salzburg. The accompaniments
the order of the productions, and the circum-
are only for two violins and a bass.
stances under which the composer wrote, should
A Mass in C, dated October, 1769. The or-
be duly ascertained, if we would know correctly
chestral parts are for the quartett of stringed
the influence of his social position on the progress
instruments, trumpets, and drums. The intro-
and development of his powers.
ductory adagio is very grand and choral.
After the removal of Mozart to Vienna, in his
A Mass in C minor. The orchestral parts, two
violins, two tenors, bass, two oboes, and three mature life, it appears that he was never engaged
trombones. This work is undated, and the com- on any church music, save the Mass in C minor,
-which he afterwards turned into the Oratorio
poser would seem to have passed the years of
boyhood, from the characteristic and dignified Davidde Penitente,-and the Requiem. In this
opening:- last work it seems highly probable that he used
r/ n b I A I s *o
some ideas which had been beating about in his
head for a long time. This was his way; he
I ?,v 4^ Sr- lL_ i ^ ft, f-~ 0,perfected in maturity many of the thoughts which
I 1 sr
f Ky - ri - e he had but imperfectly developed in childhood.
1 N I The similarity of the opening of the Requiem and
f= - -7ai-il IU I a- -,Q-
Q!): I - I1_S- of Handel's Funeral Anthem for Queen Caroline
A
,I_
,1 Fte=
I I II 1
'- ii-
,oo -- I;
_ L
has been noticed; and possibly in commencing

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68
68 THE MUSICAL THE MUSICAL TIMES.
TIMES.

that workThe pleasure of this awakening consciousness he

cise of to great genius canhis scarcely be appreciated.y
placed Mozart gainedhimse
no emolument for the composition
this of his Masses;-his name, indeed, appeared in
merely a
The Masses of Mozart were his exercises in the cathedral books as the recipient of an annual
present too insignificant for mention;-but his
composition written principally for the Cathedral
of Salzburg, and extending from about twelve chief reward was in the sympathy and approba-
years of age to twenty-one. His first Kyrie, tion of his private friends and circle of acquaint-
ance. When a new Mass or a new Offertorium
composed at Paris in his tenth year, actually
foreshadows the melody of the mature Mozart. had gone off with uncommon effect, there was,
This fragment was probably merely produceddoubtless,
to on fine Sundays an unusual flutter of
gratify curiosity; but the Masses which in a fewcongratulation and criticism among the amateurs
years he began to write at home were the off- resorting the public gardens, the orangery, and
spring of his happiest hours of existence, when other amenities of the picturesque city of Salz-
he lived undisturbed under the paternal wing, burg. But the echoes of fame and the reports of
and as yet had scarcely tasted of disappointmentthe casual traveller scarcely carried the know-
or adversity. One sees in the constructionledge of of this music beyond the mountains.
the movements that he was soon obliged to sub- Salzburg was essentially provincial; even the
mit his pen to convenience. In one place, perhaps,
court, though splendid in some respects, wanted
he might be permitted to develop an ideathe at polished tone of the electoral and imperial
length-but on most occasions the bishop or othercities. The celebrated Archbishop was long be-
fore he could be induced to put the orchestra of
ecclesiastical personage performing service might
not be detained too long. He received his com- his palace, who performed his private concerts,
mands concerning length, &c. with docility, on andsuch a footing as would distinguish it amid
the musical establishments of Germany. But at
learned to please the authorities in their own way;
fitting the people he had to work for with music,
the cathedral, the appointments were very incom-
'as a tailor does a man with a coat.' It is his plete, and there was always a large dependance
own comparison. But these restrictions exercisedupon chance or volunteer assistance. The choir
his invention, and put his address to thewas test.
pretty well supplied with voices, and combined
In like manner the orchestras he had to write the services of a varied class of amateurs-
for. Sometimes there was no viola in the band; soldiers, priests, and laymen. It contained, also,
sometimes there were no wind instruments but some Italian singing-masters, past the prime of
oboes, or only oboes and trombones! There was their years and ambition, who sought repose in
the secluded life of Salzburg. The treble chorus
the organ to fill up and to cover defalcations; and
it was Mozart's business to make music out of was supported largely by boys who came from all
any means that offered. The violins in the or- and presented themselves at the chapel-
parts
chestra were good, as may be seen by thehouse
busy as candidates for the honor of serving in
passages which he wrote for them, not onlythe choir. It was a long and arduous task to
in the
.lllegros of his Masses, but in numerous instru- polish their rusticity and to make their well-meant
mental pieces consisting of Sonatas for theefforts organ serviceable to music.
and violins, or for the organ with violins and Perhaps it was only a family of such skill and
trumpets (little symphonies, in fact), which en- as Mozart's, which could effectually con-
address
livened the routine of the service at the cathedral tend with the difficulties of making good music
of Salzburg. The bishop liked to hear the trum-from such imperfect means as existed in the
pets, and to have the service on high festivals go Salzburg choir. Leopold Mozart devoted him-
off in as jubilant and dashing a style as possible-self indefatigably to please-for he had ever and
therefore Mozart wrote little at home in the old anon a favor or leave of absence to ask at court;
solemn monastic style. He rather introduced ayet with all his teaching, his experience, and in-
special style of his own, not so devout as imposingdustrious efforts, and notwithstanding all the
and beautiful-combining dramatic effect and services of his son, his situation as Kapell-meister
choral dignity with the elegance of the symphony.was of that grating kind which is only endurable
Never was the most brilliant opera of a metro- in the hope of getting a release from it. He was
politan city supplied with half the novelties with in perpetual contact with certain mouthpieces of
which the cathedral goers of Salzburg were en-the court, who made him uncomfortable by their
tertained from the pen of Mozart for about tenrepresentations. The travels of the Mozarts,
years, from 1768 to 78. The old contrapuntiststheir fame out of their own country, the solid
and composers, Eberlin, Adlgasser, Michaeltestimonies of regard which they had received,
Haydn, and the rest of the staff of Salzburg not less than their superior manners, had made
musicians, readily gave way to the young man, them enemies; and the counterpoise to this was
who supplied their work for nothing, and whose that they enjoyed the good offices and friendship
rapid pen was equal to any emergency. of several ladies of influence at court, whom

