Download - Album Booklet - Mozart Davide Penitente k 469 Regina Coeli k 108

MOZARTDavide penitente(Oratorio)

Trine Wilsberg Lund, Soprano

Kristina Wahlin, Soprano

Lothar Odinius, Tenor

Immortal Bach Ensemble

LeipzigerKammerorchester

Morten Schuldt-Jensen8.570231 12

7 Coro ChorusSe vuoi, puniscimi If you will, punish mema pria, Signore, lascia che almeno, but first, Lord, let at leastche sfoghi, che si moderi your scorn find relief,il tuo sdegno, il tuo furore. your anger be tempered.Puniscimi, se vuoi, Punish me, if you will,lascia, che sfoghi il tuo furore. let your anger find relief.Vedi la mia pallida guancia inferma, Behold my pale weak face, Signore, deh, sanami, porgimi soccorso, Lord, heal me, bring me succour,aita, Signor, tu puoi, porgimi aita. help, Lord, you are able, bring help.

8 Aria AriaTra loscure ombre funeste, Through the dark grievous shadows splende al giusto il ciel sereno, the serene heaven shines on the just,serba ancor nelle tempeste and during the storms bringsla sua pace un fido cor. peace to the faithful heart.Alme belle, ah s, godete! Fair souls, ah yes, rejoice!alme belle! ah s, godete, Fair souls! Ah yes, rejoicen alcun fia che turbi audace, that no one dares to disturbquella gioia e quella pace, that joy and that peacedi cui solo Dio lautor. of which God alone is the author.

9 Terzetto TrioTutte le mie speranze All my hopesho riposte in te. I have placed in you.Salvami, o Dio, dal nemico feroce Save me, O God, from the cruel enemyche minsegue e che mincalza, that pursues me and that presses upon me,o Dio, salvami! O God, save me!

0 Coro ChorusChi in Dio sol spera: Who hopes in God aloneDi tali pericoli non ha timore. Has no fear of such dangers.

Regina coeli, K.108

! Regina coeli laetare, alleluia. Rejoice, O Queen of Heaven, alleluia.

@ Quia quem meruisti portare For he whom you were worthy to bearresurrexit, sicut dixit, alleluia. has arisen, as he said, alleluia.

# Ora pro nobis Deum. Pray for us to God.

$ Alleluia, alleluia. Alleluia, alleluia.

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Davide penitente, K.469

1 Coro Chorus Alzai le flebili voci al Signor I raised my weeping cries to the LordAlzai le flebili voci al Dio I raised my weeping cries to God da mali oppresso. oppressed by evils.Alzai le flebili mie voci a Dio I raised my weeping cries to Godda mali oppresso. oppressed by evils.

2 Coro Chorus Cantiam le glorie e le lodi, Let us sing the glories and praisesreplichiamole in cento e cento modi Let us repeat them a hundred hundred waysdel Signore amabilissimo. the praises of the most loving Lord.

3 Aria AriaLungi le cure ingrate, Far away from sad afflictions,respirate omai. feel free again.S palpitato assai If once you were afraid tempo da goder. now is the time to rejoice.

4 Coro ChorusSii pur sempre benigno, oh Dio, Be ever gracious, O Gode le preghiere te muovano a piet. and let our prayers move you to mercy.

5 Duetto DuetSorgi, Signore, e spargi i tuoi nemici. Arise, Lord, and scatter your enemies.Sorgi, Signore, spargi Arise, Lord, scatter e dissipa i tuoi nemici. and disperse your enemies.Fuga ognun che todia, Put to flight whomsoever may hate you, fuga da te che todia, Put to flight those who hate you,sorgi e spargi i tuoi nemici. arise and scatter your enemies.

6 Aria AriaA te, fra tanti affanni, In you, amid such tribulation,piet cercai, Signore, I sought mercy, Lord, che vedi il mio bel core, that you should see my good heart,che mi conosci almen. that at least you should know me.Udisti i voti miei, You have heard my prayers, e gi godea questalma and already my soul has rejoiced per te lusata calma since through you the storms in delle tempeste in sen. my bosom have been calmed.

