570231 bk Mozart

11/15/07

11:35 AM

Page 12

7 Coro
Se vuoi, puniscimi
ma pria, Signore, lascia che almeno,
che sfoghi, che si moderi
il tuo sdegno, il tuo furore.
Puniscimi, se vuoi,
lascia, che sfoghi il tuo furore.
Vedi la mia pallida guancia inferma,
Signore, deh, sanami, porgimi soccorso,
aita, Signor, tu puoi, porgimi aita.

Chorus
If you will, punish me
but first, Lord, let at least
your scorn find relief,
your anger be tempered.
Punish me, if you will,
let your anger find relief.
Behold my pale weak face,
Lord, heal me, bring me succour,
help, Lord, you are able, bring help.

8 Aria
Tra loscure ombre funeste,
splende al giusto il ciel sereno,
serba ancor nelle tempeste
la sua pace un fido cor.
Alme belle, ah s, godete!
alme belle! ah s, godete,
n alcun fia che turbi audace,
quella gioia e quella pace,
di cui solo Dio lautor.

Aria
Through the dark grievous shadows
the serene heaven shines on the just,
and during the storms brings
peace to the faithful heart.
Fair souls, ah yes, rejoice!
Fair souls! Ah yes, rejoice
that no one dares to disturb
that joy and that peace
of which God alone is the author.

9 Terzetto
Tutte le mie speranze
ho riposte in te.
Salvami, o Dio, dal nemico feroce
che minsegue e che mincalza,
o Dio, salvami!

Trio
All my hopes
I have placed in you.
Save me, O God, from the cruel enemy
that pursues me and that presses upon me,
O God, save me!

Trine Wilsberg Lund, Soprano

0 Coro
Chi in Dio sol spera:
Di tali pericoli non ha timore.

Chorus
Who hopes in God alone
Has no fear of such dangers.

Lothar Odinius, Tenor

MOZART
Davide
penitente
(Oratorio)
Kristina Wahlin, Soprano

Immortal Bach Ensemble

Leipziger
Kammerorchester
Morten Schuldt-Jensen

Regina coeli, K.108

! Regina coeli laetare, alleluia.

Rejoice, O Queen of Heaven, alleluia.

@ Quia quem meruisti portare

resurrexit, sicut dixit, alleluia.

For he whom you were worthy to bear

has arisen, as he said, alleluia.

# Ora pro nobis Deum.

Pray for us to God.

$ Alleluia, alleluia.

Alleluia, alleluia.

8.570231

12

570231 bk Mozart

11/15/07

11:35 AM

Page 2

Wolfgang Amadeus

Davide penitente, K.469

MOZART
(1756-1791)

Davide penitente, K.469

1
2
3
4
5
6
7
8
9
0

1. Coro: Alzai le flebili voci al Signor (Chorus, Soprano 1)

2. Coro: Cantiam le glorie (Chorus)
3. Aria: Lungi le cure ingrate (Soprano 2)
4. Coro: Sii pur sempre benigno, oh Dio (Chorus)
5. Duetto: Sorgi, o Signore, e spargi (Soprano 1 and 2)
6. Aria: A te, fra tanti affanni (Tenor)
7. Coro: Se vuoi, puniscimi (Chorus)
8. Aria: Tra loscure ombre funeste (Soprano 1)
9. Terzetto: Tutte le mie speranze (Soprano 1 and 2, Tenor)
10. Coro: Chi in Dio sol spera (Chorus and Soli)

Regina coeli, K.108

!
@
#
$

40:31
5:44
2:04
4:27
1:02
2:40
6:03
4:48
5:29
3:38
4:35

12:34

Regina coeli, laetare (Chorus)

Quia quem meruisti portare (Soprano, Chorus)
Ora pro nobis Deum (Soprano)
Alleluia (Soprano, Chorus)

2:45
3:16
3:51
2:42

Trine Wilsberg Lund, Soprano 1

Kristina Wahlin, Soprano 2
Lothar Odinius, Tenor
Immortal Bach Ensemble
Leipziger Kammerorchester
Morten Schuldt-Jensen
8.570231

1 Coro
Alzai le flebili voci al Signor
Alzai le flebili voci al Dio
da mali oppresso.
Alzai le flebili mie voci a Dio
da mali oppresso.

Chorus
I raised my weeping cries to the Lord
I raised my weeping cries to God
oppressed by evils.
I raised my weeping cries to God
oppressed by evils.

2 Coro
Cantiam le glorie e le lodi,
replichiamole in cento e cento modi
del Signore amabilissimo.

Chorus
Let us sing the glories and praises
Let us repeat them a hundred hundred ways
the praises of the most loving Lord.

3 Aria
Lungi le cure ingrate,
respirate omai.
S palpitato assai
tempo da goder.

Aria
Far away from sad afflictions,
feel free again.
If once you were afraid
now is the time to rejoice.

4 Coro
Sii pur sempre benigno, oh Dio,
e le preghiere te muovano a piet.

Chorus
Be ever gracious, O God
and let our prayers move you to mercy.

5 Duetto
Sorgi, Signore, e spargi i tuoi nemici.
Sorgi, Signore, spargi
e dissipa i tuoi nemici.
Fuga ognun che todia,
fuga da te che todia,
sorgi e spargi i tuoi nemici.

Duet
Arise, Lord, and scatter your enemies.
Arise, Lord, scatter
and disperse your enemies.
Put to flight whomsoever may hate you,
Put to flight those who hate you,
arise and scatter your enemies.

6 Aria
A te, fra tanti affanni,
piet cercai, Signore,
che vedi il mio bel core,
che mi conosci almen.
Udisti i voti miei,
e gi godea questalma
per te lusata calma
delle tempeste in sen.

Aria
In you, amid such tribulation,
I sought mercy, Lord,
that you should see my good heart,
that at least you should know me.
You have heard my prayers,
and already my soul has rejoiced
since through you the storms in
my bosom have been calmed.

11

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Solisten, die von Oboen, Fagotten und Streichern

akkompagniert werden: Dieses Tutte le mie speranze
(All mein Hoffen) entstand als Arrangement des
Quoniam tu solus sanctus. Der Schlusschor in C-dur
Chi in Dio sol spera (Wer allein auf Gott hofft) ist
die Einrichtung des Jesu Christe aus der Messe , und das
polyphone Di tai pericoli non ha timor (Solche
Gefahren frchtet er nicht) entstand aus dem Cum
Sancto Spiritu, dessen liturgischer Text zunchst besser
zur Musik passt. Darauf lsst Mozart eine neue Kadenz
folgen, die den Solisten einen letzten glanzvollen
Moment gewhrt.
1770 und 1771 hielten sich Mozart und sein Vater
in Italien auf. Unter anderem weilten sie einige Monate
in Bologna, wo Mozart bei Padre Martini traditionellen
Kontrapunkt studieren konnte. Ein Resultat der

8.570231

Page 10

Italienreise war das Regina coeli KV 108, das im Mai

1771 nach der Heimkehr in Salzburg entstand. Dem
festlichen, mit je zwei Oboen, Hrnern, Trompeten und
Pauken, Streichern, Solosopran und vierstimmigem
Chor nebst figuriertem Bass geschriebenen Anfang in
C-dur folgt ein von den zwei Flten und den Streichern
begleitetes, zierreiches Sopransolo mit kontrapunktisch
gestaltetem Chor in F-dur. Nur von Streichern getragen
wird das anschlieende a-moll-Sopransolo Ora pro
nobis (Bitte fr uns) mit der Bezeichnung Adagio un
poco andante. Volles Orchester, Sopransolo und Chor
beschlieen das Werk mit dem Alleluia.
Keith Anderson
Deutsche Fassung: Cris Posslac

10

Wolfgang Amadeus Mozart (1756-1791)

Davide penitente, K.469 Regina coeli, K.108
Wolfgang Amadeus Mozart was born in Salzburg in
1756, the son of a court musician who, in the year of his
youngest childs birth, published an influential book on
violin-playing. Leopold Mozart rose to occupy the
position of Vice-Kapellmeister to the Archbishop of
Salzburg, but sacrificed his own creative career to that
of his son, in whom he detected early signs of
precocious genius. With the indulgence of his patron, he
was able to undertake extended concert tours of Europe
in which his son and elder daughter Nannerl were able
to astonish audiences. The boy played both the keyboard
and the violin and could improvise and soon write down
his own compositions.
Childhood that had brought Mozart signal success
was followed by a less satisfactory period of
adolescence largely in Salzburg under the patronage of a
new and less sympathetic Archbishop. Like his father,
Mozart found opportunities far too limited at home,
while chances of travel were now restricted. In 1777,
when leave of absence was not granted, he gave up
employment in Salzburg to seek a future elsewhere, but
neither Mannheim nor Paris, both musical centres of
some importance, had anything for him. His Mannheim
connections, however, brought a commission for an
opera in Munich in 1781, but after its successful staging
he was summoned by his patron to Vienna. There
Mozarts dissatisfaction with his position resulted in a
quarrel with the Archbishop and dismissal from his
service.
The last ten years of Mozarts life were spent in
Vienna in precarious independence of both patron and
immediate paternal advice, a situation aggravated by an
imprudent marriage. Initial success in the opera-house
and as a performer was followed, as the decade went on,
by increasing financial difficulties. By the time of his
death in December 1791, however, his fortunes seemed
about to change for the better, with the success of the
German opera The Magic Flute, and the possibility of
increased patronage.

