As Mozart moved beyond being a traveling child prodigy, he began looking for full-time work as a musician in his teens, beginning around 1770.  He and his father took several journeys around Europe in search of a permanent post, but they were ultimately unsuccessful.  (Interestingly, however, Mozart was indeed offered a position as the organist at Versailles in France for King Louis XVI and his new bride Marie-Antoinette, but the duties ill-suited the young genius and he declined the offer.)  He and his father thus returned to Salzburg, his birthplace, and from 1773 until 1781, Mozart was employed as a musician in the Salzburg Court orchestra, which was soon under the direction of the ruler of Salzburg, Archbishop Colloredo.  Colloredo would eventually become Mozart’s greatest antagonist, eventually resulting in Mozart’s resignation (or depending on the perspective, being fired) in 1781.  But his first years in this position were happy enough, and young Mozart was expected to not only play in the orchestra but also compose.  In his capacity as composer, he came absolutely alive with productivity and progress.  He made huge strides in the genres of symphonies, sonatas, string quartets, violin concertos, piano concertos, serenades, a few small operas, and masses, as required by the Archbishop’s duties with the church.
 
In 1776 Mozart composed three masses, No’s 6, 7 and 8, all in the key of C Major, for the Archbishop’s church in Salzburg.  Each is categorized as a “missa brevis” (meaning “brief”) which meant that the entire Ordinary text of the Mass was to be performed relatively quickly – roughly 15 minutes.  The last of the three, No. 8, Organ Solo Mass, is further categorized as a “missa brevis et solemnis” (“solemn and brief mass”) because of Mozart’s addition of trumpets, which typically gave a mass a more festive feel rather than a somber one, as “solemnis” might suggest.  The Organ Solo Mass was composed quickly in December of 1776, when Mozart was only 20 years old, but nonetheless – as Mozart seemed so uncannily capable of his entire life – captures a maturity, a conciseness of expression, and an exquisite talent for melody.  The Organ Solo Mass in particular stands apart as one of a handful of Mozart’s most beloved sacred works.
 
The opening Kyrie is astonishingly direct and lyrical.  As its text asks for God’s mercy, the music Mozart creates for it is a sound world of simplicity without fraught or worry, as though the answer is already known.  The writing for solo voices changes easily between solos, duets, trios and quartets, and the full chorus blends easily into all these musical fabrics.  Mozart’s deftness in his vocal writing will shine like this throughout the entire Mass, but it is especially refreshing here in the Kyrie.
 
The Gloria contains some beautiful tone painting (matching musical themes and motives to the meaning of the text).  After the glowing energy of the opening praising of the glories of God, listen for how Mozart shifts the mood when the words “Qui tollis peccata mundi, miserere nobis” ([God] that takest away the sins of the world, have mercy upon us”) changes into a moving cascade of descending motives in minor (dark) modes, as though the supplicants are falling to their knees.
 
One of the ways that this Mass becomes a Missa brevis is illustrated by Mozart’s treatment of the lengthy text for the Credo movement, where religious beliefs are recited and sung.  No lengthy fugues or repetitions of text – simply a lyrical narration.  On occasion, different textual lines of the Credo are sung by different voices simultaneously.  Nonetheless, this portion of the Mass is an important one, and despite its relative brevity Mozart dresses it with an elegant effervescence.  The collaboration between the vocal soloists is especially delightful – Mozart never repeats any particular pairings, keeping the music always in a state of unfolding.  He also changes tempos and keys.  These happen dramatically at the words “Et incarnatus est de Spiritu Sancto…” (“And was [made] incarnate by the Holy Ghost…”) as the music slows considerably, drawing particular attention to Christ’s birth and death – while behind the voices is a sonorous carpet of wind instruments.  Then, for balance, the tempo quickens when the text retells of the resurrection – the music becomes buoyant and joyful with the strings playing flurries of fast notes as though in a state of grateful ecstasy.
 
The Sanctus is expressly brief and beautiful.  The text of this part of the Mass is only 16 words long, it’s text extolling God’s glory.  Mozart’s music is likewise glorious.  Especially captivating is the slow introduction that Mozart uses to set the tone of appreciative adoration.  The harmonies are rich and luxuriant, as the strings play clipped figures give the feeling of breathlessness.  The tempo quickens and the brief remaining bars are enchantingly jubilant.
 
The next movement, Benedictus, is where this Mass gets its nickname – “Organ Solo Mass.”  The organ has all along provided a basso continuo (a bass accompaniment) for the music in this Mass – a common feature in Baroque and early Classical music, being especially prominent in sacred music.  But in this movement the organ will emerge from the background and shine in a solo capacity.  Besides making this particular Mass unique, we should recall that Mozart was himself an organ virtuoso.  Even at age 8, while traveling around Europe as the wunderkind with his father, listeners flocked to hear little Wolfgang play the organ.  Apparently French King Louis XVI felt the same way in the early 1770’s.  It’s not surprising that Mozart would give this great instrument a moment in the sun.  The organ presents its solo right away and does not retreat.  As the four vocal soloists sing the Benedictus (Blessing), the organ accompanies the four vocal soloists throughout with languid triplets – like gently flowing water underneath their lovely lyricism.
 
The first part of the final movement, Agnus Dei, is one of the most serenely beautiful moments in this Mass.  Over pizzicatos (plucking) in the strings, the soprano soloist floats in beautiful song.  At about one minute into this movement, a magical key change occurs – the serenity gains a darker hue, exploring the humbleness required of asking “miserere nobis” (“have mercy on us”).  After a brief pause, Mozart begins the ending section of this wonderful Mass with the words “Dona nobis pacem” (“grant us peace”).  The tempo picks up and the serenity gives over to alternating motives of gentle joy and a slightly urgent pleading, finally concluding with light and grace.

Translation

Latin text and (English translation):

© Max Derrickson