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Wolfgang Amadeus

MOZART(1756-1791)

Davide penitente, K.469 40:311 1. Coro: Alzai le flebili voci al Signor (Chorus, Soprano 1) 5:442 2. Coro: Cantiam le glorie (Chorus) 2:043 3. Aria: Lungi le cure ingrate (Soprano 2) 4:274 4. Coro: Sii pur sempre benigno, oh Dio (Chorus) 1:025 5. Duetto: Sorgi, o Signore, e spargi (Soprano 1 and 2) 2:406 6. Aria: A te, fra tanti affanni (Tenor) 6:037 7. Coro: Se vuoi, puniscimi (Chorus) 4:488 8. Aria: Tra loscure ombre funeste (Soprano 1) 5:299 9. Terzetto: Tutte le mie speranze (Soprano 1 and 2, Tenor) 3:380 10. Coro: Chi in Dio sol spera (Chorus and Soli) 4:35

Regina coeli, K.108 12:34! Regina coeli, laetare (Chorus) 2:45@ Quia quem meruisti portare (Soprano, Chorus) 3:16# Ora pro nobis Deum (Soprano) 3:51$ Alleluia (Soprano, Chorus) 2:42

Trine Wilsberg Lund, Soprano 1Kristina Wahlin, Soprano 2

Lothar Odinius, TenorImmortal Bach Ensemble

Leipziger KammerorchesterMorten Schuldt-Jensen

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Solisten, die von Oboen, Fagotten und Streichernakkompagniert werden: Dieses Tutte le mie speranze(All mein Hoffen) entstand als Arrangement desQuoniam tu solus sanctus. Der Schlusschor in C-dur Chi in Dio sol spera (Wer allein auf Gott hofft) istdie Einrichtung des Jesu Christe aus der Messe , und daspolyphone Di tai pericoli non ha timor (SolcheGefahren frchtet er nicht) entstand aus dem CumSancto Spiritu, dessen liturgischer Text zunchst besserzur Musik passt. Darauf lsst Mozart eine neue Kadenzfolgen, die den Solisten einen letzten glanzvollenMoment gewhrt.

1770 und 1771 hielten sich Mozart und sein Vaterin Italien auf. Unter anderem weilten sie einige Monatein Bologna, wo Mozart bei Padre Martini traditionellenKontrapunkt studieren konnte. Ein Resultat der

Italienreise war das Regina coeli KV 108, das im Mai1771 nach der Heimkehr in Salzburg entstand. Demfestlichen, mit je zwei Oboen, Hrnern, Trompeten undPauken, Streichern, Solosopran und vierstimmigemChor nebst figuriertem Bass geschriebenen Anfang inC-dur folgt ein von den zwei Flten und den Streichernbegleitetes, zierreiches Sopransolo mit kontrapunktischgestaltetem Chor in F-dur. Nur von Streichern getragenwird das anschlieende a-moll-Sopransolo Ora pronobis (Bitte fr uns) mit der Bezeichnung Adagio unpoco andante. Volles Orchester, Sopransolo und Chorbeschlieen das Werk mit dem Alleluia.

Keith Anderson

Deutsche Fassung: Cris Posslac

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Wolfgang Amadeus Mozart was born in Salzburg in1756, the son of a court musician who, in the year of hisyoungest childs birth, published an influential book onviolin-playing. Leopold Mozart rose to occupy theposition of Vice-Kapellmeister to the Archbishop ofSalzburg, but sacrificed his own creative career to thatof his son, in whom he detected early signs ofprecocious genius. With the indulgence of his patron, hewas able to undertake extended concert tours of Europein which his son and elder daughter Nannerl were ableto astonish audiences. The boy played both the keyboardand the violin and could improvise and soon write downhis own compositions.

Childhood that had brought Mozart signal successwas followed by a less satisfactory period ofadolescence largely in Salzburg under the patronage of anew 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 upemployment in Salzburg to seek a future elsewhere, butneither Mannheim nor Paris, both musical centres ofsome importance, had anything for him. His Mannheimconnections, however, brought a commission for anopera in Munich in 1781, but after its successful staginghe was summoned by his patron to Vienna. ThereMozarts dissatisfaction with his position resulted in aquarrel with the Archbishop and dismissal from hisservice.

The last ten years of Mozarts life were spent inVienna in precarious independence of both patron andimmediate paternal advice, a situation aggravated by animprudent marriage. Initial success in the opera-houseand as a performer was followed, as the decade went on,by increasing financial difficulties. By the time of hisdeath in December 1791, however, his fortunes seemedabout to change for the better, with the success of theGerman opera The Magic Flute, and the possibility ofincreased patronage.