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 THE MUSICAL TIMES. 69

Mozart had formed as musicians. The had occasioned an important void in the house-
profes-
sional existence of the father was thushold; and, to add to this, he had been deceived
balanced.
Without having travelled and heardinthe his best
first attachment. The father consoled
himself
music that Europe could produce, it would that his somewhat mercurial son was safe
have
been impossible for young Mozart to under
have hiscon-own roof from the contamination of
ceived the polished and elegant passages of these
foreign cities; while the enemies of the family
Masses. They could never have sprung rejoicedup that Mozart had been foiled in his first
spontaneously like wild flowers in the attempt
mountain to establish himself abroad.
These circumstances
solitudes of Salzburg. But the want of taste in bring us to the era of
the then existing upper class of the patrons of Mass (No. 1 inC, Novello's edition),
Mozart's first
music is apparent in nothing more thancomposed
that they for the great Easter festival, 1779, when
were content to receive these compositions
we seefrom
that the composer had reason for exertion,
time to time as amateur amusement, andandto to
suffer
announce himself with dignity after his
long absence.
the author to seek an appointment through Eu- The symphonist, the dramatic
musician, the composer in the fullest and com-
rope as soon as he sought a pecuniary recompense
for his services. pletest sense of the word, burst out on this
It is necessary to cast this backward splendid
glance at occasion. Nevertheless, the Salzbulg
the time and circumstances of the production of not greatly improved in its appoint-
orchestra had
Mozart's Masses, because they are often com-
ments. The original orchestra consists of two
pared with Haydn's, which were composedviolins,for
twoa oboes, two trumpets, drums, organ,
complete orchestra, and amidst everyand circum-
basses. In an appendix to the score, Mozart
stance which could favor their full andhasperfect
added parts for two horns, and here and there
for three trombones.
development. Having but a small resource in
Thisparts
his cathedral orchestra (though the stringed Mass, the latest in the order of time of
of the Masses are everywhere eminentMozart's and cha-
Masses, is the most vigorous, the most
racteristic), Mozart studied the voices,dramatic and it and
is impassioned of all the church works
impossible to refer to any works in which in which
there heis followed his own style. The Kyrie
a finer collection of beautiful choral effects. In was evidently written with restrictions as to
this respect they are, amidst all existing music, length, but the composer, to render his design
quite peculiar; and most of them would give complete, introduces a phrase or two of it again
great pleasure in public, notwithstanding their at the end. How characteristic and grand are
want of complete wind-instrument parts. Thethe Mozartean progressions condensed in this
finest counterpoint and melody abound. The brief introduction. The Gloria, changing to 3
antecedent of the style of Mozart's Masses cantime, is remarkable for the beautiful manner in
scarcely be discovered. This music, so majesticwhich the voices are joined on to the symphonic
and expressive, and sometimes so dramatic, must orchestra, and for the fire of the whole concep-
have been a pure effort of invention, originatingtion, which seems to have been struck off in a
in the desire to unite good music with what wasmoment. The movement of the treble and alto
agreeable and popular. Hence tile beautifulvoices in octaves at ' bonae voluntatis' must have
melodies, the florid accompaniments, and the been a novelty in the counterpoint of the last
avoidance of all that was formal and conventional. century. The modulation at the 'miserere' in
Setting the same text over and over, drew outthe middle of the Gloria is still admirable. The
Mozart's resources as an instrumental composerCredo is peculiarly majestic in the voice parts,
in great variety; and the unfavourable circum- and is set off by the interesting motion of the
stances of the composer's position, in some re- violins. A sublime contrast of harmony is pro-
spects, helped him the more completely to fulfil duced by the pedale, 'Et in unum,' first on the
his destiny. dominant of A minor, and then in the second
What part Mozart took in the Salzburg cathe- part,' Et expecto,' on the dominant of C minor.
dral orchestra can scarcely be affirmed with cer- Mozart's grandest choral style appears in the
tainty. But during his long absence at Paris, Sanctus. The Benedictus is sweet and simple,
when he had made himself greatly missed, it was with an exquisite movement of the parts in the
said to be chiefly at the organ. His Highness vocal quartett. It is remarkable for the absence
the Archbishop wanted an organist who was also of modulation. The soprano solo, 'Agnus Dei,'
a pianoforte player. Mozart was master of both was written for the famous singer, Aloysia
theory and practice at a time when the most Weber, whom Mozart once admired; and here,
learned musicians hardly knew how to finger a curiously enough, he employs the same vocal
scale, or to place their hands on a keyed instru- phrase which he afterwards gave to the Countess
ment. Iis return to his old quarters in Salzburg, in Figaro in ' Dove sono.' Kindred feelings possi-
in 1779, a young man in his twenty-third year, bly suggested the same music. This noble Mass,
was in some sort a melancholy triumph for his however already known and admired by niusi-
genius. In the interval, the death of his mother cians, becomes doubly interesting through the

