Niccolò Jommelli Missa pro defunctis (Requiem)

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The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala.

  • The best-known setting of the Requiem Mass before Mozart
  • First critical edition
  • Effective choral movements with numerous suspended dissonances and solo/tutti alternation
  • Scored for small instrumental forces of strings and organ
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  • Introitus 1. Requiem aeternam (Soli SA e Coro) Requiem aeternam dona eis Domine:
    et lux perpetua luceat eis.
    [2. Te decet hymnus (Solo senza tempo)] Te decet hymnus Deus in Sion,
    et tibi reddetur votum in Jerusalem:
    exaudi orationem meam,
    ad te omnis caro veniet.
    [3. Requiem aeternam repetatur] Kyrie 4. Kyrie (Coro) Kyrie eleison.
    5. Christe (Soli SAT e Coro) Christe eleison.
    6. Kyrie (Coro) Kyrie eleison. Sequentia 7. Dies irae Dies irae, dies illa,

    ...

  • A Requiem for Maria Augusta The Missa pro defunctis by Niccolò Jommelli

    Julia Rosemeyer
    Translation: Gudrun and David Kosviner

    Niccolò Jommelli was successful as an opera composer all over Europe, but he also composed church music throughout his life. He composed the Missa pro defunctis in 1756 during his time in Stuttgart, for the funeral of Duchess Maria Augusta, mother of the reigning Duke Charles Eugene. His term of office is regarded as the high point of cultural life at the Württemberg court; at the same time, it fell into the 60-year phase of the summepiscopate, when Catholic rulers stood at the head of the Protestant duchy and a Catholic requiem setting could not easily be performed.

    Since 1733 the sovereign had to guarantee the exclusive validity of the Protestant denomination to the Württemberg estates in the so-called religious Reversalien. The performance of Catholic church music was only possible at special court events, but not on ecclesiastical feast days. One of the few opportunities arose on the death of the Dowager Duchess. Maria Augusta von Württemberg (1706–1756), born a Princess of Thurn and Taxis, must have been a very strong-willed and shrewd woman. In 1750, after Charles

    ...

  • Ein Requiem für Maria Augusta Die Missa pro defunctis von Niccolò Jommelli

    Julia Rosemeyer

    Als Opernkomponist feierte Niccolò Jommelli europaweit Erfolge, aber er komponierte Zeit seines Lebens auch Kirchenmusik. Die Missa pro defunctis entstand 1756 während seiner Tätigkeit in Stuttgart für die Beisetzung der Herzogin Maria Augusta, Mutter des regierenden Herzogs Carl Eugen. Dessen Amtszeit gilt als Höhepunkt des kulturellen Lebens am Württembergischen Hof und fiel zugleich in die rund 60-jährige Phase des Summepiskopats, als katholische Regenten an der Spitze des evangelischen Herzogtums standen und eine katholische Requiemvertonung nicht ohne weiteres zur Aufführung kommen konnte.

    Seit 1733 musste der Landesherr in den sogenannten Religionsreversalien gegenüber den württembergischen Landständen die ausschließliche Geltung der evangelischen Konfession garantieren. Nur besondere höfische Ereignisse, nicht jedoch Kirchenfeste, ermöglichten die Aufführung katholischer Kirchenmusik. Eine der wenigen Gelegenheiten ergab sich beim Tod der Herzoginmutter. Maria Augusta von Württemberg (1706–1756), eine geborene Prinzessin von Thurn

    ...

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full score Carus 27.321/00, ISMN 979-0-007-24051-6 136 pages, paperback
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vocal score, appendix Carus 27.321/02, ISMN 979-0-007-25441-4 8 pages, without cover
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vocal score Carus 27.321/03, ISMN 979-0-007-24052-3 80 pages, paperback
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choral score Carus 27.321/05, ISMN 979-0-007-24053-0 36 pages, DIN A4, without cover Minimum order quantity: 20 copies
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set of parts, complete orchestral parts Carus 27.321/19, ISMN 979-0-007-25337-0 23 x 32 cm, without cover
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  • 3 x individual part, violin 1 (27.321/11)
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    3 x individual part, viola (27.321/13)
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    3 x individual part, basso continuo (27.321/14)
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    1 x individual part, organ (27.321/49)
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individual part, organ Carus 27.321/49, ISMN 979-0-007-25439-1 36 pages, 23 x 32 cm, without cover
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full score digital (download), pdf file Carus 27.321/00-010-000, ISMN 979-0-007-26184-9 136 pages
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text (without music) for download, html file, Introductory text, German Carus 27.321/00-310-000
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text (without music) for download, html file, Singing text, original Carus 27.321/00-380-000
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Reviews

Die Ausgabe ist die erste kritische Ausgabe dieses Werks und wurde von Julia Rosemeyer erarbeitet. Die sieben Seiten mit klein gedrucktem kritischem Bericht geben über alles musikalisch Wissenswerte detailliert Auskunft, das Vorwort enthält aufführungspraktische Hinweise. Dazu kommen drei Seiten Faksimile als Beispiele und zwei musikalische Anhänge, alles in allem also eine Ausgabe, die den musikalisch Verantwortlichen beste Unterstützung gibt.
Singende Kirche, Dezember 2023

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Frequent questions about this work

Why is the “Te decet hymnus” in square brackets?

Jommelli did not compose a setting of the Introit antiphon “Te decet hymnus”. The unison setting with continuo accompaniment from the copy D-Hs M A/151 included here can be used ad lib. It can be assumed that the performance in Ludwigsburg in 1756 was not given without this verse or a repetition of the “Requiem aeternam”. For further details, see the Foreword (p. Vf.).
You need the Appendix if you want to perform the two alternative movements “Te decet hymnus” and “In memoria aeterna” by Nicola Sala (1713–1801). In the full score, parts, and chorus score, the Appendix is part of the edition; the Appendix is (only) published separately for the vocal score (Carus 27.321/02). A few copies of the Jommelli Requiem contain these settings for several voices, instrumentally accompanied, as the Introit antiphon some times could not, or should not be performed “choraliter”.
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