The greater part of Mozarts church music had beenwritten during his years in Salzburg, where it fulfilledsomething of the requirements of his employment. InVienna from 1781 he had other preoccupations, but in1783 he had worked on another Mass setting, again withSalzburg in mind. In August 1782 he had marriedConstanze Weber, one of his former landladysdaughters and a cousin of the composer Carl Maria vonWeber. He had done his best at first to conceal hisrelationship from his father, who disapproved of thematch. It was not until a year later that the coupletravelled to Salzburg, where Constanze might meet herfather-in-law and sister-in-law. The occasion broughtfrom Mozart his Mass in C minor, K.427, a compositionhe had worked on intermittently and that was to remainunfinished, without a completed Credo or Agnus Dei. Itwas written in fulfilment of a promise to his new wife,who sang the soprano solo when the work was firstperformed at the Benedictine church of St Peter inSalzburg during the course of the couples first visitthere together. It was to this earlier composition thatMozart had recourse in 1785, when, at the height of hispowers and fully occupied as a composer and performer,he was required to produce a composition for theVienna Society of Artists, a charitable organization inwhich he had an obvious interest and in which he soughtmembership, since the Society took responsibility forthe care of the impoverished widows and orphans of itsdeceased members.

For the new work, Davide penitente, a setting of anItalian text perhaps by Lorenzo da Ponte, Mozart tookhis earlier Kyrie and Gloria, replacing the Latin textwith the new Italian words, not always happily. He was,however, able to add two new arias and a new finalcadenza. Davide penitente was performed in Vienna atthe National Theatre in the Hofburg on 13th and 15thMarch 1785, with the soprano Caterina Cavalieri, aprotge of Salieri, who had sung the part of Constanzein Mozarts Die Entfhrung aus dem Serail. The second

Wolfgang Amadeus Mozart (1756-1791)Davide penitente, K.469 Regina coeli, K.108

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zwischendurch immer wieder gearbeitet hatte, um einGelbde zu erfllen: Sollten die Schwierigkeiten um diegeplante Heirat ein glckliches Ende finden, wollte ereben dieses geistliche Werk komponieren (dasschlielich ohne Credo und Agnus Dei unvollendetblieb). Bei der Auffhrung in der SalzburgerBenediktinerkirche St. Peter hat Constanze nach allem,was man wei, das Sopransolo gesungen.

Im Jahre 1785 erhielt Mozart, damals auf demHhepunkt seines kompositorischen und pianistischenErfolgs, von der Wiener Tonknstler-Societt denAuftrag zu einem neuen Werk, dem er insofern gernnachkam, als diese Wohlttigkeitsorganisation in Notgeratene Musikerwitwen und -waisen untersttzte, wenndie Verstorbenen Mitglieder der Societt gewesenwaren, und er sich ebenfalls um eine Mitgliedschaftbemhte.

Bei der Komposition des neuen Werkes Davidepenitente vertonte Wolfgang Amadeus Mozart einenitalienischen, vielleicht von Lorenzo da Ponte verfasstenText und zwar dergestalt, dass er die lateinischenWorte des Kyrie und des Gloria aus seinerunvollstndigen Messe c-moll durch die italienischeDichtung ersetzte. Auerdem schrieb er zwei neueArien sowie eine Schlusskadenz. Davide penitentewurde am Wiener Burgtheater am 13. und 15. Mrz1785 mit der von Salieri protegierten SopranistinCaterina Cavalieri aufgefhrt, die in MozartsEntfhrung aus dem Serail bereits die Constanzegesungen hatte. Als zweite Sopranistin war ElisabethDistler zu hren, und Johann Valentin Adamberger,Mozarts erster Belmonte, sang die Tenorpartie. LeopoldMozart, der damals gerade in Wien zu Besuch war,fhlte sich nicht sonderlich wohl bei der rastlosenGeschftigkeit seines Sohnes. Im Gegensatz zu frherenKonzerten erwhnt er die bevorstehende Veranstaltungder Tonknstler-Societt, die er besucht haben muss, inden Briefen an seine Tochter nur beilufig.

Dem groen Orchester entsprach die Zahl derChoristen, die Programme waren in der damals blichenWeise gemischt: Unter anderem gab man die jngsteSymphonie von Joseph Haydn sowie einen Chor aus

dessen Oratorium Il ritorno di Tobia sowie einensolchen aus Florian Leopold Gamanns Amore ePsiche; dazu kamen Solo-Arien und weitereInstrumentalwerke beim ersten Abend einOboenkonzert, beim zweiten ein Violinkonzert, dasLeopold Mozarts Geigenschler Heinrich Marchandspielte.

