Mozart’s Mass in C major – known as the "Coronation Mass" for no obvious reason – is one of the most popular and most frequently-performed works of its kind. Although Mozart had to keep the setting short, in line with the Prince Bishop’s requirements, it is astonishingly varied. A great deal is required of the choir, both harmonically and through the somewhat unexpected dynamic twists and turns. A good rapport between chorus and choral director is necessary here – don’t have your nose in your copy!
The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a separate Audio CD or MP3 and download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:
- Original recording
- Coach: each part is accompanied by the piano, with the original recording sounding in the background
- Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.
Performers: Donna Brown (soprano), Claudia Schubert (alto), Marcus Ullmann (tenore), Klaus Häger (basso) – Gächinger Kantorei & Bach-Collegium Stuttgart – Helmuth Rilling
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)Kyrie (ST, Coro)
Kyrie eleison.
Christe eleison.
Kyrie eleison.Gloria (SATB, Coro)
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus Sanctus.
Tu solus Dominus.
Tu solus Altissimus, Jesu Christe.
Cum Sancto Spiritu, in gloria Dei Patris.... -
text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)
Abridged Foreword of the Edition Carus 40.618
Ulrich Leisinger
Translation: John CoombsThe name “Coronation Mass” by which the Missa in C major KV 317 of Wolfgang Amadeus Mozart is generally known, is historically misleading (Mozart did not compose it for a coronation, and so far as is known at present it was never performed at one during his lifetime), but the name says a great deal about the role of this work in the increasing appreciation of Mozart’s church music by succeeding generations. Mozart himself regarded this as one of the most important among his settings of the Mass. […] The date, the full scoring of the work, and its dimensions – substantially greater that those of the Missae breves written about the middle of the 1770s – suggest that this work was probably intended for performance at Easter 1779 (Easter Sunday that year was on the 6th April).
In accordance with the instructions given by Archbishop Colloredo, the Prince-Bishop of Salzburg, all the movements of this work are laid out concisely. Elaborate contrapuntal sections, such as fugues to conclude the Gloria and Credo, are avoided. As in other masses, Mozart did not compose the Agnus Dei in the original key, to which
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)
Gekürztes Vorwort der Ausgabe Carus 40.618
Ulrich Leisinger
In den Jahrzehnten nach Mozarts Tod, in denen sich seine Werke rasch verbreiteten, ein Werkverzeichnis zur eindeutigen Identifizierung einer bestimmten Komposition aber fehlte, haben sich viele Beinamen eingebürgert, die zum größeren Teil bis heute lebendig geblieben sind. Wenn die Missa in C KV 317 unter der Bezeichnung „Krönungsmesse“ allgemein bekannt ist, so ist dieser Ehrentitel zwar historisch irreführend (Mozart selbst hat sie nämlich weder für eine Krönung geschrieben, noch nach derzeitigem Kenntnisstand bei einer solchen aufgeführt), doch besagt er viel über die Rolle, die dieser Messe in der Rezeptionsgeschichte der Kirchenmusik Wolfgang Amadeus Mozarts zukommt. In der Wertschätzung des Komponisten, des ausgehenden 18. Jahrhunderts und weiten Teilen des 19. Jahrhunderts zählt sie zu seinen bedeutendsten Messkompositionen. Mozarts selbst hat sie sich vom Vater aus Salzburg nach München, später nach Wien nachschicken lassen; um 1790 verlieh er Partitur und Originalstimmen an seinen Freund Anton Stoll, der sie als Regenschori in Baden bei Wien aufgeführt hat. […] Neben der Missa solemnis in C KV 337 gehört sie damit seit gut zwei
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Additional product information
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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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Ensemble
Gächinger Kantorei Stuttgart
Since August 2013, the Gächinger Kantorei Stuttgart has been under the artistic direction of Hans-Christoph Rademann, the director of the Internationale Bachakademie Stuttgart. Under the patronage of the Bachakademie, the choir plays a decisive role in a wide range of concerts, guest performances and recordings for both radio and CD. The center of the choir’s activities consists, in addition to its manifold activities in the MUSI KFEST UTT GART , of a large concert series with oratorio programs ranging from Schütz to commissioned contemporary works. The interpretation of vocal works by Johann Sebastian Bach has always been a special focus of the choir. The Gächinger Kantorei Stuttgart, which is named after a small village in the Swabian Alb and was founded by Helmuth Rilling in 1954, has ranked as one of the outstanding concert choirs of the world for decades. In addition to regular performances with its partner ensemble, the Bach-Collegium Stuttgart, the choir frequently works together with orchestras such as the Vienna Philharmonic, the New York Philharmonic and the Israel Philharmonic. It also has a particularly close relationship with the Stuttgart Radio Symphony Orchestra of the SWR. The choir is regularly conducted by guest conductors such as Masaaki Suzuki, Krzysztof Penderecki, Alexander Liebreich and Sir Roger Norrington. Guest performances have led the ensemble to, among others, China and Latin America, as well as to the large festivals Salzburg, Lucerne, Prague, New York, Paris, London, Vienna and Seoul. The choir has recorded hundreds of CDs which include Bach’s complete vocal works, diverse 18th century oratorios as well as several world premieres including works by Penderecki, Pärt and Rihm. Personal details
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Ensemble
Bach-Collegium Stuttgart
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Conductor
Helmuth Rilling
| 1933
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Soloist - soprano
Donna Brown
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Soloist - alto
Claudia Schubert
Claudia Schubert began studying singing in 1986 at the Hochschule für Musik und Darstellende Kunst in Frankfurt with Elsa Cavelti and participated in master classes with Laura Sarti in London. From 1987 to 1991 she held a scholarship from the Studienstiftung des Deutschen Volkes. Since 1987 she has appeared in many important music centers in Europe, in Israel, Japan, Canada and the USA. At renowned festivals for early music she has collaborated with conductors such as Frieder Bernius, Frans Brüggen, Sir John Eliot Gardiner, Reinhard Goebel, Ton Koopman, Herrmann Max, and Jordi Savall. Her activities have been augmented with guest appearances at the opera houses in Frankfurt, Brussels and Salzburg. Personal details
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Soloist - tenor
Marcus Ullmann
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Soloist - bass
Klaus Häger
Klaus Häger was born in Wuppertal. After completing his Abitur, he studied music education and later singing with Franz Müller-Heuser, Ingeborg Most and Jürgen Glauß (lied interpretation) in Cologne and Freiburg. He took part in master classes with Sena Jurinac, Ernst Haefliger and Dietrich Fischer-Dieskau. As a student, he gave lieder recitals and performed in orchestral concerts and numerous oratorios, both in Germany and abroad. Klaus Häger’s artistic activities include radio, television and CD recordings. He is a prizewinner of numerous international competitions, including the “Bundeswettbewerb Gesang” in 1990 in Berlin (1st prize in the category “concert” and two special prizes.) Klaus Häger has participated in several festivals, e.?g., the Salzburg Festival, the Schwetzingen Festival and the Schleswig-Holstein Music Festival, and has collaborated with renowned conductors. From 1991–1997, Klaus Häger was a member of the ensemble of the Hamburg State Opera, and from 1998–2003, he was a member of the ensemble of the Berlin State Opera. In 2002, he made his debut at the Bayreuth Festival in Die Meistersinger von Nürnberg under Christian Thielemann. In 2004, Klaus Häger was appointed professor at the Rostock University of Music and Drama. Personal details
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