Mass in B-flat major, K. 275

The Missa brevis No. 9 in B-flat major by Wolfgang Amadeus Mozart, K. 275/272b, was probably written before September 1777 for Salzburg. The mass is scored for SATB soloists, SATB choir, violin I, violin II, 3 trombones, string bass, and organ.

Missa brevis in B-flat major
Mass by W. A. Mozart
Salzburg Cathedral may have been the first performance venue of the mass.
CatalogueK. 275/272b
Composed1777 (1777): Salzburg
Movements6
VocalSATB choir and soloists
Instrumental
  • brass
  • strings
  • continuo

The setting is divided into six movements.

  1. Kyrie Allegro, B♭ major, common time
  2. Gloria Allegro, B♭ major, 2
    4
  3. Credo Allegro, B♭ major, common time
    "Et incarnatus est" Adagio
    "Et resurrexit" Allegro
  4. Sanctus Andante, B♭ major, 3
    4
  5. Benedictus Andante, E♭ major, 3
    4
    "Osanna in excelsis" Allegro, B♭ major
  6. Agnus Dei Andante, G minor, common time
    "Dona nobis pacem" Allegro, B♭ major, cut time

In the Gloria and the Credo, Mozart eschews the traditional concluding fugues.[1] Despite being a missa brevis, the Agnus Dei is very long and there is "a prolonged setting for soloists and choir of 'Dona nobis pacem', ending piano."[1] The Dona nobis is set as a gavotte, "like a vaudeville and has been compared with the specimen of this genre at the end of Die Entführung aus dem Serail."[2]

The first known performance took place on December 21, 1777, with castrato Francesco Ceccarelli among the soloists singled out for praise for his performance,[3] but David Schildkret has argued[4] that it was more likely composed as early as 1772. Elsewhere church musicians were offended, such as those at Wasserburg am Inn, who found Mozart's setting "an open mockery of the holy text."[2]

Notes
  1. p. 390, Sadie (2006) Stanley
  2. p. 661, Heartz (1995) Daniel
  3. p. 390, Sadie (2006) Stanley. Oxford Mozart: the Early Years 1756—1781 Oxford University Press. "The castrato sang excellently ... (this was Francesco Ceccarelli, then new to the Salzburg Kapelle)."
  4. "Ave to Vale or Coloredo?", Mozart Society of America newsletter, August 2002

References
  • Heartz (1995) Daniel. New York. Haydn, Mozart, and the Viennese School: 1740 — 1780 W. W. Norton & Co.
  • Hugues (1974) Rosemary. London. Haydn. J. M. Dent & Sons Ltd
  • Schenbeck (1996) Lawrence. Chapel Hill, North Carolina Joseph Haydn and the Classical Choral Tradition Hinshaw Music
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