Davide penitente verlangt je zwei Oboen, Fagotteund Hrner, dazu drei Posaunen, in den EckstzenPauken und Trompeten, die obligatorischen Streicherund wohl auch ein Tasteninstrument fr die Continuo-Stimme. Zu Beginn begleitet das volle Orchester denChor mit Sopransolo c-moll Alzai le flebili voci (Icherhob meine klagende Stimme), in dem das Kyrie derc-moll-Messe verwendet wird. Der zweite Chor in C-dur, Cantiam le glorie e le lodi (Wir wollen Ruhm undLobpreis singen), ist auf den Beginn des Gloriagesetzt. Die Sopranarie F-dur Lungi le cure ingrate(Weit sind die undankbaren Sorgen) mit Oboen,Hrnern und Streichern entstand als Neutextierung desLaudamus te. Der vom vollen Orchester untersttzteChor in a-moll, Sii pur sempre benigno, oh Dio (Seiimmer gndig, o Gott) ist ein Arrangement des Gratiasagimus tibi. Darauf folgt das von Streichern begleiteted-moll-Duett der beiden Soprane, Sorgi, o Signore, espargi (Erhebe dich, o Herr, und zerschmettere deineFeinde) 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) mitdem abschlieenden Allegro Udisti voti miei (Du hastmein Gebet gehrt), ist die erste neue Komposition desWerkes, wobei Soloflte, Oboe, Klarinette und Fagottnebst zwei Hrnern in Hoch-B und Streichern zumEinsatz kommen. Der anschlieende Chor g-moll mitvollem Orchester, Se vuoi, puniscimi (Wenn du willst,bestrafe mich) ist die Einrichtung des Qui tollispeccata mundi, whrend die Sopranarie in c-moll, Traloscure ombre funeste (Unter den dunklen, traurigenSchatten) fr Caterina Cavalieri neu komponiertwurde: 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

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soprano was Elisabeth Distler and the tenor JohannValentin Adamberger, Mozarts Belmonte. LeopoldMozart, who was visiting his son in Vienna, found hissons constant activity bewildering, but his survivingletters to his daughter only mention briefly the comingTonknstlersoziett concerts, which he must haveattended. 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 mixedone, including the latest Haydn symphony and a chorusfrom the latters oratorio Il ritorno di Tobia, with achorus from Gassmanns Amore e Psiche, solo arias andinstrumental contributions. The first concert alsoincluded an oboe concerto and the second a violinconcerto played by Leopold Mozarts pupil HeinrichMarchand.

Davide penitente is scored for an orchestra thatincludes pairs of oboes, bassoons, horns, and strings,with three trombones, and probably with keyboardcontinuo, together with trumpets and drums for the outermovements. The oratorio opens with the C minor chorusand soprano solo, with the full orchestra, Alzai le flebilivoci (I raised my weeping cries), using the Kyrie of theMass in C minor. The second chorus, Cantiam le gloriee le lodi (Let us sing the glories and praises), in C major,takes the opening of the earlier Gloria. The F majorsoprano aria, Lungi le cure ingrate (Far away bethankless cares), with oboes, horns and strings, rewordsthe earlier Laudamus te. The A minor chorus, Sii pursempre benigno, oh Dio (Be ever gracious, O God), withthe full orchestra, uses the original Gratias agimus tibiand is followed by a duet for two sopranos, Sorgi, oSignore, e spargi (Arise, O Lord, and scatter yourenemies), a D minor movement, accompanied bystrings, a version of the original Domine Deus, Rexcaelestis. The sixth part, a B flat major tenor aria, A te,fra tanti affanni (From you, amid such troubles), with itsfinal Allegro, Udisti voti miei (You heard my prayers) isthe first newly composed addition to the work, and uses

solo flute, oboe, clarinet and bassoon, with two horns inhigh B flat and strings. This is followed by a G minorchorus with full orchestra, Se vuoi, puniscimi (If youwish, punish me), with its dotted rhythms, using theoriginal Qui tollis peccata mundi. The C minor sopranoaria Tra loscure ombre funeste (Amid the dark grievousshadows), with a flute, pairs of oboes, bassoons andhorns, and strings, is newly composed for CaterinaCavalieri. This is capped by an E minor trio for thesoloists, with oboes, bassoons and strings, Tutte le miesperanze (All my hopes) derived from the originalQuoniam tu solus sanctus and a concluding C majorchorus, Chi in Dio sol spera (Who hopes alone in God),the original Jesu Christe and the polyphonic Di taipericoli non ha timor (Of such dangers he has no fear),initially more aptly matched with the traditionalliturgical text, Cum Sancto Spiritu. To this Mozart addsa new cadenza that allows the soloists their finalmoment of glory. The chief interest of the whole workmust lie in the two newly composed dramatic arias andthe final bars, where text and music are better matched.

