The periodical recurrence of the musical phrase conduces to careful mechanism, and gives opportunity for variety and increased intensity in the treatment of the subject. Apart from this, unity is provided for by a pregnant rhythmical passage or a carefully finished subject which marks the beginning of the Credo, and underlies its several divisions, CHURCH MUSIC. forming a sort of background from which the more impressive images stand out.
The appropriate elaboration of this subject is the special task of the artist, and the text is to be considered only as a point de départ to it. The mode of treatment varies and is sometimes contrapuntal, sometimes harmonic; in one part the voices predominate, in another the instruments, in which latter case the then favourite running passage for the violins is frequently employed.
The general character of church music was more prominently displayed in the Creed than elsewhere. An animated and elevated frame of mind was vividly portrayed, with more cheerfulness and brilliancy than solemnity or earnest devotion, and only at moments does the music show a consciousness of the deep significance of the text. Mozart pays tribute to his time; but his artistic nature did not allow him to sink into triviality or commonplace; symmetry, beauty, and delicacy are never found wanting. The remaining sections of the mass lend themselves more readily to musical treatment. They express deep and universal sentiments in words as simple as those of the Kyrie, and musical both in sound and suggestion.
The Sanctus falls naturally into three well-defined parts. The first words, "Sanctus, Dominus Deus Sabaoth!" intended to convey an impression of the most exalted sublimity, are generally treated as a solemn introduction to the more animated and fervent words, "Pleni sunt coli et terra gloria Tua." Agitation rises into joyful emotion in the Osanna, to which the form of a short fugal movement is usually given.
The Benedictus,[ 22 ] on the other hand, strives to express the secret thanksgiving of the heart at the coming of the Lord. A mild fervour penetrates the simple words, which seem to cast illumining beams on every side. Mozart's artistic originality has so clearly stamped the impress of his genius on the traditional form of the Benedictus that his interpretation of it has become the customary one. It is, as a rule, given BENEDICTUS. to solo voices, to which more prominence is given here than elsewhere. Now and then single voices (65,139,194, K.), but more often all the four—now alternately, now in unison—announce the message of consolation; obbligato organ accompaniments serve still further to mark the prominence given to this movement (259 K.). It has a charming effect (258 K.) when the chorus recurring at intervals during the solos enunciates with sustained expression the word "benedictus." The Osanna is usually repeated either entire or abridged from the Sanctus, but it is sometimes interwoven into the Benedictus (139, 262, K.)
The last movement falls naturally into two strongly contrasting sections. The first, expressing the sentiments of contrition, of anguished appeal for mercy, was treated with great partiality. The cry, "Agnus Dei, qui tollis peccata mundi," and the prayer, "miserere nobis," furnish a natural grouping not seldom employed for alternations of solo and chorus; the mood expressed is very favourable to musical treatment.
The "Dona nobis pacem" is in complete contrast, and in no movement of the mass is the alteration in the spirit of church music more apparent. The peace which is prayed for is vividly represented, and just as vivid is the tone of cheerful confidence with which the prayer is offered. The devout hearer was to be dismissed with a pleasant impression on his mind, and therefore the deep earnestness of this petition for peace was sacrificed in order to produce a feeling of self-satisfied enjoyment. The music of the Dona maintains throughout this cheerful tone, and though Mozart's variety and grace are as marked and effective here as elsewhere, even with him earnestness and depth are rarely to be met with.
We may now conclude this general description with a glance in detail on Mozart's masses. We have already spoken of his first attempts. Some unfinished masses, presumably the result of his studies under Padre Martini, exist, bearing date 1771 and 1772. The furthest advanced, in C major (115 K.), breaks off at the ninth bar of the Sanctus. It is accompanied only by a figured organ bass, CHURCH MUSIC. and is strictly treated with the exception of the two fugues; it is worked out in severe contrapuntal form almost throughout, as the Kyrie, introduced by five bars of Adagio, will serve to show:—[See Page Image]
The whole work reminds us forcibly of Padre Martini's church compositions, and it is not surprising that the hand of a learner should be here apparent. A Mass in F major (116 K.), which breaks off at the words "sedet ad dexteram patris," is of the same kind, as well as a Kyrie in C major (221 K.). An Osanna in C major (223 K.) and a Credo ("in remissionem" to "mortuorum") belonging to it seem also to have been studies in counterpoint.