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70 THE MUSICAL TIMES

history
historyofofitsitsproduction.
production. There
Therewaswasoneto
one
tothing
the
thething
order
order of of
things
things
that usually
that usually
find their
findowntheir own
which
which was
wasalways
always purposely
purposely kept
kept level.
level.
in dispute
in dispute The
in The name
in nameof Wagner
of Wagner
is nowislooked
now upon
lookedin upon in
Mozart's
Mozart'snative
nativecity,
city,andandthat
that
waswas Berlin
Berlin
whether
whetherhewith
with
heno nomore
more
complacency
complacency
than inthan
London.
in London.
was
was really
reallya agenius
geniusorornot.
not.Here,
Here,
probably,
probably,
Ahe
A he
significant
significant signsign
of the
of musical
the musical
times, is
times,
to be is to be
intended
intendedto tosettle
settlethe
thequestion;
question;
or, or, found
found
perhaps,
perhaps,
notininthe
nottheannouncement
announcement officially
officially
made in made
the in the
heeding
heedingthethecritics,
critics,heheintended
intendedto take amorning
morning
to take gentle papers
a gentle papersof the
of formation
the formation
of a JOINT
of aSTOCK
JOINT STOCK
and
and magnanimous
magnanimous revenge
revenge
on on
Madlle. COMPANY
COMPANY
Madlle.
Weber. forfor
Weber. purchasing
purchasing
the remainder
the remainder
of the lease,
of the lease
and
andcarrying
carrying
on on
the the
management
management
of HER ofMAJESTY'S
HER MAJESTY'S
His
His next
nextstep
stepfrom
from this
this
work
workwaswas
to Idomeneo,
to Idomeneo,
and
and then
thencame
cameininsuccession
succession
thethe
whole
whole THEATRE.
THEATRE.
train
train
of of NoNo
speculator
speculator
is daring
is daring
enough enough
to enter to enter
solus
soluson on
the
the
project;
project;
and no
andwonder!
no wonder!
When we When
re- we re-
grand
grand operas
operasand
andsymphonies.
symphonies. call
callto
tomind
mind
thethe
fatefate
of every
of every
lessee of
lessee
this vast
of this
esta-vast esta-
To be continued.
blishment,
blishment, it is
it certainly
is certainly
no matter
no matter
of surprise
of surprise
that a that
lessee
lesseeshould
shouldbe be
wanting
wantingto carry
to carry
on the on
management
the management
of
of aatheatre
theatre which
whichhas brought
has brought
so manysotomany
ruin. With
to ruin. With
JOHANNA WAGNER.-HER MAJESTY'S
aa rival
rivalsoso
powerful
powerful as the
as Royal
the Royal
Italian Italian
Opera-house,
Opera-house,
THEATRE ASSOCIATION.-THE FESTIVALS. success seems more doubtful than ever. The details
THE dullest month in the musical yearof inthe present plan have been published-trustees,
London
committee,
is undoubtedly September: the journalist is almost in and other officers chosen-a great part of
the shares " are already subscribed ;" and so far, the
want of a subject that can justify a remark. With the
plan appears to be in a fair way of being tried. For
exception of a few minor concerts, the metropolis is
the sake of the
then generally destitute of musical sounds-indeed, of art and the musical profession, we sin-
cerely hope the new scheme may be prosperous; the
musical men in the present instance; the three great
large resources to be placed in the committee's hands
Festivals having been the occasion of withdrawing
our whole stock of "musical property." will,
The doubtless,
closing enable them to engage the highest
kind of talent-but the doubt with us is, that the re-
of the two opera-houses in London is usually the sig-
nal for the existence of a positive dearth ceipts can be made to cover the expenses.
in music:
The objections to the plan-viewed as a joint-stock
parties are formed to visit the provinces, our principal
vocal and instrumental performers takingassociation-is
the oppor- its exclusiveness, the absoluteness of
tunity generally of giving our continentalthe power vested in the committee; a fact which com-
neighbours
pletely destroys
