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Program Notes |
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Mozart: Vesperae solennes de confessore, K. 339
In 1780 Mozart was 24, a musician and composer in the service of Hieronymus
Colloredo, archbishop of Salzburg. Colloredo was not only a power in the
church but also temporal ruler of Salzburg, an independent enclave within
the Austrian empire. He had already dismissed Mozart from his service once,
and would do so again in 1781, alleging a lack of diligence. Colloredo was
probably unhappy about Mozart's prolific musical activity on behalf of other
patrons; yet Mozart was also writing church music for Salzburg at a high
level of mastery.
A striking example is the Vesperae solennes de confessore of 1780. Vespers is the evening service of the Catholic Holy Office, a liturgical cycle keyed to the hours of the day and prescribing specific psalm texts that vary according to the church calendar. In this work, as the title indicates, Mozart set the psalms designated for use on the feast day of a confessor (a saint who suffered persecution for the faith). Presumably the music was composed for use on a particular saint's day, but there is no record to indicate which one. Taking advantage of a traditional looseness in the musical structure of the vespers service, Mozart uses five different keys and a wide range of styles and techniques in the six movements of the Vesperae solennes, yet they are bound together by a common quality of brilliance and sense of exhilaration. In the opening Dixit Dominus, Allegro vivace, a highly ornamented orchestral accompaniment conveys an appropriate sense of majesty, yielding to drama as the chorus winds its way through unexpected modulations but returns to C major for a triumphant finish. The second movement, Confitebor, unfolds at a more relaxed allegro pace and brings the solo quartet more into the foreground; with the third (Beatus vir) the tempo marking is again vivace and the soprano soloist moves into prominence, with two harmonically startling entrances on the word "gloria" and a bravura elaboration of a single syllable in the word "exaltabitur" ("shall be exalted"). For Psalm 112 (Laudate pueri) Mozart resorts to a strict fugal style dating back to Renaissance times, a dark D minor tonality, and a melody characterized by a downward leap of a diminished seventh--all atmospheric touches that will reappear in the Kyrie fugue of his famous Requiem. Starkly effective in itself, the movement also sets off to maximum advantage the brief but magical Laudate Dominum that comes next, with its ethereal soprano solo and lilting accompaniment. Finally, the Magnificat provides a sense of closure by bringing back the key of C major, and expresses the spirit of its text through bold melodic shapes and closely knit polyphony. Notes copyright 1997 Jonathan Wiener Text of the Vesperae solennes de confessoreDixit Dominus Domino meo (Psalm 110)The Lord said unto my Lord, sit thou at my right hand, until I make thine enemies thy footstool. The Lord shall send the rod of thy strength out of Zion: rule thou in the midst of thine enemies. Thy people shall be willing in the day of thy power, in the beauties of holiness from the womb of the morning: thou hast the dew of thy youth. The Lord hath sworn, and will not repent, thou are a priest for ever after the order of Melchizedek. The Lord at thy right hand shall strike through kings in the day of his wrath. He shall judge among the heathen, he shall fill the places with the dead bodies; he shall wound the heads over many countries. He shall drink of the brook in the way: therefore shall he lift up the head. Glory be to the Father and to the Son and to the Holy Ghost, as it was in the beginning, is now, and ever shall be, world without end. Amen.
Confitebor tibi Domine in toto corde meo (Psalm 111)
Beatus vir qui timet Dominum (Psalm 112)
Laudate pueri Dominum (Psalm 113)
Laudate Dominum omnes gentes (Psalm 117)
Magnificat anima mea Dominum (Luke 1:46-55) |
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