In 1770 and 1771 Mozart and his father were inItaly, and spent a few months at Bologna, where Mozartwas able to study traditional counterpoint with PadreMartini. One result of the Italian journey was the Reginacoeli, K.108, written in May 1771 after their return toSalzburg. Scored initially for pairs of oboes, horns,trumpets and timpani, strings, soprano solo and four-part choir, with a figured bass for the organ, thecelebratory C major first section is followed by an Fmajor movement accompanied by two flutes and strings,with a florid soprano solo and a contrapuntaldeployment of the choir. The A minor soprano solo thatfollows, marked Adagio un poco andante and setting thewords Ora pro nobis (Pray for us), is accompanied bythe strings. The full orchestra returns, with the soloistand chorus, for the final Alleluia.

Keith Anderson

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Wolfgang Amadeus Mozart wurde am 27. Januar 1756in Salzburg als Sohn des Hofmusikers Leopold Mozartgeboren, der just im selben Jahr, da sein jngstes Kinddas Licht der Welt erblickte, seine einflussreicheGrndliche Violinschule verffentlichte. Vater Mozartstieg beim Salzburger Frsterzbischof bis zumVizekapellmeister auf, verzichtete aber auf seine eigenekreative Karriere, nachdem er in seinem Sohn schonfrh die ersten Anzeichen eines berragenden Genieserkannte. Mit Duldung seines damaligen Dienstherrnunternahm er ausgedehnte Europareisen, bei denen seinSohn und dessen ltere Schwester Nannerl dasPublikum in Staunen versetzten. Der Knabe spieltesowohl das Clavier wie auch die Violine, wusste zuimprovisieren und schon bald eigene Kompositionenaufzuschreiben.

Nachdem Wolfgang Amadeus Mozart in derKindheit auerordentliche Erfolge erlebt hatte, warendie Jnglingsjahre weniger befriedigend vor allem, dain Salzburg inzwischen ein neuer, wenigerverstndnisvoller Erzbischof regierte. Wie der Vater, soempfand auch der Sohn die Enge der Heimatstadt,indessen zugleich die Reisemglichkeiten deutlicheingeschrnkt waren. Als ihm 1777 ein Urlaubsantragnicht genehmigt wurde, kndigte Mozart seineSalzburger Stellung, um andernorts sein Glck zusuchen. Doch weder in Mannheim noch in Paris, zweibedeutenden musikalischen Zentren, war etwasGeeignetes zu finden, so dass er schlielichunverrichteter Dinge wieder nach Salzburg und in denDienst des ungeliebten Erzbischofs zurckkehrte.Immerhin verhalfen ihm seine Mannheimer Kontakteaber 1780 zum Auftrag fr die Oper Idomeneo, dieAnfang 1781 in Mnchen uraufgefhrt wurde. Nach dererfolgreichen Premiere befahl ihm sein alter und neuerDienstherr, unverzglich nach Wien zu kommen. Dortkulminierte die aufgestaute Unzufriedenheit in einerhandfesten Auseinandersetzung mit dem Erzbischof undder endgltigen Entlassung aus dessen Diensten.

Seine letzten zehn Lebensjahre verbrachte Mozartin Wien als freischaffender Knstler ohne eigentlicheGnner und ohne den direkten vterlichen Rat mithinin einer unsicheren Situation, die durch seine voreiligeHeirat nicht gerade besser wurde. Zunchst hatte er alsPianist und im Opernhaus Erfolg, im Laufe desJahrzehnts geriet er jedoch in immer grere finanzielleSchwierigkeiten. Unmittelbar vor seinem Tod am 5.Dezember 1791 hatte sich sein Schicksal durch denErfolg seiner deutschen Oper Die Zauberflte und durchdas Auftreten potentieller Mzene gerade erst wieder zuseinen Gunsten gewandelt.