The greater part of Mozarts church music had been

written during his years in Salzburg, where it fulfilled
something of the requirements of his employment. In
Vienna from 1781 he had other preoccupations, but in
1783 he had worked on another Mass setting, again with
Salzburg in mind. In August 1782 he had married
Constanze Weber, one of his former landladys
daughters and a cousin of the composer Carl Maria von
Weber. He had done his best at first to conceal his
relationship from his father, who disapproved of the
match. It was not until a year later that the couple
travelled to Salzburg, where Constanze might meet her
father-in-law and sister-in-law. The occasion brought
from Mozart his Mass in C minor, K.427, a composition
he had worked on intermittently and that was to remain
unfinished, without a completed Credo or Agnus Dei. It
was written in fulfilment of a promise to his new wife,
who sang the soprano solo when the work was first
performed at the Benedictine church of St Peter in
Salzburg during the course of the couples first visit
there together. It was to this earlier composition that
Mozart had recourse in 1785, when, at the height of his
powers and fully occupied as a composer and performer,
he was required to produce a composition for the
Vienna Society of Artists, a charitable organization in
which he had an obvious interest and in which he sought
membership, since the Society took responsibility for
the care of the impoverished widows and orphans of its
deceased members.
For the new work, Davide penitente, a setting of an
Italian text perhaps by Lorenzo da Ponte, Mozart took
his earlier Kyrie and Gloria, replacing the Latin text
with the new Italian words, not always happily. He was,
however, able to add two new arias and a new final
cadenza. Davide penitente was performed in Vienna at
the National Theatre in the Hofburg on 13th and 15th
March 1785, with the soprano Caterina Cavalieri, a
protge of Salieri, who had sung the part of Constanze
in Mozarts Die Entfhrung aus dem Serail. The second

8.570231

570231 bk Mozart

11/15/07

11:35 AM

soprano was Elisabeth Distler and the tenor Johann

Valentin Adamberger, Mozarts Belmonte. Leopold
Mozart, who was visiting his son in Vienna, found his
sons constant activity bewildering, but his surviving
letters to his daughter only mention briefly the coming
Tonknstlersoziett concerts, which he must have
attended. The orchestra employed was a large one,
matched in size by the number of singers in the chorus.
The programme at each of the two concerts was a mixed
one, including the latest Haydn symphony and a chorus
from the latters oratorio Il ritorno di Tobia, with a
chorus from Gassmanns Amore e Psiche, solo arias and
instrumental contributions. The first concert also
included an oboe concerto and the second a violin
concerto played by Leopold Mozarts pupil Heinrich
Marchand.
Davide penitente is scored for an orchestra that
includes pairs of oboes, bassoons, horns, and strings,
with three trombones, and probably with keyboard
continuo, together with trumpets and drums for the outer
movements. The oratorio opens with the C minor chorus
and soprano solo, with the full orchestra, Alzai le flebili
voci (I raised my weeping cries), using the Kyrie of the
Mass in C minor. The second chorus, Cantiam le glorie
e le lodi (Let us sing the glories and praises), in C major,
takes the opening of the earlier Gloria. The F major
soprano aria, Lungi le cure ingrate (Far away be
thankless cares), with oboes, horns and strings, rewords
the earlier Laudamus te. The A minor chorus, Sii pur
sempre benigno, oh Dio (Be ever gracious, O God), with
the full orchestra, uses the original Gratias agimus tibi
and is followed by a duet for two sopranos, Sorgi, o
Signore, e spargi (Arise, O Lord, and scatter your
enemies), a D minor movement, accompanied by
strings, a version of the original Domine Deus, Rex
caelestis. The sixth part, a B flat major tenor aria, A te,
fra tanti affanni (From you, amid such troubles), with its
final Allegro, Udisti voti miei (You heard my prayers) is
the first newly composed addition to the work, and uses

8.570231

Page 4

solo flute, oboe, clarinet and bassoon, with two horns in

high B flat and strings. This is followed by a G minor
chorus with full orchestra, Se vuoi, puniscimi (If you
wish, punish me), with its dotted rhythms, using the
original Qui tollis peccata mundi. The C minor soprano
aria Tra loscure ombre funeste (Amid the dark grievous
shadows), with a flute, pairs of oboes, bassoons and
horns, and strings, is newly composed for Caterina
Cavalieri. This is capped by an E minor trio for the
soloists, with oboes, bassoons and strings, Tutte le mie
speranze (All my hopes) derived from the original
Quoniam tu solus sanctus and a concluding C major
chorus, Chi in Dio sol spera (Who hopes alone in God),
the original Jesu Christe and the polyphonic Di tai
pericoli non ha timor (Of such dangers he has no fear),
initially more aptly matched with the traditional
liturgical text, Cum Sancto Spiritu. To this Mozart adds
a new cadenza that allows the soloists their final
moment of glory. The chief interest of the whole work
must lie in the two newly composed dramatic arias and
the final bars, where text and music are better matched.
In 1770 and 1771 Mozart and his father were in
Italy, and spent a few months at Bologna, where Mozart
was able to study traditional counterpoint with Padre
Martini. One result of the Italian journey was the Regina
coeli, K.108, written in May 1771 after their return to
Salzburg. Scored initially for pairs of oboes, horns,
trumpets and timpani, strings, soprano solo and fourpart choir, with a figured bass for the organ, the
celebratory C major first section is followed by an F
major movement accompanied by two flutes and strings,
with a florid soprano solo and a contrapuntal
deployment of the choir. The A minor soprano solo that
follows, marked Adagio un poco andante and setting the
words Ora pro nobis (Pray for us), is accompanied by
the strings. The full orchestra returns, with the soloist
and chorus, for the final Alleluia.
Keith Anderson

zwischendurch immer wieder gearbeitet hatte, um ein

Gelbde zu erfllen: Sollten die Schwierigkeiten um die
geplante Heirat ein glckliches Ende finden, wollte er
eben dieses geistliche Werk komponieren (das
schlielich ohne Credo und Agnus Dei unvollendet
blieb). Bei der Auffhrung in der Salzburger
Benediktinerkirche St. Peter hat Constanze nach allem,
was man wei, das Sopransolo gesungen.
Im Jahre 1785 erhielt Mozart, damals auf dem
Hhepunkt seines kompositorischen und pianistischen
Erfolgs, von der Wiener Tonknstler-Societt den
Auftrag zu einem neuen Werk, dem er insofern gern
nachkam, als diese Wohlttigkeitsorganisation in Not
geratene Musikerwitwen und -waisen untersttzte, wenn
die Verstorbenen Mitglieder der Societt gewesen
waren, und er sich ebenfalls um eine Mitgliedschaft
bemhte.
Bei der Komposition des neuen Werkes Davide
penitente vertonte Wolfgang Amadeus Mozart einen
italienischen, vielleicht von Lorenzo da Ponte verfassten
Text und zwar dergestalt, dass er die lateinischen
Worte des Kyrie und des Gloria aus seiner
unvollstndigen Messe c-moll durch die italienische
Dichtung ersetzte. Auerdem schrieb er zwei neue
Arien sowie eine Schlusskadenz. Davide penitente
wurde am Wiener Burgtheater am 13. und 15. Mrz
1785 mit der von Salieri protegierten Sopranistin
Caterina Cavalieri aufgefhrt, die in Mozarts
Entfhrung aus dem Serail bereits die Constanze
gesungen hatte. Als zweite Sopranistin war Elisabeth
Distler zu hren, und Johann Valentin Adamberger,
Mozarts erster Belmonte, sang die Tenorpartie. Leopold
Mozart, der damals gerade in Wien zu Besuch war,
fhlte sich nicht sonderlich wohl bei der rastlosen
Geschftigkeit seines Sohnes. Im Gegensatz zu frheren
Konzerten erwhnt er die bevorstehende Veranstaltung
der Tonknstler-Societt, die er besucht haben muss, in
den Briefen an seine Tochter nur beilufig.
Dem groen Orchester entsprach die Zahl der
Choristen, die Programme waren in der damals blichen
Weise gemischt: Unter anderem gab man die jngste
Symphonie von Joseph Haydn sowie einen Chor aus

