The Gloria[ 18 ] is divided into several movements, CHURCH MUSIC. conformably to the successive invocations of which it consists. The character of the whole is one of exulting praise, the tone being indicated by the opening words, "Gloria in excelsis Deo." The effort to express the solemn dignity of divine worship by external splendour, is apparent in the animated, fervent, and often stately progress of this movement. The opening subject is revived at appointed places, usually at the Quoniam, and forms a connecting thread throughout the piece. A solo is often introduced at the words "Lau-damus Te and, even without much intentional expression, the four commas of the words, "Laudamus Te, benedicimus Te, adoramus Te, glorificamus Te," form natural pauses, and regulate the musical and rhythmical division of the passage.
But the contrast of solo and chorus is determined less by the sense of the words than by the necessities of art, requiring variations of light and shade. As a rule, the words of highest import are given to the chorus; the solos serve for ornament, or as a preparation for a chorus of renewed and increased strength.
The central point of this part of the mass is formed by the thrice-repeated cry:—
Qui tollis peccata mundi, miserere nobis!
Qui tollis peccata mundi, suscipe deprecationem nostram!
Qui sedes ad dexteram patris, miserere nobis
Here we have a mood expressed of deep agitation, offering excellent opportunity for musical treatment, both in feeling and form. The "Qui tollis" is the nucleus of all Mozart's Glorias; he enunciates it simply enough through the chorus, relying for effect on the charm of rich and original harmonies, as bold in conception as they are clear and decided in rendering. The words which follow, "Quoniam Tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe," are GLORIA—CREDO. treated as a song of praise,[ 19 ] in order to relieve the gloom of the "Qui tollis," and to give stronger emphasis to what is to follow. For the last words, "cum Sancto Spiritu in gloria Dei Patris, Amen," are treated without regard to the context, as an independent fugue. In Mozart's early masses the fugue is short (49, 65, K.), but they soon became long and often elaborate (60,115,139,167,192, 262, K.). Archbishop Hieronymus, however, had an aversion to fugues; and in Mozart's later masses the Gloria came to an end in a short choral passage (220, 257, 258, 259, K.).
The Credo offered the greatest difficulties to musical treatment. A long movement, whose several parts are dependent on one emphatic verb placed at the beginning, cannot be musically rendered in such a way that the connection remains apparent to the hearer; each phrase disturbs the grammatical construction of the period. In order to overcome this difficulty the word "credo" was repeated at fitting points (192,257, K).[ 20 ] But although logical requirements are thus to a certain degree satisfied, the repeated "credo" does not fit into the grammatical structure, and the contrast between the spoken and the musical expression is in reality only intensified.
In close connection with this is the further difficulty that the delarations of faith belong essentially to the domain of speculation, and can rarely work directly on the feelings; neither does the form into which they are thrown incite the fancy to musical expression. These difficulties might be surmounted at a time when music with all her powers and capacities placed herself unreservedly at the disposal of worship, accepting the prescribed words with perfect faith in their sanctity, and only anxious to give them their fullest and truest expression. There was as little question of CHURCH MUSIC. individuality in art as in faith; the unquestioned law of ecclesiastical infallibility impressed on every work the stamp of the subjection of art to religion. Even the forms of the music followed the ancient and hallowed traditions of the cultus, and embodied ecclesiastical formulas in strict counterpoint. But as by degrees subjective emotion and expression gained ground in church music, and as the old severity of form gave place to a wealth of means and expedients, the ecclesiastical text fell under the criticism of the musicians, who subjected it to the test of the conditions required for the production of a perfect work of art. Composers learned to look upon the Credo as material to be worked up into an artistic musical form, even when it did not lend itself easily to the process. A sort of type was gradually evolved, that was closely adhered to in many particulars. One such, for instance, is the strong accentuation of death in the words, "judicare vivos et mortuos," and "resurrectionem mortuo-rum," the tone-painting of the "descendit de coelis," the repetition of the "non" in the words "cujus regni non erit finis," and others of the same kind. Such an evident tendency to emphasise details at the cost of the whole, only shows how composers took refuge in whatever was capable of musical expression, in order to extricate themselves as far as they could from the burden of the rest.
The main passages on which the musical strength of the Credo was concentrated are those in which the mention of the incarnation, crucifixion, and resurrection of Christ appeal most vividly to the senses and the imagination. It had become customary to connect the words, "Qui propter nos homines et propter nostram salutem descendit de coelis," whether made prominent by solo singing or not, with those which preceded them, and to make a pause with "Et incarnatus."[ 21 ] These words are generally rendered by a tender solo voice, as if they would fain hover round the cradle of the heavenly Child, to express the gratitude of mankind for his incarnation. Then solemnly and sadly the chorus depicts CREDO. the deep pain of "Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est," breaking out at "Et resur-rexit" &c., into joyful trust in the resurrection. In all this Mozart's wonderful genius succeeded in awakening imagination and emotion which, again, his artistic moderation knew how to calm; his firm grasp of his art enabling him to produce the most striking effect with the simplest means, and to gather up the details, so that each sustains and elevates the other without injuring the consistency of the whole Credo. This unusual combination of qualities gives to this part of the mass a high degree of artistic finish even when the treatment is most simple and confined.
The words "Et in Spiritum Sanctum" are usually given to a solo voice,—more, however, from custom than for any special signification of their own (49, 65, 139, K.); they are introduced by a long instrumental prelude (262 K.). Apart from the interests of the Church, which might have some influence here, the necessity could not but be felt for a strong contrast between this and the following passages. For what follows, "Et unam sanctam catholicam et apos-tolicam ecclesiam," &c., is given by the whole strength of the chorus. The last words, "et vitam venturi saeculi. Amen," is again treated as a fugue. Here, again, we find first a short fugued movement (49, 65, 192, K.), but later a long and cleverly worked-out fugue (139, 167, 262, K.), until the influence of Archbishop Hieronymus led to the conclusion of the Credo, like the Gloria, in a short animated chorus (257, 258, 259, 275, K.).
Various methods were employed to gather the phrases of the Creed into a consistent musical work. The repetition of the word "credo" (167, 257, K.), even in places where it somewhat disturbs the grammatical construction, serves to combine the musical texture of the movements