New York Arts > Australian Brandenburg Orchestra
Since the resurrection of certain large and important Mozart works, Idomeneo being the main example which only came back to theatres and concert halls again around 60 years ago, much of his sacred music remains unsung or at least rarely heard. The Requiem mass, the C minor mass, the Coronation mass, Ave verum corpus are more or less ubiquitous, and do deserve many hearings. There are certain others a little less often heard, but there remain very many masses, mainly short youthful ones, litanies and fragments, starting from Mozart’s childhood in the late 1760’s through the ’70’s, with many fewer in the ’80’s when he was writing his finest operas. These sacred pieces, as well as the church sonatas which are thought to have been played as part of some of the masses, and also I might add Mozart’s ceremonial masonic music which also has a particularly strong and direct metaphysical sense (though masonic music has its own peculiar style), approach the universe in a very Mozartean way, surprisingly similar to his secular music, even though they respond to different texts or purposes. These sacred pieces’ clear dramatic sense makes them well suited to the concert hall, even if they can loose some of their gravity in the more modern workaday venues. Still they aren’t operas and obviously the separate religious importance matters greatly whatever the occasion which sees them played, even if both Mozart’s sacred choral and secular music span human existence with such deep and sensitive empathy. Mozart’s thoughts and music-making about the divine are al the more powerful when one considers that though he wrote less sacred music in the 1780’s, at the same time (or at the latest by 1790), he greatly desired the job of St. Stephen’s cathedral composer, to the point of volunteering to assist the aging incumbent.