The third psalm, Beatus vir, has least original colouring. It is in both Vespers a lively, powerful, one might almost say, cheerful movement, suggestive of the Gloria or Credo of more than one mass, but without the solemnity which characterises them. Here, too, solo voices alternate with the chorus[ 10 ] without interrupting the steady flow of the composition. In the earlier work there are some beautiful harmonic effects; in the later, contrapuntal phrases sometimes occur; an animated rapid accompaniment by the violins is common to both.
As in the Litany, the Pignus futuræ gloriæ, so in the Vesper the fourth psalm, Laudate pueri, was treated in severe counterpoint, and here it was that a thoroughly trained church composer made good his claim to the title. In the first of the Vespers that we are considering this psalm[ 11 ] is a clever piece of counterpoint, original in form, and deviating from the strict regularity which usually characterises Mozart.
It begins with an infinite canon. The twelve bars melody for the soprano—[See Page Image]
is imitated three bars later by the alto in unison. Then follows the tenor an octave higher, and then the bass in unison. After the completion of the melody the soprano again takes it up, alto and tenor follow. The regular progress of the canon is then broken by a complete final cadenza, in which all the voices unite on the last note of the bass melody. A short theme introduced by the bass—[See Page Image] LAUDATE PUERI. is imitated by the other parts in similar or in contrary motion, and soon passes over into a short passage ending in D minor. Hereupon the soprano interposes with a new and characteristic melody—[See Page Image]
the first bars of which are taken up by the other voices; but instead of a further elaboration, a new theme is introduced by the alto, followed by a counter-theme, which are both imitated together—
whereupon the alto raises a new melody, which is figured by the other parts in imitation as Cantus firmus, and closes in A minor. Then the alto begins with the previous soprano subject, but now in F major; the soprano follows with the second, but the imitative figuring soon gives place to a fine harmonic elaboration, followed by the third passage; the imitative parts maintain the same character, and the alto has now another Cantus firmus. To this at last is appended a long coda, formed of detachments of previous subjects, variously elaborated in stretto and contrary motion, ending in organ point on the dominant. It cannot fail to be remarked how tuneful and melodious, as well as independent, characteristic, and striking in their effect are the different parts. The melodies which compose the Cantus firmus may have been, in part at least, borrowed from church tones. Far more ambitious is the contrapuntal work in the second Vesper,[ 12 ] which consists of a close succession of COURT SERVICE IN SALZBURG. difficult problems solved after the severest and most rigorous rules. After the first regular enunciation of the theme—[See Page Images] there occurs a second motif—which is at first treated freely, and issues into a short harmonic passage, which is afterwards used again as an interlude. Then the two motifs are combined—[See Page Image] and elaborated together, after which this section closes on the chord of the dominant in a stretto arrangement of the chief subject, while the violins take up the subordinate motif. When the chief subject has again asserted itself, there follows its inversion as a counter-subject—and regular elaboration, ending in the above interlude, after which the subject and its inversion appear together as an organ point on the fundamental tone, while the violins proceed with an independent accompaniment:—[See Page Images]
After the previous stretto has again occurred on the chord of the dominant the two first subjects reappear in new LAUDATE DOMINUM AND MAGNIFICAT. original climacteric treatment, divided between the voices and the accompaniment;—[See Page Image]
A free conclusion brings the artistic and forcible work to an end.
As if for refreshment after this effort, the fifth psalm, Lau-date Dominum, is treated as a solo movement of a pleasing character. In the earlier vesper it is a soprano solo with organ obbligato, not certainly set in prescribed aria form, but in its brilliant passages and easy grouping of the melodies more akin to secular music than any other of Mozart's church compositions of this period. In the second vesper the psalm has a more solemn character, but even here it is a mild and tender soprano solo, somewhat pastoral in tone, and supported by a solo bassoon; simple throughout, and with a fine climax at the close, the doxology being sung by the chorus.
The Virgin's hymn of praise, "Magnificat anima mea," which forms the conclusion of the Vespers, is by its form the part best fitted for musical rendering. But the connection in which it here stands with the preceding psalms obliges a corresponding treatment both as to extent and conception. We must not therefore look either for a comprehensive treatment giving free development to the details of the separate sentences, such as is to be found in the Magnificats of some great masters, or for such an amount of dramatic characterisation as the words give scope for. The text is tersely and precisely treated, with the avowed intention of concluding the work with a movement in contrast to the COURT SERVICE IN SALZBURG. first psalm. This is evident not only in the external arrangement, which introduces trumpets and drums, and returns to the original key, but in the technical treatment and the closely allied tone of expression. The expression of firm and cheerful confidence, which is common to both, is naturally accentuated in the Magnificat in accordance with the text, and the lively expectation of the first psalm is now turned into thanksgiving for its fulfilment. The technical treatment of the Magnificat is consistently more important and animated, especially in the extended use of the forms of counterpoint; but in the main the two compositions have the same tone and colour, and the same condensed and impulsive style. The words "Magnificat anima mea Dominum" form a solemn introduction as a short slow movement; "Et exultavit" is in quicker tempo, which is maintained to the end, chorus and solo alternating in the usual way. Here again it is to be noticed that different points are accentuated in the earlier Magnificat chiefly by harmonic means, in the second chiefly by counterpoint.