Den grten Teil seiner Kirchenmusik hatWolfgang Amadeus Mozart whrend seiner SalzburgerJahre in Erfllung seiner dienstlichen Obliegenheitengeschrieben. In Wien gab es dann andere Prioritten;gleichwohl arbeitete der Komponist 1783 mit Blick aufSalzburg an einer neuen Messe: Im August hatte erConstanze Weber geheiratet, die jngere Schwester derSngerin Aloysia, in die er sich 1778 in Mannheim sostrmisch verliebt und die ihm Ende desselben Jahres inMnchen so schmhlich den Rcken gekehrt hatte.Inzwischen war der Vater der Familie verstorben;Witwe Weber war mit ihren Kindern nach Wiengezogen, hatte Mozart zeitweilig ein Quartier vermietet und es anscheinend gar nicht so ungern gesehen, dasssich ihr Logiergast nach und nach in die Tochterverliebte.

Mozart hatte aus verstndlichen Grnden zunchstalles getan, die sich anbahnende Beziehung vor demVater geheimzuhalten (der bereits ber die Schwrmereifr Aloysia schier die Fassung verloren hatte). Endlichrckte er aber doch mit seinen Zukunftsplnen heraus,und Leopold gab, wenngleich widerstrebend, seinenvterlichen Segen. Ein Jahr nach der Hochzeit reiste dasjunge Ehepaar nach Salzburg, wo Constanze ihrenSchwiegervater und ihre Schwgerin kennenlernte. Beidieser Gelegenheit konnte Mozart die abgeschlossenenTeile seiner Messe c-moll KV 427 auffhren, an der er

Wolfgang Amadeus Mozart (1756-1791)Davide penitente, KV 469 Regina coeli KV 108

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Trine Wilsberg Lund

The coloratura soprano Trine Wilsberg Lund was born in Oslo in 1979. She was a pupil of Barba Marklund andHkan Hagegrd at the Norwegian Academy of Music and gained her diploma with distinction in 2003. She thencontinued her studies at the Cologne Musikhochschule as a pupil of Barbara Schlick. Trine Lund already enjoys aconsiderable reputation in Europe as a concert soloist, with a repertoire that ranges from early Baroque music to thepresent, 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, OsloInternational Contemporary Music Festival, Mnster Barock Fest, Wiesbaden Bach Festival, La Folle Journe,Nantes, Festa da Msica, Lisbon, and MDR Musiksommer, collaborating with the Leipzig BaroqueOrchestra/Chamber Orchestra, the Leipzig Gewandhaus Orchestra, Cologne Chamber Orchestra, CologneCollegium Cartusianum, Dresden Barock, Oslo Symphony Orchestra/Chamber Orchestra, conducted by PeterNeumann, Georg Christoph Biller and Morten Schuldt-Jensen. As an opera-singer she has appeared as Clarice inHaydns Il mondo della luna, as Servilia in La clemenza di Tito at the Mnster City Opera, and in Wuppertal asAmintha in Mozarts Il re pastore. She won first prize at the 1998 Norsk Sanglrerforening Singing Competitionand at the 2003 national Queen Sonja International Music Competition with the Stavanger Symphony Orchestra. In2004 she won the second prize at the Leipzig International Johann Sebastian Bach Competition. In 2006 she wonthe second prize at the Fifteenth European Mozart Competition in Wrzburg. Trine Wilsberg Lund has taken part innumerous international broadcasts and commercial recordings.

Kristina Wahlin

The talented young mezzo-soprano Kristina Wahlin is Swedish-born and studied singing at the Royal MusicAcademy in Stockholm, completing her musical education as an opera singer at the Royal Academy of Music inLondon, from which she graduated in 2000. She has sung Cherubino in Le nozze di Figaro and the title rle inHandels Ariodante at Opera Funen in Denmark. Her performance of Ariodante made an exceptionally favourableimpression on the critics and she was invited to return to sing the title rle in Glucks Orfeo in 2004. She had greatsuccess 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 inScandinavia, performing Bach, Mozart, Handel and Rossini. Since 2006 she has been a member of the soloistensemble at Oper Kln, where her rles include Rosina, Hnsel, Isabella, Nicklausse, Cherubino and Giulio Cesare.

