MASS IN C MAJOR, K259

INTRODUCTION

As with “K258“, dated by manuscript watermark evidence to December, 1775, “K259” is identically scored for two oboes (added later), two trumpets in C, timpani, violins, bass, organ continuo, and three trombones doubling the alto, tenor, and bass vocal parts.  The first performance is unknown, but again almost certainly was in the cathedral with Colloredo celebrating the mass.  It is Mozart’s shortest (or a close second to “K65”, depending on who is conducting) and, as far as I can hear, contains not a whit of Type II writing.

KYRIE

The Kyrie is in the form of a solemn, unhurried march in duple time, giving no hint that the entire mass will be done in a little over thirteen minutes.  There is even an orchestral introduction.  Four “Kyries” are separated by three “Christes”, but there are only three sections of music, structured as a straightforward ABA.

The chorus sing, “Kyrie eleison” on Theme 1.  The soprano and alto sing “Christe eleison” on Theme 2.  The chorus sing “Kyrie eleison” on Theme 3.

In Theme 4, the chorus sing “Kyrie” and the quartet answer “Kyrie eleison”.  The chorus sing “Kyrie” again and the quartet answer “Christe eleison”.  

Themes 1, 2, and 3 then repeat.

GLORIA

The pace appears to pick up for the Gloria.  Actually, the counting beat is no faster than in the Kyrie, but since the Gloria is in triple time, each measure is shorter and because the Gloria is actually shorter in time than the Kyrie, many more words need to be sung in a short period of time.  One would think that the words would have to be sung so quickly that they can be little more than declaimed.  However, Mozart manages a surprising amount of melody—as if that could surprise us by now.

The movement is in seven short sections—almost seven breaths—alternating between chorus and two or more soloists:  “Gloria in excelsis“, chorus; “Laudamus te“, soprano and alto; “Gratias agimus“, chorus; “Domine Deus“, quartet; “Qui tollis“, chorus; “Quoniam“, soprano and alto; and “Cum Sancto Spiritu“, chorus.  The choral writing is all Type I.

Four themes in the first twenty seconds repeat at the end, though not in the same order, as Mozart plays around with the food on his plate.  Theme 1 is at “Gloria in excelsis“, Theme 2 at “Et in terra pax“. Theme 3 at “Bonae voluntatis“, and Theme 4 at “Laudamus te“.  Theme 4 returns at “Quoniam” followed immediately by Theme 3 at “Jesu Christe“, Theme 1 at “Cum Sancto Spiritu“, and Theme 2 at “Amen“.

Mozart is bolder than in “K220” in incorporating polytextuality in the soloists’ parts, but still, I think, hopes the archbishop won’t notice, as it is devious and clever.

He uses the rapid passage of the words to compress the soloists’ sections using overlapping voices in much the same way he did in the Credo of “K220”—having the subsequent soloist chime in using the same musical phrase as the first, but on different words.

It is most noticeable in “Laudamus te”, whose two short musical phrases are simply too short for an ear expecting four.  

Text in order:

“Domine Deus” and “Quoniam” have the added advantage of repeated words to further hide the telescoping, and everybody ends together, lulling the ear into thinking all has been kosher (“Is there a problem, Your Grace?”).

Text in order:

Domine Deus, Rex coelestis, Deus Pater omnipotens.  Domine Fili unigenite, Jesu Christe.  Domine Deus, Agnus Dei, Filius Patris.

Mozart’s text order:

Text in order:

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe.

Mozart’s text order:

CREDO

The Credo is another masterpiece of conciseness.  At three and one-half minutes, it is the shortest of all Mozart’s Credos.  Even so, he still manages to include almost all of his favorite elements:  a fast-slow-fast structure; repeating themes, a showcase for soloists in the “Et incarnatus est”; descending from heaven music; a respectful genuflection for “Et mortuos” and “Mortuorum”; repetitions of “Non” in “Non erit finis”; and even a little surprise for “Et in Spiritum Sanctum”.  The only “missing” elements are ascending into heaven music (which he does not always do anyway) and Type II choral music (for which he truly does not have time).  He does, however, make time to rub in one more episode of polytextuality.

The chorus sing all of the first duple-time fast section.  Themes to listen for later are Theme 1 at “Patrem omnipotentem“, Theme 2 at “Deum de Deo“, Theme 3 at “Genitum, non factum“, and Theme 4 at “Qui propter nos homines“.  There is a descending theme at “Descendit“.

