Exsultate, jubilate
Solomotette zum Dreifaltigkeitsfest oder zu Weihnachten KV 165 (158a), 1773
A good six years following its first performance in Milan (1773) a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version,” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the Biblioteka Jagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions.
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Composer
Wolfgang Amadeus Mozart
| 1756-1791As the son of the deputy Kapellmeister to the Salzburg Prince-Archbishop, Mozart was constantly surrounded by church music in his youth. On his travels Mozart became familiar with Italian church music, and later in Vienna he studied the works of Bach and Handel. After moving to Vienna he was faced with the new challenges of composing opera and piano concertos, and significantly the “C Minor Mass” KV 427, the greatest sacred work of the first Vienna years, remained unfinished. The last period of his life again shows a change of direction to church music: Mozart successfully applied to succeed the terminally ill Leopold Hoffmann as Kapellmeister at St Stephen's Cathedral, but he was unable to take up the position as he died before Hoffmann. A gem such as the “Ave verum” KV 618 and the incomplete Requiem KV 626 give us an idea of what Mozart might have achieved as a composer of sacred music if he had taken up this important position. Personal details
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Editor
Wolfgang Hochstein
| 1950
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