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Morten Schuldt-Jensen

Morten Schuldt-Jensen graduated from the Royal DanishAcademy of Music with conducting, singing and vocal trainingas his main subjects. He holds the Master of Arts in musicologyfrom the University of Copenhagen. He took postgraduatecourses with, among others, Sergiu Celibidache and EricEricson. After successful performances with internationallyacclaimed Danish choirs and orchestras Morten Schuldt-Jensenwas offered various engagements as a conductor and chorusmaster in several European countries. In 1995 and 1997 he wasappointed Representative Conductor for Denmark (Nordic-Baltic Choral Festival). Morten Schuldt-Jensen is a regular guestconductor for the RIAS Kammerchor, Berlin, the MDRRundfunk-Chor, Leipzig, the NDR-Chor, Hamburg, theAkademie fr Alte Musik, Berlin, the GewandhausorchesterLeipzig and the Helsingborgs Symfoniorkester, and has workedfrequently with the Danish National Radio Choir and thePhilharmonic 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. Todaythe ensemble is known as the Immortal Bach Ensemble. In 2000 he was appointed principal conductor and artisticdirector of the Leipzig Chamber Orchestra, which developed a new profile under his artistic credo. A wide-rangingand partly forgotten repertoire, accurate sense of style, and broad variety of interpretation characterise the successfulpartnership with both ensembles and have been documented in a number of recordings and broadcasts. MortenSchuldt-Jensen has won several prizes and awards. In 1984, in his home country, Denmark, he founded and hassince conducted the Sokkelund Sangkor, a leading chamber choir, with which he has won several internationalawards. He also founded the symphonic Tivoli Concert Choir. An important element is his work at differentacademies 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 Leipzigand in 2006 he was appointed to the professorship of choral and orchestral conducting at the StaatlicheMusikhochschule in Freiburg/Breisgau. Morten Schuldt-Jensen has conducted at some of the best known Europeanmusic venues and festivals, including the Gewandhaus and Thomaskirche in Leipzig, the Philharmonie Berlin, theRheingau Musik Festival, the Schleswig-Holstein-Festival, the Festspiele Mecklenburg-Vorpommern, MDR-Musiksommer, the Bachfest and the Mendelssohn-Festtage in Leipzig, and also at the Seoul International MusicFestival, Korea, and at the Kioi Hall in Tokyo, combined with extensive touring throughout Germany, France, Italy,Spain, Japan and Scandinavia.

Lothar Odinius

Lothar Odinius was born in Aachen and from 1991 to 1995 studied with Anke Eggers at the Berlin Hochschule derKnste, graduating with distinction and attending master-classes with Ingrid Bjoner, Bernd Weikl, Alfredo Krausand Dietrich Fischer-Dieskau. Since 2000 he has attended regular classes with Gundula Hintz and Neil Semer. Hehas collaborated with leading conductors in his concert career, and in performances for television and recording, andhas participated in a number of major festivals, including Bad Hersfeld, Ludwigsburg, Schwetzingen, theSchleswig-Holstein Music Festival, the Mecklenburg-Vorpommern Festival, the Haydn-Festspielen Eisenstadt, theSchubertiade Feldkirch/Hohenems, the BBC Promenade Concerts in London and the Edinburgh Festival. From1995 to 1997 he served as a lyric tenor with the Brunswick Staatstheater, undertaking, among other rles, those ofFerrando in Cos fan tutte and Tamino in Die Zauberflte. Guest engagements have taken him to Bonn to singTamino, to Copenhagen to sing Charles Lindbergh in Kurt Weills Der Lindberghflug, to Zurich for Alfonso inSchuberts Alfonso und Estrella, and, in 2003, to the Salzburg Mozartwoche to sing Ferrando. In 2004 he appearedin the world premire of Mendelssohns Der Onkel aus Boston, and at the Berlin Komische Oper in Hans ZendersDon Quijote. His many recordings are testimony to the breadth of his repertoire and the distinction of his career.


The Immortal Bach Ensemble has its roots in the Gewandhaus in Leipzig. In 2001 Morten Schuldt-Jensen, theformer director of the Gewandhaus choirs, formed the GewandhausKammerchor, its members having been recruitedfrom the top professional concert and choral singers of Germany, The Netherlands, Southern Scandinavia andSwitzerland. With this handpicked ensemble Schuldt-Jensen works on projects with a variety of differentprogrammes and a very wide-ranging repertoire, from oratorios to twentieth-century a cappella music, for which thechoir has been acclaimed by audiences and the press alike. In addition to frequent performances in Leipzig andfiguring in high profile venues such as Schleswig-Holstein and Rheingau, the choir has produced several highlypraised recordings, with an acclaimed recording of Mozarts Requiem for Naxos (8.557728). Since May 2006 theGewandhausKammerchor has been renamed the Immortal Bach Ensemble. The title Immortal Bach is taken froma 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 newand with top quality performances it seeks to explore new ideas and perspectives that are captivating for bothsingers and audience.

