| Missa primi toni octo vocum | |
|---|---|
| by Stefano Bernardi | |
 Organ balconies at Salzburg Cathedral | |
| Text | Order of Mass |
| Language | Latin |
| Composed | 1630 |
| Movements | 5 |
| Vocal | double choir SATB |
| Instrumental |
|
The Missa primi toni octo vocum is a mass setting for double choir composed by Stefano Bernardi in 1630 for the Salzburg Cathedral where he was music director.
Bernardi was called to serve as music director of the Salzburg Cathedral, after positions in Verona and Brixen. [1] The exact time of his appointment is not known, but it was 1627 at the latest. [1] Bernardi introduced the Italian concertato style in Salzburg. [2] The new cathedral building was completed and inaugurated in 1628, and Bernardi composed a Te Deum for 12 choirs for the occasion. [3]
Bernardi composed the Missa primi toni octo vocum for two four-part choirs (SATB) and basso continuo for the cathedral in 1630. [3] [4] The only extant complete copy is held by the Salzburg Cathedral archive. Separate individual parts were found in Einsiedeln Abbey and in the Mondsee parish. [3]
The mass is structured in five movements: [3]
The Sanctus comes without a Benedictus setting. The music of both choirs is mostly in homophony. It was usual at the time to have instruments playing colla parte with the voices, in addition to continuo instruments, as described in Syntagma musicum by Michael Praetorius. A motif runs in all movements except the Sanctus, but it is not known if it was quoted, from a motet or a madrigal. [3]
The Sanctus begins with long chords in the first choir, to which the second choir, after a long rest, adds more moving development.
A publication in 1914 by Vinzenz Goller, as an appendix of Musica Diviny, omitted the Credo and the basso continuo, changed some of the text, added dynamic marking, and changed the note durations. [3] A critical edition was published, edited by Armin Kircher, in 1993 by Comes in the series Denkmäler der Musik in Salzburg. [3] [4]
The mass has been performed at places such as St. Florian Monastery in Linz. [5] The Dommusik of Carinthia at the Klagenfurt Cathedral used the mass to celebrate its 150th anniversary in 2012. [6] Christmas 2013 was celebrated with the mass at the Speyer Cathedral. [7] It was performed in 2022 for the livestream service on Easter Sunday at St. Maria im Dorn in Feldkirchen in Kärnten. [8]
The Mass is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy, known as the Mass.
Great Mass in C minor, K. 427/417a, is the common name of the musical setting of the mass by Wolfgang Amadeus Mozart, which is considered one of his greatest works. He composed it in Vienna in 1782 and 1783, after his marriage, when he moved to Vienna from Salzburg. The large-scale work, a missa solemnis, is scored for two soprano soloists, a tenor and a bass, double chorus and large orchestra. It remained unfinished, missing large portions of the Credo and the complete Agnus Dei.
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StefanoBernardi, also known as "il Moretto", was an Italian priest, composer and music theorist. Born in Verona and maestro di cappella at the Verona Cathedral from 1611 to 1622, he later moved to Salzburg, where he was responsible for the music at the Salzburg Cathedral and composed a Te Deum for 12 choirs performed at the cathedral's consecration in 1628.
Bach's Missa of 1733, BWV 232 I, is a Kyrie–Gloria Mass in B minor, composed in 1733 by Johann Sebastian Bach. It is an extended missa brevis consisting of a Kyrie in three movements and a Gloria in nine movements. Bach started to compose it, partly based on earlier work, after the death of his sovereign Augustus the Strong, dedicating it to the latter's son and successor, Frederick August II, in a letter dated 27 July 1733. At the time, Bach was in his tenth year as Lutheran church musician in Leipzig, while the Catholic court of the sovereign Elector of Saxony was located in Dresden. Bach sent performance parts of his Missa to Dresden while he kept the autograph score in Leipzig. Upon arrival in Dresden, the Mass was not added to the repertoire of the Catholic court chapel, but instead the parts, and Bach's dedication letter, were archived in the sovereign's library.
The Missa brevis No. 8 in C major, K. 259, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini, 3 trombones colla parte, timpani and basso continuo.
The Missa in honorem Sanctissimae Trinitatis in C major, K. 167, is a mass composed by Wolfgang Amadeus Mozart in June 1773. It is scored for SATB choir, violin I and II, 2 oboes, 2 clarini, 2 trumpets, timpani and basso continuo.
The Credo Mass in C major, K. 257, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini, 3 trombones colla parte and basso continuo.
The Missa brevis in D major, K. 194/186h, is a mass composed by Wolfgang Amadeus Mozart and completed on 8 August 1774. It is scored for SATB soloists, SATB choir, violin I and II, 3 trombones colla parte, and basso continuo.
The Missa brevis No. 7 in C major, K. 258, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini, 3 trombones colla parte, timpani and basso continuo.
The Missa longa in C major, K. 262/246a, is a mass composed by Wolfgang Amadeus Mozart in May 1776. Other sources claim it was composed in May 1775. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 horns, 2 clarini, 3 trombones colla parte, timpani and basso continuo.
The Missa brevis in D minor, K. 65/61a, is a mass composed by Wolfgang Amadeus Mozart and completed on 14 January 1769. It is scored for SATB soloists and choir, violin I and II, 3 trombones colla parte, and basso continuo.
The Missa secundi toni is a mass by Johann Ernst Eberlin. He wrote it for the Salzburg Cathedral, and scored it for four soloists, a four-part choir, two violins and continuo.
Missa Providentiae is a Kyrie–Gloria Mass in D minor composed by Antonio Caldara, which around 1728 was expanded into a Missa tota by Jan Dismas Zelenka: this composer derived a Sanctus and Agnus Dei from Caldara's Kyrie and Gloria, and added a Credo, ZWV 31, of his own hand. Around 1738–1741, Johann Sebastian Bach made a copy of a Sanctus, BWV 239, which was based on the first section of the Gloria of Caldara's Kyrie–Gloria Mass.
