A Mass in C major (139 K.), probably belonging to the year 1772, is an effort in quite another direction. Every means is employed to produce an extraordinary effect, and it may be conjectured that this, like the Pater Dominicus mass, was composed for some special occasion.[ 23 ] Every section is treated as a detached independent movement.
The Kyrie begins with a slow pathetic passage in C minor, followed by an animated allegro in C major 3-4, and by the Christe eleison as a solo quartet, after which the Kyrie is repeated.[ 24 ] The solo voices are much used in different combinations, apart from the short passages inserted between the choruses. Laudamus is a duet for soprano and alto, Domine a duet for tenor and bass, Quoniam a soprano solo, Et incarnatus a duet for soprano and alto, Et in spiritum a tenor solo, and Benedictus a soprano solo, to which the chorus sings Osanna. Even the Agnus Dei begins with a tenor solo followed by a chorus; the last appeal before the Dona is given to the solo quartet. These solo movements are well rounded, and are both preceded and followed by long symphonies; the effort to produce a pleasing effect is apparent in the whole work, and a moderate amount of operatic bravura is not disdained. This brings into stronger relief the pathos which is given to every passage capable of it. The Qui tollis, Crucifixus, and Agnus, as well as the Kyrie, are in the CHURCH MUSIC. minor key; striking harmonies are emphasised by means of the accompaniment, and three trumpets contribute to the orchestral effects. The solemn Crucifixus—[See Page Image] MASS SS. TRINITATIS, 1773. follows in evident contrast immediately upon the soprano solo—[See Page Image] whereupon the chorus and orchestra, with three trumpets, fall in.
But the youthful master does not neglect the display of his skill in counterpoint. Besides some few instances of more or less elaborate imitation, the two customary fugues, the first on the theme—[See Page Image] the second "et vitam" are furnished with two subjects and every requisite for complete fugues. It is true that the strongly contrasting original ideas exist only as such, and form no united whole, so that we are all the more struck by the conventional treatment of the greater part of the work; but it must be conceded, notwithstanding, that progress has been made, and that the power is making itself felt which, with a wider field, shall produce better and more original work.
The mass composed in 1773 "In honorem SS. Trinitatis" (167 K.) is for chorus alone, without any solo movements: it displays no very high aim, but earnestness and ability throughout. The Kyrie is long and elaborate, without any sustained subject. In the Gloria the voices sustain the harmony, accompanied by a lively violin passage. The Credo is interesting through the persistent attempt to mould it into a firm musical organism. Three motifs occur quite at the beginning, apportioned in different combinations to the voices, viz., a rhythmical, characteristic passage—[See Page Image] a more melodious phrase— CHURCH MUSIC. and a running passage:—[See Page Image]
These three subjects form the essential substance of the Credo, the first, with changing harmonies, forming the root whence the others spring at fitting places, by which means the due expression of the words and the musical exigences of the composition are alike provided for. The continuous agitation is only once interrupted, at the short but grave and dignified "Et incarnatus est," and at the words "Et in Spiritum Sanctum." These points are emphasised by their separation from the rest through a long symphony, and by a digressive mode of treatment which reminds one of a solo. Towards the end of the broadly elaborated fugue, "Et vitam," the violins return to the first motif of the Credo, the voices take up the second motif with the "Amen," and the violins, asserting the supremacy of the first, bring the whole to a conclusion.
The Benedictus is unusually grave for a chorus, but is relieved by the easy grace of the violins. The thematic treatment of the principal subject of the Dona—[See Page Image] gives it firmness and consistency; the accompaniment becomes more prominent in the middle, and the admirably well-sustained conclusion is dignified in mood and expression.
The Mass in F major (192 K.), composed on June 24,1774, is the work of a finished artist, and has rightly been placed CHURCH MUSIC. next after the Requiem.[ 25 ] The whole mass, which reminds us of the finest examples of the older Neapolitan school, is in the strictest form of composition, none of the smaller sections forming an independent movement; the most delicate use is made of the simplest materials. The chorus and solos alternate throughout, the solo voices (never concerted) supplying the finer shadows to the chorus, which in return serves for response or repetition and conclusion. The accompaniment consists only of a bass (figured for the organ) and two violins, but it is independently worked out and effective both in tone-colouring and as a contrast to the voices.
Every section of the mass is in counterpoint, and shows the firm hand of a master. The unity of the whole and of the several parts, which is the necessary consequence of this musical method, is apparent here to a surprising degree. The parts combine to express and dilate upon a well-defined idea, the separate features of which are not thrown together arbitrarily or by chance. A subject which in one place is merely indicated or foreshadowed becomes in another the main subject; in short, the independence of each separate part produces the uniform clear texture of the whole. Thus the Gloria begins with an important subject for the soprano—[See Page Image] MASS IN P MAJOR, 1774. which is the groundwork of the whole movement, and—now entire and unaltered, now abridged or modified—appears in different positions as Cantus firmus; while the remaining parts, treated contrapuntally, give due emphasis to each change of mood, until the whole concludes with a grand Amen in unison. The same thing occurs in the Credo. The link here is a motif—[See Page Image] which, borrowed from the intonation of the Magnificat or of the Gloria in the third tone, has been often employed, by Al. Scarlatti,[ 26 ] for instance, in a mass, and by Michael Haydn in a gradual (Qui sedes, No. 3), as Alleluia. Mozart has made frequent use of it. We find it again in the Sanctus of another mass (257 K.) in a Symphony in B flat major (319 K.) composed in 1779, in a pianoforte Sonata in £ flat major, composed in 1785, each time easily treated as a connecting subject, until it finally appears as the theme of the last movement of the Symphony in C major (551 K.) In the present work it recurs again and again as Cantus firmus, or in imitation, always the bond and support of the detached articles of faith. Then it becomes the root of the subjects for single phrases, such as the magnificent Crucifixus, the Confiteor and the fugued Et vit am. We scarcely know whether to admire most the masterly skill which makes light of difficulty, or the inventive imagination which can develop an idea from so many and such varied-points of view, making the same subject express calm faith in the Credo, bitter pain in the Crucifixus, and joyful confidence in the Et vit am.
The Sanctus and Benedictus are short, fine contrapuntal movements, the Benedictus especially simple and full of grace. The Agnus Dei is freer in form. Three solo voices make the appeal, which the chorus answers with "miserere nobis." The harmonic successions, and the beautiful violin passage in the accompaniment, give a peculiarly affecting CHURCH MUSIC. character to this movement, which suggests a comparison with the Requiem. The Dona is fine and pure, but the effort to give it a cheerful and agreeable tone has robbed it of depth and significance.
