Wolfgang Amadeus Mozart’s Mass in C minor (K. 427) stands alongside the Requiem (K. 626) as his most remarkable church composition. Today it enjoys almost cult status, first because of its monumentality, which is unique in Mozart’s sacred vocal music, and second because, like the Requiem, it partakes of the aura of the unfinished and mysterious. The exact circumstances that gave rise to it as a votive mass have eluded explanation to the present day. The same applies to the reasons why it was left unfinished and to many details of its first performance, which, as far as we know, took place at St. Peter’s Church, Salzburg, on October 26, 1783. Finally, the transmission of the original sources also raises many questions. Indeed, it is astonishing that the Mass, although left as a torso, was performed at all during Mozart’s final visit to Salzburg. more “Revisiting Mozart’s Great Mass in C minor”
Guest post by Dr. Uwe Wolf
The problems posed for anyone who wants to publish a performable version of the C Minor Mass are not new. Various solutions have been adopted, some more successful and some less. Nevertheless, we have taken up this composition once again, viewing it from the perspectives of both practicing musicians and scholars, out of a certain dissatisfaction with previous attempts and the conviction that many of the attempted solutions no longer correspond with current practice. In our edition we have attempted to produce a performing version while maintaining the greatest respect for available material and without obscuring Mozart’s musical manuscript with our own contributions. This has turned out to be no easy task. We have spent a great deal of time pondering and discussing alongside a great deal of experimentation which has been a richly rewarding experience for us all.
Question: You are very well known for your pioneering work in performance practice. The term and all its ramifications are gaining in recognition and application today. Where does performance practice have its origins?
Clive Brown: It’s not a new thing. Already in the early 19th century people were concerned about performing the music of older composers in the style appropriate to it. When the 21-year-old violinist Spohr played in Leipzig in 1804, Friedrich Rochlitz admired ‘his insight into the spirit of different compositions, and his artistry in reproducing each in its own spirit’, which he had not observed to this extent in the playing of other musicians. Rochlitz found this particularly impressive in his quartet playing where he was ‘almost completely another person when he, for example, plays Beethoven (his darling, whom he handles splendidly), or Mozart (his ideal), or Rode (whose grandiosity he knows very well how to assume, without any scratching or scraping, yielding little to him, particularly in fullness of tone), or when he plays Viotti and galant composers: he is a different person, because they are different people.
Around the same time people were concerned that the proper tempos for Haydn and Mozart were being forgotten. In the second decade of the 19th century, Salieri provided Mälzel’s metronome with marks for Haydn’s Die Schöpfung, of which he had directed the premiere, and Gottfried Weber wrote an article about un-authentic tempos in Mozart’s Die Zauberflöte. During the next few decades more “Performance Practice: Interview with musicologist and Bärenreiter editor Clive Brown”
Guest post by Uwe Wolf, Chief Editor of Carus-Verlag
What an amazing story! Mozart makes a vow to compose a mass after the successful birth of his first-born child. The performance is planned on the occasion of his first journey with his wife to Salzburg so he can introduce her to his family – both personally and musically, for Constanze is to sing one of the demanding soprano parts. But the baby, left behind with a wet-nurse in Vienna, then dies, and Mozart stops work on the composition – precisely at the Et incarnatus est, one of his most beautiful and heartfelt movements, dealing with the subject of the incarnation, i.e. birth. Too much of a coincidence? Probably. more “UNFINISHED: Tradition and Completion of Mozart’s C Minor Mass”
by Jacy Burroughs
Wolfgang Amadeus Mozart
(27 January 1756 – 5 December 1791)
1. Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. (Imagine trying to learn to write that name!) His first two names, Johannes Chrysostomus, represent his saint’s name, following the tradition of the Catholic Church. This saint’s name was in all likelihood chosen because Mozart’s birthday, January 27th, was the feast day of Saint John Chrysostom. Wolfgangus, or Wolfgang in German, means more “10 Interesting Facts About Wolfgang Amadeus Mozart”