dessen Oratorium Il ritorno di Tobia sowie einen

solchen aus Florian Leopold Gamanns Amore e
Psiche; dazu kamen Solo-Arien und weitere
Instrumentalwerke beim ersten Abend ein
Oboenkonzert, beim zweiten ein Violinkonzert, das
Leopold Mozarts Geigenschler Heinrich Marchand
spielte.
Davide penitente verlangt je zwei Oboen, Fagotte
und Hrner, dazu drei Posaunen, in den Eckstzen
Pauken und Trompeten, die obligatorischen Streicher
und wohl auch ein Tasteninstrument fr die ContinuoStimme. Zu Beginn begleitet das volle Orchester den
Chor mit Sopransolo c-moll Alzai le flebili voci (Ich
erhob meine klagende Stimme), in dem das Kyrie der
c-moll-Messe verwendet wird. Der zweite Chor in Cdur, Cantiam le glorie e le lodi (Wir wollen Ruhm und
Lobpreis singen), ist auf den Beginn des Gloria
gesetzt. Die Sopranarie F-dur Lungi le cure ingrate
(Weit sind die undankbaren Sorgen) mit Oboen,
Hrnern und Streichern entstand als Neutextierung des
Laudamus te. Der vom vollen Orchester untersttzte
Chor in a-moll, Sii pur sempre benigno, oh Dio (Sei
immer gndig, o Gott) ist ein Arrangement des Gratias
agimus tibi. Darauf folgt das von Streichern begleitete
d-moll-Duett der beiden Soprane, Sorgi, o Signore, e
spargi (Erhebe dich, o Herr, und zerschmettere deine
Feinde) nach dem Domine Deus, Rex caelestis.
Der sechste Satz, die groe Tenorarie in B-dur A te,
fra tanti affanni (Zu dir in solcher Kmmernis) mit
dem abschlieenden Allegro Udisti voti miei (Du hast
mein Gebet gehrt), ist die erste neue Komposition des
Werkes, wobei Soloflte, Oboe, Klarinette und Fagott
nebst zwei Hrnern in Hoch-B und Streichern zum
Einsatz kommen. Der anschlieende Chor g-moll mit
vollem Orchester, Se vuoi, puniscimi (Wenn du willst,
bestrafe mich) ist die Einrichtung des Qui tollis
peccata mundi, whrend die Sopranarie in c-moll, Tra
loscure ombre funeste (Unter den dunklen, traurigen
Schatten) fr Caterina Cavalieri neu komponiert
wurde: Mozart benutzt hier zur Begleitung eine Flte,
zwei Oboen, Fagotte und Hrner sowie die Streicher.
Gekrnt wird dieser Teil von einem e-moll-Terzett der

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Page 8

Wolfgang Amadeus Mozart (1756-1791)

Trine Wilsberg Lund

Davide penitente, KV 469 Regina coeli KV 108

Wolfgang Amadeus Mozart wurde am 27. Januar 1756
in Salzburg als Sohn des Hofmusikers Leopold Mozart
geboren, der just im selben Jahr, da sein jngstes Kind
das Licht der Welt erblickte, seine einflussreiche
Grndliche Violinschule verffentlichte. Vater Mozart
stieg beim Salzburger Frsterzbischof bis zum
Vizekapellmeister auf, verzichtete aber auf seine eigene
kreative Karriere, nachdem er in seinem Sohn schon
frh die ersten Anzeichen eines berragenden Genies
erkannte. Mit Duldung seines damaligen Dienstherrn
unternahm er ausgedehnte Europareisen, bei denen sein
Sohn und dessen ltere Schwester Nannerl das
Publikum in Staunen versetzten. Der Knabe spielte
sowohl das Clavier wie auch die Violine, wusste zu
improvisieren und schon bald eigene Kompositionen
aufzuschreiben.
Nachdem Wolfgang Amadeus Mozart in der
Kindheit auerordentliche Erfolge erlebt hatte, waren
die Jnglingsjahre weniger befriedigend vor allem, da
in Salzburg inzwischen ein neuer, weniger
verstndnisvoller Erzbischof regierte. Wie der Vater, so
empfand auch der Sohn die Enge der Heimatstadt,
indessen zugleich die Reisemglichkeiten deutlich
eingeschrnkt waren. Als ihm 1777 ein Urlaubsantrag
nicht genehmigt wurde, kndigte Mozart seine
Salzburger Stellung, um andernorts sein Glck zu
suchen. Doch weder in Mannheim noch in Paris, zwei
bedeutenden musikalischen Zentren, war etwas
Geeignetes zu finden, so dass er schlielich
unverrichteter Dinge wieder nach Salzburg und in den
Dienst des ungeliebten Erzbischofs zurckkehrte.
Immerhin verhalfen ihm seine Mannheimer Kontakte
aber 1780 zum Auftrag fr die Oper Idomeneo, die
Anfang 1781 in Mnchen uraufgefhrt wurde. Nach der
erfolgreichen Premiere befahl ihm sein alter und neuer
Dienstherr, unverzglich nach Wien zu kommen. Dort
kulminierte die aufgestaute Unzufriedenheit in einer
handfesten Auseinandersetzung mit dem Erzbischof und
der endgltigen Entlassung aus dessen Diensten.

8.570231

Seine letzten zehn Lebensjahre verbrachte Mozart

in Wien als freischaffender Knstler ohne eigentliche
Gnner und ohne den direkten vterlichen Rat mithin
in einer unsicheren Situation, die durch seine voreilige
Heirat nicht gerade besser wurde. Zunchst hatte er als
Pianist und im Opernhaus Erfolg, im Laufe des
Jahrzehnts geriet er jedoch in immer grere finanzielle
Schwierigkeiten. Unmittelbar vor seinem Tod am 5.
Dezember 1791 hatte sich sein Schicksal durch den
Erfolg seiner deutschen Oper Die Zauberflte und durch
das Auftreten potentieller Mzene gerade erst wieder zu
seinen Gunsten gewandelt.
Den grten Teil seiner Kirchenmusik hat
Wolfgang Amadeus Mozart whrend seiner Salzburger
Jahre in Erfllung seiner dienstlichen Obliegenheiten
geschrieben. In Wien gab es dann andere Prioritten;
gleichwohl arbeitete der Komponist 1783 mit Blick auf
Salzburg an einer neuen Messe: Im August hatte er
Constanze Weber geheiratet, die jngere Schwester der
Sngerin Aloysia, in die er sich 1778 in Mannheim so
strmisch verliebt und die ihm Ende desselben Jahres in
Mnchen so schmhlich den Rcken gekehrt hatte.
Inzwischen war der Vater der Familie verstorben;
Witwe Weber war mit ihren Kindern nach Wien
gezogen, hatte Mozart zeitweilig ein Quartier vermietet
und es anscheinend gar nicht so ungern gesehen, dass
sich ihr Logiergast nach und nach in die Tochter
verliebte.
Mozart hatte aus verstndlichen Grnden zunchst
alles getan, die sich anbahnende Beziehung vor dem
Vater geheimzuhalten (der bereits ber die Schwrmerei
fr Aloysia schier die Fassung verloren hatte). Endlich
rckte er aber doch mit seinen Zukunftsplnen heraus,
und Leopold gab, wenngleich widerstrebend, seinen
vterlichen Segen. Ein Jahr nach der Hochzeit reiste das
junge Ehepaar nach Salzburg, wo Constanze ihren
Schwiegervater und ihre Schwgerin kennenlernte. Bei
dieser Gelegenheit konnte Mozart die abgeschlossenen
Teile seiner Messe c-moll KV 427 auffhren, an der er

