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Technical Notice
| Classical Composer: | Mozart, Wolfgang Amadeus |
|---|---|
| Lyricist: | Mass Text |
| Work: | Missa Longa in C Major, K. 262 |
| Year Composed: | 1775 |
| Instrumentation: | solo SATB, ch SATB, 0200/2200/org/str(no va) |
| Publishers: |
Breitkopf & Härtel Bärenreiter Verlag |
| Duration: | 00:31:00 |
| Period: | Classical (1750-1830) |
| Work Category: | Choral - Sacred |
Work Information
Available Recording(s)
The designation 'Missa longa' in the manuscript of K. 262 is already an indication of the exceptional nature of this work. It is very different from the short Masses Mozart wrote during this time, especially in terms of the composer's use of the orchestra, which here includes oboes, trumpets, horns, timpani and trombones. Quite what the occasion was for writing such a work has been a matter of speculation. It is possible that it was sung at the consecration of the titular Bishop of Chrysopel, Count Ignaz Joseph Spaur, a friend of Mozart's family, on 17 November 1776, but manuscript evidence suggests that it may not actually have been originally composed for that purpose.
While the writing for soloists is unlike the more operatic style Mozart employed in later Masses, their interventions being considerably briefer and generally as a quartet, the choral writing is frequently highly elaborate; one might single out the fugue at 'Cum sancto spiritu' in the Gloria and, even more, 'Et vitam venturi saeculi' in the Credo, of truly impressive dimensions. But there is nothing academic about this Mass; Mozart runs the gamut of emotions and does not shy away from profound expressions of lamentation (for example, the implorations for mercy at 'Qui tollis peccata mundi' in the Gloria) or powerfully dramatic alternations of atmosphere, such as in the 'Crucifixus' of the Credo. Noteworthy too are the substantial orchestral preludes introducing the Kyrie and 'Et in spiritum sanctum' in the Credo, which take the work far beyond the world of the missa brevis. The ambitious nature of this exceptional work is suitably crowned by the grandeur of the conclusion of the final section, the Agnus Dei.
Writer: Ivan Moody
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