BARITONE STEPHEN MARSH
11 March 2022
TENOR HENRY CHOO
27 March 2022
SPARROWS AND MOZART'S SENSE OF HUMOUR
W.A. Mozart (1756 – 1791)
Mozart wrote this charming work in 1775 or 1775 while he was employed as a court musician in Salzburg. The period from 1773-1777 was a productive one for Mozart, who had just returned from a long period of travel, but he did clash frequently with his employer, the Prince-Archbishop Hieronymus Colloredo. Mozart was frustrated with his low salary in Salzburg and was often absent from his post, annoying Colloredo to no end. His works during this period (including symphonies, chamber music, string quartets, sonatas, church music and a few operas) nevertheless show a verve and enthusiasm, and also often his tremendous sense of humour. The 'Spatzenmesse' (or 'Sparrow Mass') is no exception.
Mass settings are among the most common pieces of devotional music composed during the classical period. The six texts of the 'ordinary' of the mass are fixed and do not change (with the exception of the liturgical seasons of Lent and Advent when the 'Gloria' is omitted). Writing mass settings provided composers with a great platform for their music to be heard, especially since the church was a keen patron of the Arts. Simple masses were composed for everyday worship but high feast days (such as Easter Day or the midnight mass of Christmas) warranted more elaborate, festive settings. Hearing a range of settings by various composers would have provided great interest to church-goers, and the mood of the composition reflected the overall tone of the feast day.
From the conductor's score for Mozart's 'Spatzenmesse' in the edition by Carus
The reason for this is a figuration/motif in the Osanna section of two movements - the Sanctus and Benedictus. The violins seem to 'chirp' just before the choir takes up the main theme, and this has led this piece to be nicknamed the 'Sparrow Mass'. This might well be a piece of sacred, devotional music but Mozart's personality and creative flair shine through from start to finish. This chirping figure which appears a number of times is not the only recurring musical material however - the final movement (Agnus Dei) recalls the music of the very first movement to create a cohesive musical whole.
Apart from the 'chirping' violins, listen out for the three trombones which underpin the texture throughout. The seek to reinforce the alto, tenor and bass parts of the choir, providing a richness and depth. Being celebratory in tone, this work also include trumpets and drums. The trumpets of Mozart's time were straight and long and without valves. Players used their position of their lips to change the pitch, also calling on a series of finger holes when required. We call these 'natural' trumpets, and their sound is quite different to their modern counterparts. Since the orchestra is playing on period instruments of the Classical era, these are exactly the sorts of trumpets you will hear in this concert. It's all a bit like stepping into a time capsule!
In the plainest of terms, this work is simply joyful. The choral parts often move together but sometimes also imitate each other to create variation and more complex textures. Before attending our ‘Austrian Encounters’ performances, you can listen to excerpts of the 'Spatzenmesse', K. 220 performed on modern instruments below.
Austrian Encounters Concert Details
Saturday 21st May at St. Mary's Basilica Geelong | Sunday 22nd May at Sacred Heart Carlton
Also live-streamed on the Australian Digital Concert Hall platform. World-wide digital access.
To learn more about the exciting concerts and events planned for 2022,
please see
www.australianboyschoir.com.au/concerts
Australian Romantic & Classical Orchestra perform at the City Recital Hall – Angel Place, Sydney (Photo by Oscar Smith)
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