The coloratura soprano Trine Wilsberg Lund was born in Oslo in 1979. She was a pupil of Barba Marklund and
Hkan Hagegrd at the Norwegian Academy of Music and gained her diploma with distinction in 2003. She then
continued her studies at the Cologne Musikhochschule as a pupil of Barbara Schlick. Trine Lund already enjoys a
considerable reputation in Europe as a concert soloist, with a repertoire that ranges from early Baroque music to the
present, including works by Monteverdi, Strozzi, Schtz, Bach, Handel, Vivaldi, Mozart, Mendelssohn, Meyerbeer,
Verdi, Grieg, Bernstein and Berio. She has appeared at festivals, including the Oslo Church Music Festival, Oslo
International Contemporary Music Festival, Mnster Barock Fest, Wiesbaden Bach Festival, La Folle Journe,
Nantes, Festa da Msica, Lisbon, and MDR Musiksommer, collaborating with the Leipzig Baroque
Orchestra/Chamber Orchestra, the Leipzig Gewandhaus Orchestra, Cologne Chamber Orchestra, Cologne
Collegium Cartusianum, Dresden Barock, Oslo Symphony Orchestra/Chamber Orchestra, conducted by Peter
Neumann, Georg Christoph Biller and Morten Schuldt-Jensen. As an opera-singer she has appeared as Clarice in
Haydns Il mondo della luna, as Servilia in La clemenza di Tito at the Mnster City Opera, and in Wuppertal as
Amintha in Mozarts Il re pastore. She won first prize at the 1998 Norsk Sanglrerforening Singing Competition
and at the 2003 national Queen Sonja International Music Competition with the Stavanger Symphony Orchestra. In
2004 she won the second prize at the Leipzig International Johann Sebastian Bach Competition. In 2006 she won
the second prize at the Fifteenth European Mozart Competition in Wrzburg. Trine Wilsberg Lund has taken part in
numerous international broadcasts and commercial recordings.

Kristina Wahlin
The talented young mezzo-soprano Kristina Wahlin is Swedish-born and studied singing at the Royal Music
Academy in Stockholm, completing her musical education as an opera singer at the Royal Academy of Music in
London, from which she graduated in 2000. She has sung Cherubino in Le nozze di Figaro and the title rle in
Handels Ariodante at Opera Funen in Denmark. Her performance of Ariodante made an exceptionally favourable
impression on the critics and she was invited to return to sing the title rle in Glucks Orfeo in 2004. She had great
success as Isabella in a concert performance of LItaliana in Algeri at the Tivoli Concert Hall in the summer of 2004,
again to considerable critical acclaim. Kristina Wahlin has appeared as a soloist with several orchestras in
Scandinavia, performing Bach, Mozart, Handel and Rossini. Since 2006 she has been a member of the soloist
ensemble at Oper Kln, where her rles include Rosina, Hnsel, Isabella, Nicklausse, Cherubino and Giulio Cesare.

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Page 12

7 Coro
Se vuoi, puniscimi
ma pria, Signore, lascia che almeno,
che sfoghi, che si moderi
il tuo sdegno, il tuo furore.
Puniscimi, se vuoi,
lascia, che sfoghi il tuo furore.
Vedi la mia pallida guancia inferma,
Signore, deh, sanami, porgimi soccorso,
aita, Signor, tu puoi, porgimi aita.

Chorus
If you will, punish me
but first, Lord, let at least
your scorn find relief,
your anger be tempered.
Punish me, if you will,
let your anger find relief.
Behold my pale weak face,
Lord, heal me, bring me succour,
help, Lord, you are able, bring help.

8 Aria
Tra loscure ombre funeste,
splende al giusto il ciel sereno,
serba ancor nelle tempeste
la sua pace un fido cor.
Alme belle, ah s, godete!
alme belle! ah s, godete,
n alcun fia che turbi audace,
quella gioia e quella pace,
di cui solo Dio lautor.

Aria
Through the dark grievous shadows
the serene heaven shines on the just,
and during the storms brings
peace to the faithful heart.
Fair souls, ah yes, rejoice!
Fair souls! Ah yes, rejoice
that no one dares to disturb
that joy and that peace
of which God alone is the author.

9 Terzetto
Tutte le mie speranze
ho riposte in te.
Salvami, o Dio, dal nemico feroce
che minsegue e che mincalza,
o Dio, salvami!

Trio
All my hopes
I have placed in you.
Save me, O God, from the cruel enemy
that pursues me and that presses upon me,
O God, save me!

Trine Wilsberg Lund, Soprano

0 Coro
Chi in Dio sol spera:
Di tali pericoli non ha timore.

Chorus
Who hopes in God alone
Has no fear of such dangers.

Lothar Odinius, Tenor

MOZART
Davide
penitente
(Oratorio)
Kristina Wahlin, Soprano

Immortal Bach Ensemble

Leipziger
Kammerorchester
Morten Schuldt-Jensen

Regina coeli, K.108

! Regina coeli laetare, alleluia.

Rejoice, O Queen of Heaven, alleluia.

@ Quia quem meruisti portare

resurrexit, sicut dixit, alleluia.

For he whom you were worthy to bear

has arisen, as he said, alleluia.

# Ora pro nobis Deum.

Pray for us to God.

$ Alleluia, alleluia.

Alleluia, alleluia.

8.570231

12

570231 bk Mozart

11/15/07

11:35 AM

Page 6

Lothar Odinius

Morten Schuldt-Jensen

Lothar Odinius was born in Aachen and from 1991 to 1995 studied with Anke Eggers at the Berlin Hochschule der
Knste, graduating with distinction and attending master-classes with Ingrid Bjoner, Bernd Weikl, Alfredo Kraus
and Dietrich Fischer-Dieskau. Since 2000 he has attended regular classes with Gundula Hintz and Neil Semer. He
has collaborated with leading conductors in his concert career, and in performances for television and recording, and
has participated in a number of major festivals, including Bad Hersfeld, Ludwigsburg, Schwetzingen, the
Schleswig-Holstein Music Festival, the Mecklenburg-Vorpommern Festival, the Haydn-Festspielen Eisenstadt, the
Schubertiade Feldkirch/Hohenems, the BBC Promenade Concerts in London and the Edinburgh Festival. From
1995 to 1997 he served as a lyric tenor with the Brunswick Staatstheater, undertaking, among other rles, those of
Ferrando in Cos fan tutte and Tamino in Die Zauberflte. Guest engagements have taken him to Bonn to sing
Tamino, to Copenhagen to sing Charles Lindbergh in Kurt Weills Der Lindberghflug, to Zurich for Alfonso in
Schuberts Alfonso und Estrella, and, in 2003, to the Salzburg Mozartwoche to sing Ferrando. In 2004 he appeared
in the world premire of Mendelssohns Der Onkel aus Boston, and at the Berlin Komische Oper in Hans Zenders
Don Quijote. His many recordings are testimony to the breadth of his repertoire and the distinction of his career.

Morten Schuldt-Jensen graduated from the Royal Danish

Academy of Music with conducting, singing and vocal training
as his main subjects. He holds the Master of Arts in musicology
from the University of Copenhagen. He took postgraduate
courses with, among others, Sergiu Celibidache and Eric
Ericson. After successful performances with internationally
acclaimed Danish choirs and orchestras Morten Schuldt-Jensen
was offered various engagements as a conductor and chorus
master in several European countries. In 1995 and 1997 he was
appointed Representative Conductor for Denmark (NordicBaltic Choral Festival). Morten Schuldt-Jensen is a regular guest
conductor for the RIAS Kammerchor, Berlin, the MDR
Rundfunk-Chor, Leipzig, the NDR-Chor, Hamburg, the
Akademie fr Alte Musik, Berlin, the Gewandhausorchester
Leipzig and the Helsingborgs Symfoniorkester, and has worked
frequently with the Danish National Radio Choir and the
Philharmonic Orchestra of Copenhagen. As a chorus-master he
has worked for conductors including Simon Rattle, Herbert Blomstedt, Philippe Herreweghe, Vladimir Ashkenazy,
Lothar Zagrosek, among many others. From 1999 to 2006 he was director of choirs at the Gewandhaus in Leipzig,
where he founded the internationally highly acclaimed professional Gewandhaus Chamber Choir in 2001. Today
the ensemble is known as the Immortal Bach Ensemble. In 2000 he was appointed principal conductor and artistic
director of the Leipzig Chamber Orchestra, which developed a new profile under his artistic credo. A wide-ranging
and partly forgotten repertoire, accurate sense of style, and broad variety of interpretation characterise the successful
partnership with both ensembles and have been documented in a number of recordings and broadcasts. Morten
Schuldt-Jensen has won several prizes and awards. In 1984, in his home country, Denmark, he founded and has
since conducted the Sokkelund Sangkor, a leading chamber choir, with which he has won several international
awards. He also founded the symphonic Tivoli Concert Choir. An important element is his work at different
academies of music. In 1992 he was associate professor at the Royal Danish Academy of Music in Copenhagen,
from 2001 to 2006 he lectured at the Felix Mendelssohn-Bartholdy Hochschule fr Musik und Theater in Leipzig
and in 2006 he was appointed to the professorship of choral and orchestral conducting at the Staatliche
Musikhochschule in Freiburg/Breisgau. Morten Schuldt-Jensen has conducted at some of the best known European
music venues and festivals, including the Gewandhaus and Thomaskirche in Leipzig, the Philharmonie Berlin, the
Rheingau Musik Festival, the Schleswig-Holstein-Festival, the Festspiele Mecklenburg-Vorpommern, MDRMusiksommer, the Bachfest and the Mendelssohn-Festtage in Leipzig, and also at the Seoul International Music
Festival, Korea, and at the Kioi Hall in Tokyo, combined with extensive touring throughout Germany, France, Italy,
Spain, Japan and Scandinavia.