The triple-meter slow section includes a gentle “Et incarnatus est” for soloists and a dramatic “Crucifixus” for chorus.  Mozart does not linger over the text; no words are repeated and the section lasts less than a minute.  However, the words are spoken slowly and the leisurely triple time makes it sound as if he is not watching the clock.

Duple time and Theme 1 return at “Et resurrexit“. Theme 3 returns at “Et iterum venturus est“.  The music slows for “Et mortuos“.  Theme 4 returns at “Cujus regni” followed by repeated “Non, non“.

Without breaking the pace, the solo quartet suddenly bursts forth with a bright and ingenuous interlude on “Et in Spiritum Sanctum“, using forbidden polytextuality.  Two or three voices sing in block harmony at the beginning, in the middle, and at the end, lulling the ear into thinking all the music is like that.  The overlap of phrases is so smooth that the archbishop himself might not notice that the upper voices finish one phrase short while only the bass’s lovely harmonies bury the last phrase.

Text in order:

Mozart’s text order:

The chorus soon return to the business of getting this thing over with lest the quartet get carried away and the archbishop notice.  Theme 2 returns in altered form at “Confiteor” and in original form at “remissionem peccatorum”.  The music slows again for “Mortuorum“.  Theme 1 appears one more time at “Et vitam venturi saeculi“.

SANCTUS

The slow, pompous-sounding “Sanctus” appears to go from triple time to duple time at “Dominus Deus Sabaoth“, but this is just Mozart playing with rhythm the way a child would play with food he does not particularly like.  Finally, he cannot stand it and the music breaks into an impish and playful sound at “Pleni sunt coeli” and continues through the end of “Hosanna” this time really in duple time.

BENEDICTUS

Mozart generally gives us a “Benedictus qui venit” with flowing lines and graceful harmonies showcasing one or more of the soloists.  The current movement, in triple time, for solo quartet with organ obbligato, can certainly be played this way, but it may not be what he is getting at here.

Except for the sneaky polytextuality in the Gloria and Credo, Mozart has been pretty “good” in this mass, keeping the movements short and avoiding Type II writing.  I am imagining a scene where the archbishop says (through a suitable intermediary, of course), “Why don’t you write a nice little solo organ part for yourself in your next mass?—not too long, of course”.  Mozart, feeling patronized by his patron, grumbles under his breath, “You want short?  I’ll give you short!”

He marks the tempo “allegro vivace”, which means, roughly, “really fast”.  At this speed, it would be a manic little movement indeed.  However, none of the four recorded versions takes a chance on the way this would sound.  Harnoncourt takes it the slowest, even adding a leisurely rubato just before the recapitulation of the main theme.  Neumann’s version is similar and particularly lyrical.  Quite a lovely sound.  Matt, whom I have previously faulted for being too brisk, is a little faster, but with much the same effect.  Only Kegel comes close to what I think is the intent, and his version is far from blistering.

There are several things in the music which make me think Mozart really means “allegro vivace”.  First, the part writing for soloists is uncharacteristically undistinguished, almost all block harmony, which lends itself well to being sung fast.  Second, the melody is choppy and ordinary, which does not invite a lingering look.  Third, the organ part is just plain silly.  Mozart could easily have created yet another “Benedictus” in a moderate tempo weaving the solo voices and organ obbligato into an exquisite tapestry.  This organ part is little more than arpeggios stuck in between the soloists’ phrases.  And finally, the repeat of “Hosanna” is compacted into triple time.

AGNUS DEI

The second violins and bass play pizzicato, giving the sound of a cheerful folk song in duple time accompanied by a guitar.  The solo soprano sings the phrase “Agnus Dei” and the chorus answer with “Miserere nobis”.  The solo alto repeats “Agnus Dei” in the minor mode and again the chorus answer with “Miserere nobis”.  The chorus sing the third iteration, which transitions to a pause.

DONA NOBIS PACEM

The tempo turns to triple time and the strings pick up their bows again for “Dona nobis pacem“.  The solo soprano leads and the chorus answer.  The phrase repeats.  The chorus meander through another couple of themes setting up the big finish, and the initial theme appears once more near the end.  Mozart leaves us with no anger and no tricks, just a sweet and joyous goodbye—with trumpets tootling and timpani thumping, in case anyone is listening.

–04/23/2016