So far from giving himself out as a mere operatic composer, who has a mean opinion of church compositions, he recommends himself for the post of under-kapellmeister, by saying, "The learned kapellmeister Salieri has never devoted himself to church music, while I have made it my peculiar study from my youth up."
It is an unjust reproach also that Mozart robbed his masses for his operas. Among his numerous compositions of both kinds, a single Agnus Dei (317 K.)—a soprano solo—contains in its opening bars a slight suggestion of the aria "Dove sono," from "Figaro."
Next in importance to masses must be reckoned litanies and vespers; and here we find the influence of the opera much more decided. The words did not readily lend themselves to musical expression, nor to the arrangement of CHURCH MUSIC. the movements. If the severity of ecclesiastical form was once relaxed, the easier and more pleasing forms were most likely to be employed in those places where the words were most opposed to musical expression. The dissimilarity of the different parts was increased by the supposed necessity of also representing the severe style, and of balancing a tour de force of counterpoint by a tour de force of execution. In this way certain conventional rules had become law, leaving little scope for variety or originality.
Common to all litanies are the Kyrie with which they begin, and the Agnus Dei with which they close; that which lies between (the petitions varying according to the circumstances under which the litany was composed) determines its musical character. In the Kyrie, other petitions are added to the "Kyrie eleison" and "Christe eleison," which give scope for a broader and more varied treatment, whereby the Kyrie becomes one of the most important and impressive movements. The Agnus Dei does not close with "Dona nobis pacem," but with "Miserere nobis," which prevents any suggestion of cheerfulness; the expression of anxious beseeching was generally softened into deep solemnity at the close.
The invocations which form the substance of litanies are too numerous, disconnected, and wanting in climax to be well adapted for composition; and most of the petitions recited by the priest are equally incapable of definite musical expression. The musical setting of the service, to be appropriate, must be strictly liturgical, and the recurring refrain stamps it with a typical formulistic character. Should this tradition once be forsaken, its place must be taken by a setting full of lights and shades, often heterogeneous in treatment, and accentuated in accordance with form rather than reason. The distinguishing refrain could only be used to link together conflicting elements, or else as a vehicle for shades of sentiment, and a variety of expression would be given to the simple petitions, "Ora pro nobis," "Miserere nobis," which would be quite foreign to their nature.
The Litanies to the Virgin (Litaniæ Lauretanæ) were, on the whole, cheerful and pleasing. When the devout LITANY TO THE VIRGIN, 1771. worshipper turned to the Virgin Mother, the image that rose to his mind was that of a pure and holy maiden, and the veneration for all that is womanly which her worship induced was apparent in the music as elsewhere. The tone of the litanies sung in Italy before the images of the Virgin in the streets is echoed in the compositions of most of the Italian musicians, and is perceptible in many parts of Mozart's litanies.
The first Litany in B flat major (109 K.), composed in May, 1771, is precise in form, and firmly and ably treated, although in no very elevated strain. The Kyrie, as in short masses, is composed of a single animated choral movement, without any definite development of the subject. The first part of the litany proper is divided between the chorus and solo voices, the soprano being most prominent; the whole work is interesting, melodious, simple in its harmonies, and singularly popular in tone. Upon the delivery of the solemn "Salus infirmorum" by the chorus follows a quick, vigorous choral passage to the words "auxilium Christianorum." The solo voices raise the appeal "Regina angelorum" to the Queen of Heaven, who seems to shed the glory of her manifestation upon the minds of her worshippers. In the last movement, the chorus comes in with "Agnus Dei, qui tollis peccata mundi," the solo voices answer with the prayer, and the chorus winds up with the "Miserere nobis." The tone is composed, more serious than melancholy, and rising in intensity towards the close. The actual mechanism is simple; the voices are seldom in true counterpoint, the modulations are freely and firmly handled: the accompaniment makes little attempt at independent significance.
Far more important is the second Litany in D major (195 K.), belonging to the year 1774, the same in which the Masses in F and D major and the "Finta Giardiniera" were written; the maturity of its conception and the carefulness of its execution make it worthy to take a place beside these works. The Kyrie is a grand, lovingly elaborated movement, a solemn Adagio, followed by a serious sustained Allegro. The parts are throughout in strict counterpoint, principal and accessory subjects kept well in hand CHURCH MUSIC. and carefully elaborated; the orchestra, too, is independently treated. The expression is appropriate and dignified, and over the whole is spread a peaceful calm, bespeaking the nature of the music to which it forms the introductory movement.
The first section of the Litany proper gives us the impression of a cheerful—one might almost say sensuous—spirit pervading each petition, but always with a tone of delicate moderation. The musical formation betrays the unmistakable influence of the opera, both in the solo soprano passages and in the aria-like treatment of the principal subject. Refrain is used with happy effect in the chorus, and the accompaniment is easy and flowing throughout. The whole movement is melodious, and full of tender grace and harmony. In quite another style is the Adagio next following, where the words "Salus infirmorum, refugium peccatorum, consolatrix afflictorum, auxilium Christianum," are taken together. The construction of this movement, the arrangement and gradations of the details, the alternations of solo and chorus, the characteristically careful elaboration of the accompaniment, are all so admirably calculated and balanced, and the whole movement is pervaded with so much earnestness and depth of sentiment, that beauty and grandeur seem here indeed to be wedded together. The following section, "Regina ange-lorum," is again in a lighter vein; the choruses are fresh and animated, but the interpolated tenor solo is operatic in form and weak in invention and expression. The "Agnus Dei" is divided between a solo soprano and the chorus; the former, though evidently composed for executive display, is not without feeling and dignity; the short choral passages are excellent, both in workmanship and expression.
Very evident, also, is the loving care bestowed on the orchestral score; its main strength lies in the delicately elaborated string quartet, but the wind instruments are also effectively made use of to produce lights and shadows. The mature and harmonious beauty of the numerous motifs and characteristic passages conveys the unmistakable impression of Mozart's genius.