Immortal Bach Ensemble

The Immortal Bach Ensemble has its roots in the Gewandhaus in Leipzig. In 2001 Morten Schuldt-Jensen, the
former director of the Gewandhaus choirs, formed the GewandhausKammerchor, its members having been recruited
from the top professional concert and choral singers of Germany, The Netherlands, Southern Scandinavia and
Switzerland. With this handpicked ensemble Schuldt-Jensen works on projects with a variety of different
programmes and a very wide-ranging repertoire, from oratorios to twentieth-century a cappella music, for which the
choir has been acclaimed by audiences and the press alike. In addition to frequent performances in Leipzig and
figuring in high profile venues such as Schleswig-Holstein and Rheingau, the choir has produced several highly
praised recordings, with an acclaimed recording of Mozarts Requiem for Naxos (8.557728). Since May 2006 the
GewandhausKammerchor has been renamed the Immortal Bach Ensemble. The title Immortal Bach is taken from
a work of the Norwegian composer Knut Nystedt, who arranged a Bach chorale in different tempi and sequences,
and with it demonstrates the artistic credo of the choir. The Immortal Bach Ensemble aims to combine old and new
and with top quality performances it seeks to explore new ideas and perspectives that are captivating for both
singers and audience.

Leipzig Chamber Orchestra (Leipziger Kammerorchester)

Almost all the musicians in the Leipzig Chamber Orchestra are members of the Gewandhaus Orchestra and a few
were among the founder members of the Leipzig Chamber Orchestra from its inception in 1971 by Otto Georg
Moosdorf. Since 2000 Morten Schuldt-Jensen has been the Artistic Director and Conductor of the Leipzig Chamber
Orchestra. Under his leadership the orchestra has widened its repertoire to include more unusual works and
achieved a unique intensity of sound comparable to that of leading world orchestras. In addition to concerts at the
Gewandhaus in Leipzig, in Korea, Japan, Spain, Denmark and Germany the orchestra has embarked on an
adventurous recording programme.

8.570231

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Page 8

Wolfgang Amadeus Mozart (1756-1791)

Trine Wilsberg Lund

Davide penitente, KV 469 Regina coeli KV 108

Wolfgang Amadeus Mozart wurde am 27. Januar 1756
in Salzburg als Sohn des Hofmusikers Leopold Mozart
geboren, der just im selben Jahr, da sein jngstes Kind
das Licht der Welt erblickte, seine einflussreiche
Grndliche Violinschule verffentlichte. Vater Mozart
stieg beim Salzburger Frsterzbischof bis zum
Vizekapellmeister auf, verzichtete aber auf seine eigene
kreative Karriere, nachdem er in seinem Sohn schon
frh die ersten Anzeichen eines berragenden Genies
erkannte. Mit Duldung seines damaligen Dienstherrn
unternahm er ausgedehnte Europareisen, bei denen sein
Sohn und dessen ltere Schwester Nannerl das
Publikum in Staunen versetzten. Der Knabe spielte
sowohl das Clavier wie auch die Violine, wusste zu
improvisieren und schon bald eigene Kompositionen
aufzuschreiben.
Nachdem Wolfgang Amadeus Mozart in der
Kindheit auerordentliche Erfolge erlebt hatte, waren
die Jnglingsjahre weniger befriedigend vor allem, da
in Salzburg inzwischen ein neuer, weniger
verstndnisvoller Erzbischof regierte. Wie der Vater, so
empfand auch der Sohn die Enge der Heimatstadt,
indessen zugleich die Reisemglichkeiten deutlich
eingeschrnkt waren. Als ihm 1777 ein Urlaubsantrag
nicht genehmigt wurde, kndigte Mozart seine
Salzburger Stellung, um andernorts sein Glck zu
suchen. Doch weder in Mannheim noch in Paris, zwei
bedeutenden musikalischen Zentren, war etwas
Geeignetes zu finden, so dass er schlielich
unverrichteter Dinge wieder nach Salzburg und in den
Dienst des ungeliebten Erzbischofs zurckkehrte.
Immerhin verhalfen ihm seine Mannheimer Kontakte
aber 1780 zum Auftrag fr die Oper Idomeneo, die
Anfang 1781 in Mnchen uraufgefhrt wurde. Nach der
erfolgreichen Premiere befahl ihm sein alter und neuer
Dienstherr, unverzglich nach Wien zu kommen. Dort
kulminierte die aufgestaute Unzufriedenheit in einer
handfesten Auseinandersetzung mit dem Erzbischof und
der endgltigen Entlassung aus dessen Diensten.

8.570231

Seine letzten zehn Lebensjahre verbrachte Mozart

in Wien als freischaffender Knstler ohne eigentliche
Gnner und ohne den direkten vterlichen Rat mithin
in einer unsicheren Situation, die durch seine voreilige
Heirat nicht gerade besser wurde. Zunchst hatte er als
Pianist und im Opernhaus Erfolg, im Laufe des
Jahrzehnts geriet er jedoch in immer grere finanzielle
Schwierigkeiten. Unmittelbar vor seinem Tod am 5.
Dezember 1791 hatte sich sein Schicksal durch den
Erfolg seiner deutschen Oper Die Zauberflte und durch
das Auftreten potentieller Mzene gerade erst wieder zu
seinen Gunsten gewandelt.
Den grten Teil seiner Kirchenmusik hat
Wolfgang Amadeus Mozart whrend seiner Salzburger
Jahre in Erfllung seiner dienstlichen Obliegenheiten
geschrieben. In Wien gab es dann andere Prioritten;
gleichwohl arbeitete der Komponist 1783 mit Blick auf
Salzburg an einer neuen Messe: Im August hatte er
Constanze Weber geheiratet, die jngere Schwester der
Sngerin Aloysia, in die er sich 1778 in Mannheim so
strmisch verliebt und die ihm Ende desselben Jahres in
Mnchen so schmhlich den Rcken gekehrt hatte.
Inzwischen war der Vater der Familie verstorben;
Witwe Weber war mit ihren Kindern nach Wien
gezogen, hatte Mozart zeitweilig ein Quartier vermietet
und es anscheinend gar nicht so ungern gesehen, dass
sich ihr Logiergast nach und nach in die Tochter
verliebte.
Mozart hatte aus verstndlichen Grnden zunchst
alles getan, die sich anbahnende Beziehung vor dem
Vater geheimzuhalten (der bereits ber die Schwrmerei
fr Aloysia schier die Fassung verloren hatte). Endlich
rckte er aber doch mit seinen Zukunftsplnen heraus,
und Leopold gab, wenngleich widerstrebend, seinen
vterlichen Segen. Ein Jahr nach der Hochzeit reiste das
junge Ehepaar nach Salzburg, wo Constanze ihren
Schwiegervater und ihre Schwgerin kennenlernte. Bei
dieser Gelegenheit konnte Mozart die abgeschlossenen
Teile seiner Messe c-moll KV 427 auffhren, an der er

