First page of the autograph of Mozart's Great Mass in C minor

Wolfgang Amadeus Mozart (1756–1791) composed several masses and separate movements of the Mass ordinary (such as Kyrie). Mozart composed most of his masses as a church musician in Salzburg:

  • Masses for regular Sundays or smaller feasts belonged to the missa brevis type. In the context of Mozart's masses brevis (short) applies primarily to the duration, i.e. the whole mass ceremony took no longer than three quarters of an hour. Instrumentation for such a missa brevis would usually be limited to violins, continuo (which included the organ), and trombones doubling the choral parts of alto, tenor and bass.
  • The generic name for longer masses was missa longa, for more solemn and festive occasions. Additional instruments include oboes, trumpets, timpani, and for some of them also natural horns. Instead of treating each part of the mass liturgy in a continuous rendition of the text, there are repeats, fugues, and subdivisions in several movements with separate orchestral introductions.
  • Missa longa is usually synonymous with missa solemnis (solemn mass), however in Mozart's Salzburg (due to duration restrictions imposed by Archbishop Colloredo), a hybrid brevis et solemnis (short and solemn) seems to have existed, short in duration, but nonetheless for the more festive occasions, for example including a more elaborate orchestration than the usual missa brevis.

After moving to Vienna, Mozart started to compose the Great Mass in C minor, with a broad orchestration including violas and 12 wind instruments. In 1791, he started writing a Requiem mass, which was unfinished when he died and was first completed by his pupil Franz Xaver Süssmayr.

Most nicknames of the masses were later additions. The attribution to Mozart has been disputed for several masses, most of these spurious works first published by Vincent Novello from 1819.

Masses and separate parts

Bärenreiter NMABreitkopf & Härtel AMANovello's editionMissa brevis No.Year of compositionKöchel catalogueTypeKeyAlternative name(s)Place of composition and notes
Vol. 1/1 No. 1Serie I No. 111768K. 49 (47d)brevisG majorVienna
Vol. 1/1 No. 2Serie I No. 41768K. 139 (47a)solemnis (longa)C minorWaisenhausmesse Orphanage MassVienna
Vol. 1/1 No. 3Serie I No. 221769K. 65 (61a)brevisD minorSalzburg
Vol. 1/1 No. 4Serie I No. 31769K. 66solemnis (longa)C major(Pater) Dominicus (Father) DominicusSalzburg
Vol. 1/1 No. 561773K. 140 (235d, Anh. C1.12)brevisG majorPastoralmesse Pastoral Massattribution uncertain
Vol. 1/2 No. 6Serie I No. 51773K. 167solemnis (longa)C majorMissa in honorem Sanctissimae Trinitatis Mass in honour of the Most Holy Trinity TrinitatismesseSalzburg
Vol. 1/2 No. 7Serie I No. 6No. 331774K. 192 (186f)brevisF majorKleine Credo Messe Little Credo MassSalzburg
Vol. 1/2 No. 8Serie I No. 7No. 641774K. 194 (186h)brevisD majorSalzburg
Vol. 1/2 No. 9Serie I No. 8No. 551775–1776K. 220 (196b)brevis et solemnisC majorSpatzenmesse Sparrow MassSalzburg
Vol. 1/2 No. 10Serie I No. 121776K. 262 (246a)longaC majorLongaSalzburg
Vol. 1/3 No. 11Serie I No. 9No. 21776K. 257brevis and/or solemnis, longaC majorCredo Große Credo-Messe Great Credo MassSalzburg
Vol. 1/3 No. 12Serie I No. 10No. 471775K. 258brevis (et solemnis)C majorPiccolomini or Spaur Mass (Both nicknames are misleading.)Salzburg
Vol. 1/3 No. 13Serie I No. 11No. 1181775 or 1776K. 259brevis (et solemnis)C majorOrgelsolo Organ soloSalzburg
Vol. 1/4 No. 14Serie I No. 13No. 1091777K. 275 (272b)brevisB-flat majorSalzburg
Vol. 1/4 No. 15Serie I No. 14No. 11779K. 317brevis (or longa)C majorKrönungsmesse Coronation MassSalzburg "shortest longa"
Vol. 1/4 No. 16Serie I No. 15No. 141780K. 337solemnis (and/or brevis)C majorMissa solemnis or Hofmesse or Missa aulica i.e. court massSalzburg
Vol. 1/5Serie XXIV No. 291782–1783K. 427 (417a)solemnisC minorGroße Messe Great MassVienna and Salzburg incomplete
Vol. 1/6 No. 1Serie III No. 11766K. 33KyrieF majorParis
Vol. 1/6 No. 2Serie III No. 21772K. 89 (73k)KyrieG majorcontrapuntal study
Vol. 1/6 No. 31772K. 90KyrieD minorcontrapuntal study
Vol. 1/6 No. 41772K. 223 (166e)HosannaG majorcontrapuntal study
Vol. 1/6 No. 7Serie III No. 3K. 322 (296a/b/Anh. 12)KyrieE-flat majorfragment, completed by Maximilian Stadler
Vol. 1/6 No. 9Serie III No. 4K. 323 (Anh. 13)KyrieC majorfragment, completed by Maximilian Stadler
Vol. 1/6 No. 13Serie III No. 51780–1781? 1788?K. 341 (368a)KyrieD minorMunich or Vienna? large orchestra
Vol. 2/1Serie XXIV No. 1No. 151791K. 626RequiemD minorVienna most often published with the completions by Süssmayr
Serie XXIV No. 331771 (?)K. 116 (90a)brevisF majoronly the Kyrie is complete reattributed to Leopold Mozart
Serie XXIV No. 281771 (?)K. 115 (166d)brevisC majorincomplete reattributed to Leopold Mozart
No. 12around 1800?K. Anh. 232 (Anh. C1.04)G majorTwelfth Massattributed to Pichl in one source, Wenzel Müller in others
No. 7K. Anh. 233B-flat majorattributed to Süssmayr by Mozart's widow
No. 8K. Anh. 234 (Anh. C1.08)C majorattributed to Franz Gleißner
No. 9K. Anh. 235 (Anh. C1.09)G majorattributed to Franz Gleißner
No. 13K. Anh. 186E-flat majorspurious
No. 16K. Anh. 186E-flat majorspurious
No. 17K. Anh. 185C majorspurious
No. 18K. Anh. 237Requiem brevisD majorshort Requiemnot by Mozart

Sources

  • Mozart's Masses with an Accompaniment for the Organ, arranged from the full score by Vincent Novello. London: Gallaway, 1819–1824
  • The Three Favorite Masses, Composed by Mozart, Haydn, and Beethoven, in Vocal Score, with an Accompaniment for the Organ or Pianoforte, by Vincent Novello. London: Novello, 1850.
  • Ludwig Ritter von Köchel. Chronologisch-Thematisches Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozarts. Breitkopf & Härtel: Leipzig, 1862. (in German)

External links

  • (Masses are in "Serie I: Geistliche Gesangswerke")