a " spice of their quality." It would be difficult to the generalness of its character. The
assemble a London audience in any part ofappeal made to the public to support the scheme,
the month
of September, for nobody stays in town who shouldcancertainly
by not have been accompanied by an
intimation that
any possibility get out of it. The commencement of they would have to surrender their
the shooting season is the absorbing topic judgment,
in someas well as their cash, into the hands of an
quarters-a wish to breathe a purer atmospherearistocratic
pre-committee. It is necessary that Her Ma-
vails in others-in all, the enjoyment of a jesty's Theatre
little calm should receive the support of the aris-
and refreshing repose after a surfeit either tocracy, certainly; without it, of course it could not
of labour
go on one night; but in asking the public to join in
or of pleasure, is considered absolutely necessary.
Amongst events that are noticeable in musical
the plan,mat-
some reason ought to appear why they are
ters, a short anecdote of Madlle. JOHANNA to WAGNER
have anything at all to do with it. The officers are
already appointed,
ought to be related, because it appears somewhat cha- and these officers are to choose
their managing
racteristic of the proceedings of that whimsical young director. Here is the vital point. The
lady and her exorbitant and unthinking director, of course, should be invested with absolute
advisers,
while sojourning in this country. Never power, or else the office is useless; and in the manner
were specu-
lation and avarice more signally punished in which
than in this
the power is exercised, and the ability and
case of Johanna Wagner; and although to singleness
do this the of purpose exhibited in the discharge of its
innocent was made in some measure (a not duties, the issue of the plan, without doubt, altogether
unfrequent
depends.
occurrence in legal matters) to suffer, yet no Judging by the prospectus, the public are
one could
doubt the justness of the decision which not to have
onlynothing
cen- to do with the matter, farther than
sured but unequivocally condemned the to assist in
breach offinding
a the cash-the affairs of the theatre
are to bethat
regularly-made contract. It is by such conduct carried on by a committee-the names of
the progress of our art is so much impeded,that committee
and its are already published-a director is to
influences curtailed. But to the narration of the fact: not by the shareholders, but by the
be appointed,
committee,
Madlle. Wagner had given her promise to sing for the who are vested with "power to add to
benefit of M. Roger, at the Berlin opera, their
in the number,"
early and who are to have the "exclusive
part of the month, and preparations were control
made on overallthe receipts and expenditure." The per-
hands for the "great event;" but as the time arrived are to be defined by the committee at
sonal privileges
for the fulfilment of the promise, excusesthe
werecommencement
made; of the season-a mode of pro-
and Roger was compelled to alter the opera,cedure
andnot very satisfactory to intending shareholders,
find
who would, doubtless, like to know the amount of ad-
a less fickle prima donna. The benefit, notwithstand-
vantageRoger,
ing the disappointment, was highly productive. to be derived by the payment of their money
to mark his sense of the kindness which dictated
previouslythe
to taking up shares.
fair Johanna to give him her promise of assistance,
A National Opera is incidentally alluded to, in the
had provided for her acceptance a handsome bracelet,
following sentence:-
which, however, ultimately found its way into the pos-
" These advantages sufficiently point it out as the fitting
session of her more gracious substitute.
seat of a grand national opera; but it has other important
Such conduct is highly censurable; butrecommendations-in
it belongs old-established habits and associ-

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