The coloratura soprano Trine Wilsberg Lund was born in Oslo in 1979. She was a pupil of Barba Marklund and
Hkan Hagegrd at the Norwegian Academy of Music and gained her diploma with distinction in 2003. She then
continued her studies at the Cologne Musikhochschule as a pupil of Barbara Schlick. Trine Lund already enjoys a
considerable reputation in Europe as a concert soloist, with a repertoire that ranges from early Baroque music to the
present, including works by Monteverdi, Strozzi, Schtz, Bach, Handel, Vivaldi, Mozart, Mendelssohn, Meyerbeer,
Verdi, Grieg, Bernstein and Berio. She has appeared at festivals, including the Oslo Church Music Festival, Oslo
International Contemporary Music Festival, Mnster Barock Fest, Wiesbaden Bach Festival, La Folle Journe,
Nantes, Festa da Msica, Lisbon, and MDR Musiksommer, collaborating with the Leipzig Baroque
Orchestra/Chamber Orchestra, the Leipzig Gewandhaus Orchestra, Cologne Chamber Orchestra, Cologne
Collegium Cartusianum, Dresden Barock, Oslo Symphony Orchestra/Chamber Orchestra, conducted by Peter
Neumann, Georg Christoph Biller and Morten Schuldt-Jensen. As an opera-singer she has appeared as Clarice in
Haydns Il mondo della luna, as Servilia in La clemenza di Tito at the Mnster City Opera, and in Wuppertal as
Amintha in Mozarts Il re pastore. She won first prize at the 1998 Norsk Sanglrerforening Singing Competition
and at the 2003 national Queen Sonja International Music Competition with the Stavanger Symphony Orchestra. In
2004 she won the second prize at the Leipzig International Johann Sebastian Bach Competition. In 2006 she won
the second prize at the Fifteenth European Mozart Competition in Wrzburg. Trine Wilsberg Lund has taken part in
numerous international broadcasts and commercial recordings.

Kristina Wahlin
The talented young mezzo-soprano Kristina Wahlin is Swedish-born and studied singing at the Royal Music
Academy in Stockholm, completing her musical education as an opera singer at the Royal Academy of Music in
London, from which she graduated in 2000. She has sung Cherubino in Le nozze di Figaro and the title rle in
Handels Ariodante at Opera Funen in Denmark. Her performance of Ariodante made an exceptionally favourable
impression on the critics and she was invited to return to sing the title rle in Glucks Orfeo in 2004. She had great
success as Isabella in a concert performance of LItaliana in Algeri at the Tivoli Concert Hall in the summer of 2004,
again to considerable critical acclaim. Kristina Wahlin has appeared as a soloist with several orchestras in
Scandinavia, performing Bach, Mozart, Handel and Rossini. Since 2006 she has been a member of the soloist
ensemble at Oper Kln, where her rles include Rosina, Hnsel, Isabella, Nicklausse, Cherubino and Giulio Cesare.

8.570231

570231 bk Mozart

11/15/07

11:35 AM

soprano was Elisabeth Distler and the tenor Johann

Valentin Adamberger, Mozarts Belmonte. Leopold
Mozart, who was visiting his son in Vienna, found his
sons constant activity bewildering, but his surviving
letters to his daughter only mention briefly the coming
Tonknstlersoziett concerts, which he must have
attended. The orchestra employed was a large one,
matched in size by the number of singers in the chorus.
The programme at each of the two concerts was a mixed
one, including the latest Haydn symphony and a chorus
from the latters oratorio Il ritorno di Tobia, with a
chorus from Gassmanns Amore e Psiche, solo arias and
instrumental contributions. The first concert also
included an oboe concerto and the second a violin
concerto played by Leopold Mozarts pupil Heinrich
Marchand.
Davide penitente is scored for an orchestra that
includes pairs of oboes, bassoons, horns, and strings,
with three trombones, and probably with keyboard
continuo, together with trumpets and drums for the outer
movements. The oratorio opens with the C minor chorus
and soprano solo, with the full orchestra, Alzai le flebili
voci (I raised my weeping cries), using the Kyrie of the
Mass in C minor. The second chorus, Cantiam le glorie
e le lodi (Let us sing the glories and praises), in C major,
takes the opening of the earlier Gloria. The F major
soprano aria, Lungi le cure ingrate (Far away be
thankless cares), with oboes, horns and strings, rewords
the earlier Laudamus te. The A minor chorus, Sii pur
sempre benigno, oh Dio (Be ever gracious, O God), with
the full orchestra, uses the original Gratias agimus tibi
and is followed by a duet for two sopranos, Sorgi, o
Signore, e spargi (Arise, O Lord, and scatter your
enemies), a D minor movement, accompanied by
strings, a version of the original Domine Deus, Rex
caelestis. The sixth part, a B flat major tenor aria, A te,
fra tanti affanni (From you, amid such troubles), with its
final Allegro, Udisti voti miei (You heard my prayers) is
the first newly composed addition to the work, and uses

8.570231

Page 4

solo flute, oboe, clarinet and bassoon, with two horns in

high B flat and strings. This is followed by a G minor
chorus with full orchestra, Se vuoi, puniscimi (If you
wish, punish me), with its dotted rhythms, using the
original Qui tollis peccata mundi. The C minor soprano
aria Tra loscure ombre funeste (Amid the dark grievous
shadows), with a flute, pairs of oboes, bassoons and
horns, and strings, is newly composed for Caterina
Cavalieri. This is capped by an E minor trio for the
soloists, with oboes, bassoons and strings, Tutte le mie
speranze (All my hopes) derived from the original
Quoniam tu solus sanctus and a concluding C major
chorus, Chi in Dio sol spera (Who hopes alone in God),
the original Jesu Christe and the polyphonic Di tai
pericoli non ha timor (Of such dangers he has no fear),
initially more aptly matched with the traditional
liturgical text, Cum Sancto Spiritu. To this Mozart adds
a new cadenza that allows the soloists their final
moment of glory. The chief interest of the whole work
must lie in the two newly composed dramatic arias and
the final bars, where text and music are better matched.
In 1770 and 1771 Mozart and his father were in
Italy, and spent a few months at Bologna, where Mozart
was able to study traditional counterpoint with Padre
Martini. One result of the Italian journey was the Regina
coeli, K.108, written in May 1771 after their return to
Salzburg. Scored initially for pairs of oboes, horns,
trumpets and timpani, strings, soprano solo and fourpart choir, with a figured bass for the organ, the
celebratory C major first section is followed by an F
major movement accompanied by two flutes and strings,
with a florid soprano solo and a contrapuntal
deployment of the choir. The A minor soprano solo that
follows, marked Adagio un poco andante and setting the
words Ora pro nobis (Pray for us), is accompanied by
the strings. The full orchestra returns, with the soloist
and chorus, for the final Alleluia.
Keith Anderson

zwischendurch immer wieder gearbeitet hatte, um ein

Gelbde zu erfllen: Sollten die Schwierigkeiten um die
geplante Heirat ein glckliches Ende finden, wollte er
eben dieses geistliche Werk komponieren (das
schlielich ohne Credo und Agnus Dei unvollendet
blieb). Bei der Auffhrung in der Salzburger
Benediktinerkirche St. Peter hat Constanze nach allem,
was man wei, das Sopransolo gesungen.
Im Jahre 1785 erhielt Mozart, damals auf dem
Hhepunkt seines kompositorischen und pianistischen
Erfolgs, von der Wiener Tonknstler-Societt den
Auftrag zu einem neuen Werk, dem er insofern gern
nachkam, als diese Wohlttigkeitsorganisation in Not
geratene Musikerwitwen und -waisen untersttzte, wenn
die Verstorbenen Mitglieder der Societt gewesen
waren, und er sich ebenfalls um eine Mitgliedschaft
bemhte.
Bei der Komposition des neuen Werkes Davide
penitente vertonte Wolfgang Amadeus Mozart einen
italienischen, vielleicht von Lorenzo da Ponte verfassten
Text und zwar dergestalt, dass er die lateinischen
Worte des Kyrie und des Gloria aus seiner
unvollstndigen Messe c-moll durch die italienische
Dichtung ersetzte. Auerdem schrieb er zwei neue
Arien sowie eine Schlusskadenz. Davide penitente
wurde am Wiener Burgtheater am 13. und 15. Mrz
1785 mit der von Salieri protegierten Sopranistin
Caterina Cavalieri aufgefhrt, die in Mozarts
Entfhrung aus dem Serail bereits die Constanze
gesungen hatte. Als zweite Sopranistin war Elisabeth
Distler zu hren, und Johann Valentin Adamberger,
Mozarts erster Belmonte, sang die Tenorpartie. Leopold
Mozart, der damals gerade in Wien zu Besuch war,
fhlte sich nicht sonderlich wohl bei der rastlosen
Geschftigkeit seines Sohnes. Im Gegensatz zu frheren
Konzerten erwhnt er die bevorstehende Veranstaltung
der Tonknstler-Societt, die er besucht haben muss, in
den Briefen an seine Tochter nur beilufig.
Dem groen Orchester entsprach die Zahl der
Choristen, die Programme waren in der damals blichen
Weise gemischt: Unter anderem gab man die jngste
Symphonie von Joseph Haydn sowie einen Chor aus

