These give the groundwork of the whole movement, elaborated in various forms of counterpoint, and bound together by other freely treated episodical subjects. The Doxology is again independently treated in two movements. The first is slow, and is animated by a varied accompaniment; the second is a lively and conventional fugue.
First among minor church pieces we may consider the "Regina coeli." Two of these works, belonging to May, 1771 and 1772 (108, 127, K.), are of similar plan and treatment. The first line is made into an animated chorus, with the constantly recurring Alleluia as a refrain; the second is more moderate in tone, a soprano solo alternating with the chorus. The "Ora pro nobis" is an Adagio for the solo soprano; the chorus chimes in at the close with the Alleluia. The character of the whole is lively and cheerful, almost merry, according to the prevailing tendency of the age. Full opportunities for display are given to the solo voice, and many of the turns and passages are operatic.[ 41 ] The earlier of the two compositions, in C major, reminds us more of opera seria; the later, in B flat major, is freer, and both voices and accompaniment have more independent life. A third Regina coeli, evidently of later date (276 K.), in C major, combines the whole into a lively movement, in which the solo voices interrupt the chorus. The claims of the vocalist are here kept in abeyance, and the work is full of life and energy, with here and there passages of a deeper significance, such as the beautiful "Ora pro nobis."[ 42 ]
A "Tantum ergo" in B flat major (142 K.), for soprano solo, with a responding phrase for the chorus, closing with a lively Amen, is not remarkable. A second composition, in D major, (197 K.) for full chorus, if by Mozart at all, must have been written very hurriedly.
A Motett in C major (117 K.) must, according to the handwriting, be ascribed to a very early date.[ 43 ] A lively chorus Benedictus sit Deus, without actual thematic elaboration but with a free arrangement of the parts, forms the introduction to a soprano air, Introibo domum tuam domine treated like a cavatina, simply, although not altogether with out embellishment. The conclusion is formed by a second lively chorus, Jubilate Deo, of which the second subject is the eighth psalm tone—[See Page Image] supported by the four parts of the chorus in succession, to a florid accompaniment of the orchestra, the full chorus each time responding with a lively "Jubilate." [ 44 ]
An Offertorium of uncertain date, "Benedicite angeli" (342 K.), is exclusively founded on the fifth psalm tone. The verse—[See Page Image] is repeated in unison eight times by the whole chorus, while the orchestra, consisting of stringed instruments with two CHURCH MUSIC. horns, keeps the whole together, and gives it intensified expression by means of a lively and varied accompaniment.
Some smaller choral works are some of them harmonic, some in more or less strict counterpoint. To the former belongs the "De profundis" (93 K.), in which the words of Psalm cxxix. and the appended doxology are set to music without abridgment, with little more rhythmical flow than the declamation of the words demands, and in the simplest harmonic progressions. A symmetrical work, quiet and serious, though without great depth of tone, is formed out of these very simple materials.
The "Te Deum" (141 K.) resembles in its first movements many of the shorter masses; the words are sung once, without a developed theme or well-defined passages. The essential character of the work is modulatory, the connection depending on the arrangement of the harmonies and the harmonic groups; the voices merely sustain the harmonies, without any prominent melodic peculiarities. The conclusion forms an exception, the words, "In Te Domine speravi, non confundar in ætemum" being worked into a conventional, moderately long fugue, issuing into a powerful and effective closing phrase.
A motett, "Misericordias Domini" (222 K.), which Mozart composed at Munich in 1775 as an exercise, is in counterpoint throughout. Padre Martini, to whom he sent it (September, 1776), pronounced, as his judgment on it, that it contained all which modern music demands—good harmonies, rich modulations, moderation in the violin passages, a natural and good arrangement of the parts—and he added that he congratulated the composer on the progress he had made. It was not without intention that the representative of counterpoint on the principles of the old Roman school emphasised modern music, the "buon gusto" of which did not altogether content him.[ 45 ]
Mozart divided the sentence "Misericordias Domini cantabo in æternum" (Psalm lxxxviii.). The first words, MISERICORDIAS, 1775. "Misericordias Domini," are delivered in slow notes, the second half in an agitated fugal passage, without change of tempo (moderato). The two alternate, and are developed with much originality, especially the first movement, where long-sustained notes for the voices serve as an organ-point against a passage for the violins, and give rise to striking harmonic transitions and progressions. The counterpoint of the second part is artistic and elaborate; besides the principal subject of the fugue there are two others leading out of it, treated in part independently, in part in combination with the principal subject and each other; the episodes are in strict counterpoint. The subject, as Stadler remarked,[ 46 ] is borrowed from an offertory by Eberlin, "Benedixisti Domine"; but Mozart's treatment, as a glance at the opening will show, is thoroughly original.[ 47 ] This admirable work has been overrated by Ulibicheff,[ 48 ] but very unfairly criticised by Thibaut.[ 49 ] He says:—
