Cantata I. consists of the Kyrie (p. i), Panis omnipotent!ae (p. 10), Viaticum (p. 15), and Pignus futurz gloriae (p. 16) of the Litany 125 K-
Cantata II. is the Litany 109 K.
Cantata III. is pot together from the Sanctus of the Mass 259 K. (p. 3); the Benedictus of the Mass 220 K.; the Gloria of the Mass 259 K. (p. 9); the Offertorium 72 K. (p. 15); and the Credo of the Mass 259 K. (p. 25).
Cantata IV. consists of the Kyrie and Gloria of the Mass 220 K. (p. 3); Motetto 277 K. (p. 12); Gratias (p. 19); and Domine (p. 21) of the Mass in C minor 427 K. [employed in the "Davidde Penitente" 469 K. as Chorus 4» "Si pur sempre," and Duet 5, "Sorgi o Signore **]; Magnificat of the Vesper 193 K. (p. 26).
Cantata V. is formed of the Kyrie (p. 1), Et incarnatus, to the close of the Credo (p. 6), Benedictus (p. 12), Agnus Dei (p. 20), and Gloria (p. 25) of the Mass 258 K.
Cantata VI. contains the Dixit of the Vesper 193 K. (p. 1); Laudate Dominum (p. 13) and Magnificat (p. 20) of the Vesper 321 K. Cantata VII. is put together from the Kyrie (p. 1) and Benedictus (p. 5) of the Mass 259 K.; an air from "Davidde Penitente" (469 IL, 3) "Lungi le cure ingrate" (p. 14); the Agnus Dei (p. 26) and Dona nobis (p. 29) of the Mass 259 K.; and the Dixit of the Vesper 321 K. (p. 33).
After this, it was not surprising that the choruses from "Konig Tham os" should have been used as sacred music, or that the "Frei-maurercantaten" (429,471 K.) should have been treated in the same way (Vol. II., p. 407). Nor was it unusual to find an altered text (church-like in character) supplied to sacred compositions. But secular music was also appropriated by the Church. The beautiful adagio of the grand serenata for wind instruments (361 K.) has been turned into an offertory, "Quis te comprehendat" (Anh., 110 K.). The air for Nancy Storace (405 K.),"Ch' io mi scordi di te," has been fitted to the words "In te domine speravi," and the obbligato piano part transferred to the organ (Anh., 120 K.). The air from "Titus" (19),"Deh per questo istante," with the words "O Deus, ego te amo" (Anh., 112 K.), and Adamberger's air, "Per pietà non ricercate" (420), with the words "Omni die die Mariae" (Anh., hi K.), are both used as offertories. V. Novello published the wonderful ensemble from the second finale in "Figaro" "Più docile io sono e dico di si," with the words "O Jesu mi, miserere nobis!" as a motett with organ accompaniment, and has appended the remark: "This motett may be used at Benediction." It is to be hoped that there is no truth in the report that Leparello's "Notte e giorno faticar" and Don Giovanni's "Fin che dal vino," have been travestied as a "Docti sacris" and a "Lauda Sion."
ARRANGEMENTS OP MOZART'S CHURCH MUSIC.
Further than this, however, whole Masses have been arranged from Mozart's operas; and at the beginning of this century a "Missa di Figaro. Don Giovanni" was not unknown to church choirs. One example of the kind may be described as evidence of the fact. In the collection of K. Zulehner of Mayence there was preserved a "Coronation Mass" in C major, with Mozart's name as composer, of which a copy was sent to me by Herr Schott of Mayence. All the movements, with the exception of the Credo, are identical with whole movements or smaller portions of "Cosî fan Tutte," with alterations of key and instrumentation, and here and there the addition or omission of a part, as follows:—