This Litany consists of six movements divided into nine different, distinguished sections. Clearly, Mozart used as models for his work the sacramental litanies of his Salzburg predecessors and contemporaries.
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(9)
- Kyrie eleison
- Panis vivus
- Verbum caro factum
- Hostia sancta
- Tremendum
- Dulcissimum convivium
- Viaticum in Domino
- Pignus futurae gloriae
- Agnus Dei
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)1. Kyrie (Soli SATB, Coro SATB) Lord have mercy,
Christ have mercy,
Lord have mercy.
Christ, hear us;
Christ, hear us.
Father in heaven, God,
have mercy.
Son, Savior of the world, God,
have mercy.
Holy Spirit, God,
have mercy.
Holy Trinity, one God,
have mercy.2. Panis vivus (Solo T) O bread of life, come down from heaven,
O hidden God and Savior,
have mercy upon us.
Nourishment of the chosen,
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)
1. Kyrie (Soli SATB, Coro SATB) Herr, erbarme dich,
Christus, erbarme dich,
Herr, erbarme dich!
Christus, höre uns,
Christus, erhöre uns!
Vater im Himmel, Gott,
erbarme dich unser!
Sohn, Erlöser der Welt, Gott,
erbarme dich unser!
Heiliger Geist, Gott,
erbarme dich unser!
Heilige Dreieinigkeit, einziger Gott,
erbarme dich unser.2. Panis vivus (Solo T) Lebendiges Brot, das du vom Himmel herabgestiegen bist,
verborgener Gott und Retter,
erbarme dich unser.
Nahrung der Auserwählten,
Wein, der Jungfrauen sprossen lässt,
strotzendes Brot und Ergötzen der Könige,
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
1. Kyrie (Soli SATB, Coro SATB) Kyrie eleison.
Christe eleison.
Kyrie eleison.
Christe audi nos,
Christe exaudi nos.
Pater de coelis Deus,
miserere nobis.
Fili Redemptor mundi Deus,
miserere nobis.
Spiritus Sancte Deus,
miserere nobis.
Sancta Trinitas, unus Deus,
miserere nobis.2. Panis vivus (Solo T) Panis vivus, qui de coelo descendisti,
Deus absconditus et Salvator,
miserere nobis.
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.331
Konrad Küster
Translation (abridged): John CoombsThey occupy a position between Mozart’s settings of the Mass and his single-movement “shorter church works”: the substantial, multi-movement litanies and psalm cycles written while he was still at Salzburg. Undoubtedly their composition allowed him greater musical freedom than the settings of the Mass; because the latter were written for use at services which were organized down to the time allowed for the individual sections, the music had to be constructed along carefully defined lines.
On the other hand the vespers and litanies were not performed for Sunday or festival Masses, but in different liturgical circumstances. For the Offices of the Canonical Hours, even in the days of Gregorian plainsong, far more elaborate
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.331
Konrad Küster (2000)
Sie stehen zwischen den Messzyklen und den einsätzigen »kleineren Kirchenwerken« Mozarts: die umfangreichen, mehrsätzigen Litaneien und Psalmzyklen aus seiner Salzburger Zeit. Unverkennbar war in ihnen die musikalische Freiheit des Komponisten größer als in den Messzyklen: Weil diese sich in den Messgottesdienst einzufügen hatten, der bis in Details seines zeitlichen Ablaufes durchorganisiert war, bewegt sich auch die Musik in einem klar definierten Rahmen. Je nach Bedeutung des Gottesdienstes ermöglichte dieser zwar die Bildung eigenständiger Sätze (in der Missa solemnis), konnte aber auch die musikalischen Formen so begrenzen, wie es für die Missa brevis typisch ist; wenn beispielsweise am Ende von Gloria und Credo fugische Elemente entfaltet werden, dann nur als Andeutung weiter reichender
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Contents
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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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Vocal score arranger
Paul Horn
| 1922-2016Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details
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