Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317


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Wolfgang Amadeus Mozart classical composer — tracks 1, 10, Peter Neumann conductor tracks 1— Elisabeth Graf contralto tracks 1— Ulla Groenewold German contralto tracks 1— Michael Chance British countertenor tracks 1— Collegium Cartusianum tracks 1— Monika Frimmer soprano tracks 1— Ann Monoyios soprano tracks 1— Diana Montague mezzo soprano tracks 1— Barbara Schlick soprano tracks 1— Oly Pfaff tenor tracks 1— Oxford University Press track 6.

Mass no. Sanctus track Credo tracks 9— Gloria tracks 2—8. Kyrie in D minor, K. Kyrie track 1. Benedictus track CD 2 bass vocals: Klaus Mertens classical singer, bass-baritone tracks 1—2, 4—9, 11— Franz-Josef Selig operatic bass tracks 1—2, 4—9, 11— Wolfgang Amadeus Mozart classical composer tracks 3, 8— Wolfgang Amadeus Mozart classical composer tracks 1—2, 4—7.

Elisabeth Graf contralto tracks 1—2, 4—9, 11— Ulla Groenewold German contralto tracks 1—2, 4—9, 11— Michael Chance British countertenor tracks 1—2, 4—9, 11— Collegium Cartusianum tracks 1—2, 4—9, 11— Monika Frimmer soprano tracks 1—2, 4—9, 11— Ann Monoyios soprano tracks 1—2, 4—9, 11— Diana Montague mezzo soprano tracks 1—2, 4—9, 11— Barbara Schlick soprano tracks 1—2, 4—9, 11— Oly Pfaff tenor tracks 1—2, 4—9, 11— Missa in C, K.

Church Sonata no. Gloria track 2. Credo track 4.

Coronation Mass in C K317 Mozart

Sanctus track 5. Benedictus track 6. Agnus Dei track 7. This powerful movement with its Sturm und Drang , however, evaporates inconclusively and becomes an introduction to the brilliant fireworks ahead.

Agnus Dei - No. 6 from Mass No. 16 in C major (Coronation) - K317

Mozart sets the Regina Angelorum with the ebullience of an opera finale. In the first place, professional musicians there are not held in much consideration; and , second, one hears nothing, there is no theater, no opera, and even if they really wanted one, who is there to sing?


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Young Mozart was very familiar with the castrato voice, which sang the heroic leading roles in the serious opera opera seria of the type he was composing for Milan. We have no castrati , and we shall never have them, because they insist on being handsomely paid; and generosity is not one of our faults.

Archbishop Hieronymus von Colloredo. No sacred work of Mozart better typifies the liturgical extravagance abhorred by Archbishop Colloredo than this three-movement solo motet with connecting recitatives. But it was written for Milan—beyond his jurisdiction—where Mozart had been commissioned by the Royal Ducal Theater to write Lucio Silla, in which Rauzzini was singing the role of Cecilio.

Just as leading operatic characters received a variety of arias to exploit both their technique and expressivity, the second movement is written in the sensitive Empfindsamer style. A lyrical melody inflected with expressive chromaticism soars over a gently throbbing bass, with two-note sigh figures in the strings depicting the sighing heart unde suspirat cor consoled by the Virgin.

Sonata form A-B-A is used in the first two movements, while the final Alleluia begins with a tuneful melody recurring in the pattern A-B-A-C-A, as the rondo-finale of a concerto. Those which he started in Vienna after leaving the employ of Archbishop Colloredo remained incomplete. Although his C-minor Mass and Requiem are indisputably his finest achievements in sacred music, both were left unfinished—the former for unknown reasons, and the latter, interrupted at first by the commission of the opera La clemenza di Tito for the coronation of Emperor Leopold II in Prague, and thereafter by his untimely death in It is appropriately grand, with pairs of oboes, horns, trumpet, timpani, and three trombones doubling the alto, tenor, bass parts of the chorus.

It is a masterpiece of concise and vigorous expression.

The Mannheimers were noted not only for their virtuoso wind players, but for emphatic dynamic contrasts of forte and piano. Its crescendos were said to cause the audience to rise up in their seats. Mozart takes advantage of symmetries in the text to create variants of sonata form. The music of Gloria in excelsis is recapitulated in Quoniam tu solus , and the bustling Credo in unum Deum returns as Et resurrexit, framing a muted episode in minor that focuses the central mystery of faith, Et incarnatus est.

2 W A Mozart Gloria Coronation Mass in C major K317 YouTube

The composer creates an even larger symmetry when he concludes the movement Dona nobis pacem with the music of the opening Kyrie , but this time sung on the double. This certainly creates a theatrical finale, but also raises the possibility that His Excellency the Archbishop was looking at his watch. Share This. All Rights Reserved.

Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317
Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317
Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317
Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317
Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317

Related Gloria - No. 2 from Mass No. 16 in C major (Coronation) - K317



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