​ ​Mozart​ ​(1756–1791) Haydn​ ​(1732–1809) Beethoven

Mass​ ​in​ ​c​ ​minor​,​ ​KV​ ​427​ ​(1783) Harmoniemesse​ ​(1802) Missa​ ​Solemnis​,​ ​op.​ ​123​ ​(1823)

1.​ ​Melody,​ ​phrase, Balanced​ ​phases;​ ​lyrical​ ​and Shorter,​ ​more​ ​motivic​ ​phrases​ ​than Uneven​ ​phrases,​ ​lots​ ​of
structure,​ ​length, ‘singer-friendly’ Mozart homophony,​ ​playing​ ​with​ ​extremes
shape (very​ ​short,​ ​motivic​ ​phrases​ ​OR
long,​ ​extended​ ​melismatic
passages)

2.​ ​Harmony Some​ ​chromaticism,​ ​but​ ​mostly Diatonic​ ​and​ ​functional,​ ​but​ ​with Functional,​ ​but​ ​always​ ​changing;
diatonic​ ​and​ ​functional surprising​ ​shifts​ ​(tertiary);​ ​important sudden​ ​shifts​ ​without​ ​preparation
motivic​ ​use​ ​of​ ​Neapolitan (usually​ ​tertiary);​ ​chromaticism
abounds

3.​ ​Instrumentation SSTB​ ​soloists​ ​+​ ​choir​ ​(SATB.SATB)
Flute,​ ​2​ ​Oboes,​ ​2​ ​bassoons
2​ ​horns,​ ​2​ ​trumpets,​ ​3​ ​trombones
Timpani
Strings​ ​+​ ​continuo​ ​(cello/bassi/organ)
SATB​ ​soloists​ ​+​ ​choir​ ​(SATB)
Flute,​ ​2​ ​Oboes,​ ​2​ ​clarinets,​ ​2​ ​bsns
2​ ​horns,​ ​2​ ​trumpets
Timpani
Strings​ ​+​ ​continuo​ ​(cello/bassi/organ)
SATB​ ​soloists​ ​+​ ​choir​ ​(SATB)
2​ ​Fl,​ ​2​ ​ob,​ ​2​ ​cl,​ ​2​ ​bsn,​ ​contrabsn
4​ ​horns,​ ​2​ ​trpt,​ ​3​ ​trombones
Timpani
Strings​ ​+​ ​continuo
(organ)

4.​ ​Text Latin​ ​mass Latin​ ​mass Latin​ ​mass​ ​+​ ​dramatic​ ​additions
(“O”​ ​miserere…)

5.​ ​Form/Structure Cantata​ ​mass,​ ​with​ ​each​ ​small​ ​section
of​ ​text​ ​getting​ ​its​ ​own
movement/setting.​ ​Incomplete​ ​(missing
most​ ​Credo​ ​movements​ ​and​ ​Agnus
Dei/Dona​ ​nobis​ ​pacem).
Not​ ​a​ ​cantata​ ​mass,​ ​but​ ​within​ ​mass
sections,​ ​new​ ​texts​ ​are​ ​clearly
delineated​ ​by​ ​new​ ​formal​ ​sections
(change​ ​of​ ​meter/key/affect).
Technically​ ​not​ ​a​ ​cantata​ ​mass,​ ​but
clearly​ ​delineates​ ​each​ ​new​ ​text;
sense​ ​of​ ​continuous​ ​drama​ ​by​ ​not
separating​ ​movements.​ ​Repetition
of​ ​text​ ​sometimes​ ​to​ ​add​ ​a​ ​sense​ ​of
symphonic​ ​form​ ​(repetition​ ​of
musical​ ​material​ ​for​ ​a
quasi-recapitulation)

1.​ ​Kyrie 1.​ ​Kyrie 1.​ ​Kyrie

2.​ ​Gloria 2.​ ​Gloria ​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Christe
 3.​ ​Laudamus​ ​te ​ ​ ​ ​ ​ ​ ​ ​–​ ​Gratias​ ​agimus​ ​tibi
4.​ ​Gratias​ ​agimus​ ​tibi ​ ​ ​ ​ ​ ​ ​ ​–​ ​Quoniam​ ​tu​ ​solus
5.​ ​Domine​ ​Deus 3.​ ​Credo
6.​ ​Qui​ ​tollis ​ ​ ​ ​ ​ ​ ​ ​–​ ​Et​ ​incarnatus​ ​est
7.​ ​Quoniam​ ​tu​ ​solus ​ ​ ​ ​ ​ ​ ​ ​–​ ​Et​ ​resurrexit
8.​ ​Jesu​ ​Christe​ ​–​ ​Cum​ ​sancto ​ ​ ​ ​ ​ ​ ​ ​–​ ​Et​ ​vitam​ ​venturi
9.​ ​Credo 4.​ ​Sanctus
10.​ ​Et​ ​incarnatus​ ​est ​ ​ ​ ​ ​ ​ ​ ​–​ ​Pleni​ ​sunt​ ​coeli
11.​ ​Sanctus​ ​–​ ​Hosanna ​ ​ ​ ​ ​ ​ ​ ​–​ ​Hosanna
12.​ ​Benedictus​ ​–​ ​Hosanna 5.​ ​Benedictus
​ ​ ​ ​ ​ ​ ​ ​–​ ​Hosanna
6.​ ​Agnus​ ​Dei
​ ​ ​ ​ ​ ​ ​ ​–​ ​Dona​ ​nobis​ ​pacem
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Kyrie
2.​ ​Gloria
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Gratias​ ​agimus​ ​tibi
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Domine​ ​Deus
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Qui​ ​tollis
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Quoniam​ ​tu​ ​solus
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​in​ ​gloria​ ​Dei​ ​patris
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Gloria
3.​ ​Credo
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Et​ ​incarnatus​ ​est
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Crucifixus
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Et​ ​resurrexit/et​ ​ascendit
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Credo
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Et​ ​vitam​ ​venturi​ ​(x2)
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Amen
4.​ ​Sanctus
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Pleni​ ​sunt​ ​coeli
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Osanna
5.​ ​Benedictus
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​(Osanna)
6.​ ​Agnus​ ​Dei
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Dona​ ​nobis​ ​pacem
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Agnus​ ​Dei
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Dona​ ​nobis​ ​pacem
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Agnus​ ​Dei
​ ​ ​ ​ ​ ​ ​ ​ ​–​ ​Dona​ ​nobis​ ​pacem

