In the "Sanctus" of Mozart's "Mass in C major", the sparrows twitter from the eaves in the violin part. And yet, despite its traditional aspects, this mass has several pitfalls for the choir in the "Kyrie" and the "Gloria": In the "Kyrie", the "eleison" is embellished with jubilant sixteenth-note chains that merge into a modulation – at this point it is good to be able to hear the course of this melody slowly with the app. In the "Gloria", the extensive "Qui tollis" is striking: the chromaticism quickly becomes clear when hearing the music in its entirety with the app.
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Performers: Angela Maria Blasi (soprano), Elisabeth von Magnus (alto), Uwe Heilmann (tenore), Franz-Josef Selig (basso) – Arnold Schoenberg Chor, Concentus musicus Wien – Nikolaus Harnoncourt
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Composer
Wolfgang Amadeus Mozart
| 1756-1791As the son of the deputy Kapellmeister to the Salzburg Prince-Archbishop, Mozart was constantly surrounded by church music in his youth. On his travels Mozart became familiar with Italian church music, and later in Vienna he studied the works of Bach and Handel. After moving to Vienna he was faced with the new challenges of composing opera and piano concertos, and significantly the “C Minor Mass” KV 427, the greatest sacred work of the first Vienna years, remained unfinished. The last period of his life again shows a change of direction to church music: Mozart successfully applied to succeed the terminally ill Leopold Hoffmann as Kapellmeister at St Stephen's Cathedral, but he was unable to take up the position as he died before Hoffmann. A gem such as the “Ave verum” KV 618 and the incomplete Requiem KV 626 give us an idea of what Mozart might have achieved as a composer of sacred music if he had taken up this important position. Personal details
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Ensemble
Arnold Schönberg Chor
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Ensemble
Concentus musicus Wien
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Conductor
Nikolaus Harnoncourt
| 1929
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Soloist - alto
Elisabeth von Magnus
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Soloist - tenor
Uwe Heilmann
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Soloist - bass
Franz-Josef Selig
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