dessen Oratorium Il ritorno di Tobia sowie einen

solchen aus Florian Leopold Gamanns Amore e
Psiche; dazu kamen Solo-Arien und weitere
Instrumentalwerke beim ersten Abend ein
Oboenkonzert, beim zweiten ein Violinkonzert, das
Leopold Mozarts Geigenschler Heinrich Marchand
spielte.
Davide penitente verlangt je zwei Oboen, Fagotte
und Hrner, dazu drei Posaunen, in den Eckstzen
Pauken und Trompeten, die obligatorischen Streicher
und wohl auch ein Tasteninstrument fr die ContinuoStimme. Zu Beginn begleitet das volle Orchester den
Chor mit Sopransolo c-moll Alzai le flebili voci (Ich
erhob meine klagende Stimme), in dem das Kyrie der
c-moll-Messe verwendet wird. Der zweite Chor in Cdur, Cantiam le glorie e le lodi (Wir wollen Ruhm und
Lobpreis singen), ist auf den Beginn des Gloria
gesetzt. Die Sopranarie F-dur Lungi le cure ingrate
(Weit sind die undankbaren Sorgen) mit Oboen,
Hrnern und Streichern entstand als Neutextierung des
Laudamus te. Der vom vollen Orchester untersttzte
Chor in a-moll, Sii pur sempre benigno, oh Dio (Sei
immer gndig, o Gott) ist ein Arrangement des Gratias
agimus tibi. Darauf folgt das von Streichern begleitete
d-moll-Duett der beiden Soprane, Sorgi, o Signore, e
spargi (Erhebe dich, o Herr, und zerschmettere deine
Feinde) nach dem Domine Deus, Rex caelestis.
Der sechste Satz, die groe Tenorarie in B-dur A te,
fra tanti affanni (Zu dir in solcher Kmmernis) mit
dem abschlieenden Allegro Udisti voti miei (Du hast
mein Gebet gehrt), ist die erste neue Komposition des
Werkes, wobei Soloflte, Oboe, Klarinette und Fagott
nebst zwei Hrnern in Hoch-B und Streichern zum
Einsatz kommen. Der anschlieende Chor g-moll mit
vollem Orchester, Se vuoi, puniscimi (Wenn du willst,
bestrafe mich) ist die Einrichtung des Qui tollis
peccata mundi, whrend die Sopranarie in c-moll, Tra
loscure ombre funeste (Unter den dunklen, traurigen
Schatten) fr Caterina Cavalieri neu komponiert
wurde: Mozart benutzt hier zur Begleitung eine Flte,
zwei Oboen, Fagotte und Hrner sowie die Streicher.
Gekrnt wird dieser Teil von einem e-moll-Terzett der

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Solisten, die von Oboen, Fagotten und Streichern

akkompagniert werden: Dieses Tutte le mie speranze
(All mein Hoffen) entstand als Arrangement des
Quoniam tu solus sanctus. Der Schlusschor in C-dur
Chi in Dio sol spera (Wer allein auf Gott hofft) ist
die Einrichtung des Jesu Christe aus der Messe , und das
polyphone Di tai pericoli non ha timor (Solche
Gefahren frchtet er nicht) entstand aus dem Cum
Sancto Spiritu, dessen liturgischer Text zunchst besser
zur Musik passt. Darauf lsst Mozart eine neue Kadenz
folgen, die den Solisten einen letzten glanzvollen
Moment gewhrt.
1770 und 1771 hielten sich Mozart und sein Vater
in Italien auf. Unter anderem weilten sie einige Monate
in Bologna, wo Mozart bei Padre Martini traditionellen
Kontrapunkt studieren konnte. Ein Resultat der

8.570231

Page 10

Italienreise war das Regina coeli KV 108, das im Mai

1771 nach der Heimkehr in Salzburg entstand. Dem
festlichen, mit je zwei Oboen, Hrnern, Trompeten und
Pauken, Streichern, Solosopran und vierstimmigem
Chor nebst figuriertem Bass geschriebenen Anfang in
C-dur folgt ein von den zwei Flten und den Streichern
begleitetes, zierreiches Sopransolo mit kontrapunktisch
gestaltetem Chor in F-dur. Nur von Streichern getragen
wird das anschlieende a-moll-Sopransolo Ora pro
nobis (Bitte fr uns) mit der Bezeichnung Adagio un
poco andante. Volles Orchester, Sopransolo und Chor
beschlieen das Werk mit dem Alleluia.
Keith Anderson
Deutsche Fassung: Cris Posslac

10

Wolfgang Amadeus Mozart (1756-1791)

Davide penitente, K.469 Regina coeli, K.108
Wolfgang Amadeus Mozart was born in Salzburg in
1756, the son of a court musician who, in the year of his
youngest childs birth, published an influential book on
violin-playing. Leopold Mozart rose to occupy the
position of Vice-Kapellmeister to the Archbishop of
Salzburg, but sacrificed his own creative career to that
of his son, in whom he detected early signs of
precocious genius. With the indulgence of his patron, he
was able to undertake extended concert tours of Europe
in which his son and elder daughter Nannerl were able
to astonish audiences. The boy played both the keyboard
and the violin and could improvise and soon write down
his own compositions.
Childhood that had brought Mozart signal success
was followed by a less satisfactory period of
adolescence largely in Salzburg under the patronage of a
new and less sympathetic Archbishop. Like his father,
Mozart found opportunities far too limited at home,
while chances of travel were now restricted. In 1777,
when leave of absence was not granted, he gave up
employment in Salzburg to seek a future elsewhere, but
neither Mannheim nor Paris, both musical centres of
some importance, had anything for him. His Mannheim
connections, however, brought a commission for an
opera in Munich in 1781, but after its successful staging
he was summoned by his patron to Vienna. There
Mozarts dissatisfaction with his position resulted in a
quarrel with the Archbishop and dismissal from his
service.
The last ten years of Mozarts life were spent in
Vienna in precarious independence of both patron and
immediate paternal advice, a situation aggravated by an
imprudent marriage. Initial success in the opera-house
and as a performer was followed, as the decade went on,
by increasing financial difficulties. By the time of his
death in December 1791, however, his fortunes seemed
about to change for the better, with the success of the
German opera The Magic Flute, and the possibility of
increased patronage.

The greater part of Mozarts church music had been

written during his years in Salzburg, where it fulfilled
something of the requirements of his employment. In
Vienna from 1781 he had other preoccupations, but in
1783 he had worked on another Mass setting, again with
Salzburg in mind. In August 1782 he had married
Constanze Weber, one of his former landladys
daughters and a cousin of the composer Carl Maria von
Weber. He had done his best at first to conceal his
relationship from his father, who disapproved of the
match. It was not until a year later that the couple
travelled to Salzburg, where Constanze might meet her
father-in-law and sister-in-law. The occasion brought
from Mozart his Mass in C minor, K.427, a composition
he had worked on intermittently and that was to remain
unfinished, without a completed Credo or Agnus Dei. It
was written in fulfilment of a promise to his new wife,
who sang the soprano solo when the work was first
performed at the Benedictine church of St Peter in
Salzburg during the course of the couples first visit
there together. It was to this earlier composition that
Mozart had recourse in 1785, when, at the height of his
powers and fully occupied as a composer and performer,
he was required to produce a composition for the
Vienna Society of Artists, a charitable organization in
which he had an obvious interest and in which he sought
membership, since the Society took responsibility for
the care of the impoverished widows and orphans of its
deceased members.
For the new work, Davide penitente, a setting of an
Italian text perhaps by Lorenzo da Ponte, Mozart took
his earlier Kyrie and Gloria, replacing the Latin text
with the new Italian words, not always happily. He was,
however, able to add two new arias and a new final
cadenza. Davide penitente was performed in Vienna at
the National Theatre in the Hofburg on 13th and 15th
March 1785, with the soprano Caterina Cavalieri, a
protge of Salieri, who had sung the part of Constanze
in Mozarts Die Entfhrung aus dem Serail. The second

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Page 2

Wolfgang Amadeus

Davide penitente, K.469

MOZART
(1756-1791)

