Mass in C minor
Waisenhausmesse KV 139 (114a), 1768-69 (?) (dazwischen, spätestens 1770)
Bei Mozarts Missa in c-Moll KV 139 (114a) von 1768/69, der sog. Waisenhausmesse, handelt es sich sehr wahrscheinlich um den ersten Beitrag des Komponisten im Genre der Missa solemnis (mit Blechbläser), wie sie für kirchliche Hochfeste und andere besonders repräsentative geistliche Anlässe gepflegt wurde. Wie die Nähe von Kyrie und Agnus etwa zu Glucks 1762 in Wien uraufgeführter Oper "Orfeo" (Furienszene, Eingangschor) zeigt, greift der junge Mozart in diesen Teilen der Messe unmittelbar auf bühnendramatische Ausdrucksmittel zurück. So besticht die Messe gerade durch ihre Kühnheit und lebhaften Kontraste, die Mozart in seinen späteren Messen eher vermeidet.
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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
Mathias Siedel
| 1929-1991
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Preface writer
Christine Martin
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