6.​ ​Characteristics, Notably​ ​the​ ​only​ ​real​ ​large-scale​ ​mass
style setting​ ​of​ ​its​ ​kind​ ​between​ ​Bach’s​ ​Mass
in​ ​b​ ​minor​ ​and​ ​Beethoven’s​ ​Missa
Solemnis
Largely​ ​in​ ​‘archaic’​ ​style;​ ​hearkening
back​ ​to​ ​Bach​ ​&​ ​Händel,​ ​although​ ​this​ ​is
in​ ​keeping​ ​with​ ​liturgical​ ​trends​ ​in
Vienna​ ​at​ ​the​ ​time.
Manages​ ​to​ ​look​ ​forwards​ ​and
backwards;​ ​building​ ​on​ ​novel​ ​tradition​ ​of
previous​ ​masses,​ ​while​ ​continuing​ ​to
draw​ ​upon​ ​Baroque​ ​idioms​ ​for​ ​dramatic
effect
-deftly​ ​moves​ ​between​ ​homophonic,
motivically​ ​motivated​ ​phrasing​ ​and
polyphonic​ ​passages
-polyphonic​ ​writing​ ​is​ ​very​ ​Baroque​ ​in
Liberty​ ​taken​ ​with​ ​repetition​ ​of​ ​text;
not​ ​abiding​ ​by​ ​liturgical​ ​usage
(improper​ ​order)​ ​→​ ​similar​ ​to​ ​Mass
in​ ​C,​ ​in​ ​that​ ​way.​ ​Notable​ ​is​ ​that​ ​the
Agnus​ ​Dei​ ​goes​ ​to​ ​the​ ​Dona​ ​nobis
pacem​ ​THREE​ ​times.
Some​ ​other​ ​‘scandalous’​ ​things:
addition​ ​of​ ​text​ ​(“o​ ​miserere”);​ ​a

-Rather​ ​large​ ​orchestra​ ​(but​ ​no
clarinets!)
-Abides​ ​by​ ​classical​ ​senses​ ​of
balance/proportion/form.
-Completions​ ​exist​ ​(like​ ​one​ ​by​ ​Robert
Levin,​ ​utilizing​ ​sections​ ​of​ ​Davide
Penitente​)
7.​ ​Context/ Written​ ​as​ ​a​ ​promise​ ​to​ ​his​ ​father;
Motivation perhaps​ ​to​ ​smooth​ ​things​ ​over​ ​after
marriage​ ​to​ ​Constanze
8.​ ​Premiere​ ​info October​ ​26th,​ ​1783​ ​in​ ​Salzburg
affect;​ ​rather​ ​instrumental​ ​vocal​ ​writing
-Quite​ ​a​ ​large​ ​orchestra;​ ​gains​ ​its​ ​name
from​ ​the​ ​large​ ​number​ ​of​ ​wind
instruments​ ​used
-Orchestral​ ​introduction;​ ​shocking
entrance​ ​of​ ​choir​ ​on​ ​diminished​ ​chord!
Last​ ​Esterházy​ ​mass;​ ​last​ ​of​ ​Haydn’s
completed​ ​works
September​ ​1802​ ​in​ ​Eisenstadt
completely​ ​orchestral​ ​‘Praeludium’
at​ ​the​ ​beginning​ ​of​ ​the​ ​Benedictus;
the​ ​‘militaristic​ ​violence’​ ​in​ ​Dona
Nobis​ ​Pacem
-Agnus​ ​Dei​ ​has​ ​moment​ ​of
recitative​ ​for​ ​soprano;​ ​completely
breaks​ ​into​ ​the​ ​realm​ ​of​ ​drama
rather​ ​than​ ​liturgical​ ​use
-ideas​ ​are​ ​blown​ ​up;​ ​even​ ​with
some​ ​telescoping​ ​of​ ​text,​ ​ideas​ ​are
expanded​ ​and​ ​explored​ ​so​ ​as​ ​to
leave​ ​no​ ​single​ ​interpretation​ ​of​ ​the
text​ ​unturned
-incredibly​ ​virtuosic​ ​for​ ​all​ ​parties
involved​ ​(including​ ​HIGH​ ​vocal
tessitura)
Originally​ ​meant​ ​for​ ​Archduke
Rudolf​ ​of​ ​Austria’s​ ​installment​ ​as
Archbishop​ ​of​ ​Moravia​ ​but​ ​didn’t
complete​ ​in​ ​time.
April​ ​7,​ ​1824​ ​in​ ​St.​ ​Petersburg
(Beethoven​ ​wasn’t​ ​present)
Secondary​ ​incomplete​ ​performance
(Kyrie,​ ​Credo,​ ​and​ ​Agnus​ ​Dei)​ ​in
Berlin​ ​with​ ​Beethoven​ ​present.
Never​ ​heard​ ​a​ ​full​ ​performance​ ​in
his​ ​lifetime