Davide penitente, K.469

1
2
3
4
5
6
7
8
9
0

1. Coro: Alzai le flebili voci al Signor (Chorus, Soprano 1)

2. Coro: Cantiam le glorie (Chorus)
3. Aria: Lungi le cure ingrate (Soprano 2)
4. Coro: Sii pur sempre benigno, oh Dio (Chorus)
5. Duetto: Sorgi, o Signore, e spargi (Soprano 1 and 2)
6. Aria: A te, fra tanti affanni (Tenor)
7. Coro: Se vuoi, puniscimi (Chorus)
8. Aria: Tra loscure ombre funeste (Soprano 1)
9. Terzetto: Tutte le mie speranze (Soprano 1 and 2, Tenor)
10. Coro: Chi in Dio sol spera (Chorus and Soli)

Regina coeli, K.108

!
@
#
$

40:31
5:44
2:04
4:27
1:02
2:40
6:03
4:48
5:29
3:38
4:35

12:34

Regina coeli, laetare (Chorus)

Quia quem meruisti portare (Soprano, Chorus)
Ora pro nobis Deum (Soprano)
Alleluia (Soprano, Chorus)

2:45
3:16
3:51
2:42

Trine Wilsberg Lund, Soprano 1

Kristina Wahlin, Soprano 2
Lothar Odinius, Tenor
Immortal Bach Ensemble
Leipziger Kammerorchester
Morten Schuldt-Jensen
8.570231

1 Coro
Alzai le flebili voci al Signor
Alzai le flebili voci al Dio
da mali oppresso.
Alzai le flebili mie voci a Dio
da mali oppresso.

Chorus
I raised my weeping cries to the Lord
I raised my weeping cries to God
oppressed by evils.
I raised my weeping cries to God
oppressed by evils.

2 Coro
Cantiam le glorie e le lodi,
replichiamole in cento e cento modi
del Signore amabilissimo.

Chorus
Let us sing the glories and praises
Let us repeat them a hundred hundred ways
the praises of the most loving Lord.

3 Aria
Lungi le cure ingrate,
respirate omai.
S palpitato assai
tempo da goder.

Aria
Far away from sad afflictions,
feel free again.
If once you were afraid
now is the time to rejoice.

4 Coro
Sii pur sempre benigno, oh Dio,
e le preghiere te muovano a piet.

Chorus
Be ever gracious, O God
and let our prayers move you to mercy.

5 Duetto
Sorgi, Signore, e spargi i tuoi nemici.
Sorgi, Signore, spargi
e dissipa i tuoi nemici.
Fuga ognun che todia,
fuga da te che todia,
sorgi e spargi i tuoi nemici.

Duet
Arise, Lord, and scatter your enemies.
Arise, Lord, scatter
and disperse your enemies.
Put to flight whomsoever may hate you,
Put to flight those who hate you,
arise and scatter your enemies.

6 Aria
A te, fra tanti affanni,
piet cercai, Signore,
che vedi il mio bel core,
che mi conosci almen.
Udisti i voti miei,
e gi godea questalma
per te lusata calma
delle tempeste in sen.

Aria
In you, amid such tribulation,
I sought mercy, Lord,
that you should see my good heart,
that at least you should know me.
You have heard my prayers,
and already my soul has rejoiced
since through you the storms in
my bosom have been calmed.

11

8.570231

570231 bk Mozart

11/15/07

11:35 AM

Page 12

7 Coro
Se vuoi, puniscimi
ma pria, Signore, lascia che almeno,
che sfoghi, che si moderi
il tuo sdegno, il tuo furore.
Puniscimi, se vuoi,
lascia, che sfoghi il tuo furore.
Vedi la mia pallida guancia inferma,
Signore, deh, sanami, porgimi soccorso,
aita, Signor, tu puoi, porgimi aita.

Chorus
If you will, punish me
but first, Lord, let at least
your scorn find relief,
your anger be tempered.
Punish me, if you will,
let your anger find relief.
Behold my pale weak face,
Lord, heal me, bring me succour,
help, Lord, you are able, bring help.

8 Aria
Tra loscure ombre funeste,
splende al giusto il ciel sereno,
serba ancor nelle tempeste
la sua pace un fido cor.
Alme belle, ah s, godete!
alme belle! ah s, godete,
n alcun fia che turbi audace,
quella gioia e quella pace,
di cui solo Dio lautor.

Aria
Through the dark grievous shadows
the serene heaven shines on the just,
and during the storms brings
peace to the faithful heart.
Fair souls, ah yes, rejoice!
Fair souls! Ah yes, rejoice
that no one dares to disturb
that joy and that peace
of which God alone is the author.

9 Terzetto
Tutte le mie speranze
ho riposte in te.
Salvami, o Dio, dal nemico feroce
che minsegue e che mincalza,
o Dio, salvami!

Trio
All my hopes
I have placed in you.
Save me, O God, from the cruel enemy
that pursues me and that presses upon me,
O God, save me!

Trine Wilsberg Lund, Soprano

0 Coro
Chi in Dio sol spera:
Di tali pericoli non ha timore.

Chorus
Who hopes in God alone
Has no fear of such dangers.

Lothar Odinius, Tenor

MOZART
Davide
penitente
(Oratorio)
Kristina Wahlin, Soprano

Immortal Bach Ensemble

Leipziger
Kammerorchester
Morten Schuldt-Jensen

Regina coeli, K.108

! Regina coeli laetare, alleluia.

Rejoice, O Queen of Heaven, alleluia.

@ Quia quem meruisti portare

resurrexit, sicut dixit, alleluia.

For he whom you were worthy to bear

has arisen, as he said, alleluia.

# Ora pro nobis Deum.

Pray for us to God.

$ Alleluia, alleluia.

Alleluia, alleluia.

8.570231

12

8.570231

DDD
Playing Time

MOZART

53:05

(1756-1791)

Davide penitente (Oratorio)

Davide penitente, K.469

40:31

1 1. Coro: Alzai le flebili voci

al Signor

5:44
2:04
4:27

Regina coeli, K.108

Regina coeli, laetare
Quia quem meruisti portare
Ora pro nobis Deum
Alleluia

12:34
2:45
3:16
3:51
2:42

Trine Wilsberg Lund, Soprano Kristina Wahlin, Soprano

Lothar Odinius, Tenor Immortal Bach Ensemble
Leipziger Kammerorchester Morten Schuldt-Jensen, Conductor

8.570231

8.570231

A detailed track list can be found on page 2 of the booklet Sung texts and translations included
The sung texts and translations can also be accessed at www.naxos.com/libretti/570231.htm
Recorded at the Gewandhaus zu Leipzig, Groer Saal, Germany, from 18th to 23rd April, 2006
Producer and Editor: Michael Silberhorn, Genuin, Leipzig Engineer: Tatsuo Nishimura
Booklet Notes: Keith Anderson
Cover image: David by Simeon Solomon (1840-1905)
(Fitzwilliam Museum, University of Cambridge / The Bridgeman Art Library)

 &  2008
Naxos Rights International Ltd.

!
@
#
$

4:48
5:29
3:38
4:35
Booklet notes in English Kommentar auf Deutsch
Disc made in Canada. Printed and assembled in USA.

oh Dio
1:02
5 5. Duetto: Sorgi, o Signore, e spargi 2:40
6 6. Aria: A te, fra tanti affanni
6:03

7. Coro: Se vuoi, puniscimi

8. Aria: Tra loscure ombre funeste
9. Terzetto: Tutte le mie speranze
10. Coro: Chi in Dio sol spera

www.naxos.com

2 2. Coro: Cantiam le glorie

3 3. Aria: Lungi le cure ingrate
4 4. Coro: Sii pur sempre benigno,

7
8
9
0

MOZART: Davide penitente

MOZART: Davide penitente

Wolfgang Amadeus

NAXOS

NAXOS

In 1785, at the height of his career in Vienna, Mozart was commissioned by the Viennese Society of
Musicians to write a work for a Lenten benefit concert. Short of time, he recycled the Kyrie and Gloria
from his earlier unfinished Mass in C Minor to form part of the oratorio Davide penitente. Drawing upon
the psalms of David, both penitential and joyful, this is a work of great beauty, notable for its memorable
choruses, exquisite writing for the woodwind and, in particular, the two new solo arias, A te, fra tanti
affanni (In you, amid such tribulation) and Tra loscure ombre funeste (Amid the dark grievous
shadows), both of which begin with a long expressive opening followed by a virtuoso second section.