Leipzig Chamber Orchestra (Leipziger Kammerorchester)

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

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Wolfgang Amadeus Mozart wurde am 27. Januar 1756in Salzburg als Sohn des Hofmusikers Leopold Mozartgeboren, der just im selben Jahr, da sein jngstes Kinddas Licht der Welt erblickte, seine einflussreicheGrndliche Violinschule verffentlichte. Vater Mozartstieg beim Salzburger Frsterzbischof bis zumVizekapellmeister auf, verzichtete aber auf seine eigenekreative Karriere, nachdem er in seinem Sohn schonfrh die ersten Anzeichen eines berragenden Genieserkannte. Mit Duldung seines damaligen Dienstherrnunternahm er ausgedehnte Europareisen, bei denen seinSohn und dessen ltere Schwester Nannerl dasPublikum in Staunen versetzten. Der Knabe spieltesowohl das Clavier wie auch die Violine, wusste zuimprovisieren und schon bald eigene Kompositionenaufzuschreiben.

Nachdem Wolfgang Amadeus Mozart in derKindheit auerordentliche Erfolge erlebt hatte, warendie Jnglingsjahre weniger befriedigend vor allem, dain Salzburg inzwischen ein neuer, wenigerverstndnisvoller Erzbischof regierte. Wie der Vater, soempfand auch der Sohn die Enge der Heimatstadt,indessen zugleich die Reisemglichkeiten deutlicheingeschrnkt waren. Als ihm 1777 ein Urlaubsantragnicht genehmigt wurde, kndigte Mozart seineSalzburger Stellung, um andernorts sein Glck zusuchen. Doch weder in Mannheim noch in Paris, zweibedeutenden musikalischen Zentren, war etwasGeeignetes zu finden, so dass er schlielichunverrichteter Dinge wieder nach Salzburg und in denDienst des ungeliebten Erzbischofs zurckkehrte.Immerhin verhalfen ihm seine Mannheimer Kontakteaber 1780 zum Auftrag fr die Oper Idomeneo, dieAnfang 1781 in Mnchen uraufgefhrt wurde. Nach dererfolgreichen Premiere befahl ihm sein alter und neuerDienstherr, unverzglich nach Wien zu kommen. Dortkulminierte die aufgestaute Unzufriedenheit in einerhandfesten Auseinandersetzung mit dem Erzbischof undder endgltigen Entlassung aus dessen Diensten.

Seine letzten zehn Lebensjahre verbrachte Mozartin Wien als freischaffender Knstler ohne eigentlicheGnner und ohne den direkten vterlichen Rat mithinin einer unsicheren Situation, die durch seine voreiligeHeirat nicht gerade besser wurde. Zunchst hatte er alsPianist und im Opernhaus Erfolg, im Laufe desJahrzehnts geriet er jedoch in immer grere finanzielleSchwierigkeiten. Unmittelbar vor seinem Tod am 5.Dezember 1791 hatte sich sein Schicksal durch denErfolg seiner deutschen Oper Die Zauberflte und durchdas Auftreten potentieller Mzene gerade erst wieder zuseinen Gunsten gewandelt.

Den grten Teil seiner Kirchenmusik hatWolfgang Amadeus Mozart whrend seiner SalzburgerJahre in Erfllung seiner dienstlichen Obliegenheitengeschrieben. In Wien gab es dann andere Prioritten;gleichwohl arbeitete der Komponist 1783 mit Blick aufSalzburg an einer neuen Messe: Im August hatte erConstanze Weber geheiratet, die jngere Schwester derSngerin Aloysia, in die er sich 1778 in Mannheim sostrmisch verliebt und die ihm Ende desselben Jahres inMnchen so schmhlich den Rcken gekehrt hatte.Inzwischen war der Vater der Familie verstorben;Witwe Weber war mit ihren Kindern nach Wiengezogen, hatte Mozart zeitweilig ein Quartier vermietet und es anscheinend gar nicht so ungern gesehen, dasssich ihr Logiergast nach und nach in die Tochterverliebte.

Mozart hatte aus verstndlichen Grnden zunchstalles getan, die sich anbahnende Beziehung vor demVater geheimzuhalten (der bereits ber die Schwrmereifr Aloysia schier die Fassung verloren hatte). Endlichrckte er aber doch mit seinen Zukunftsplnen heraus,und Leopold gab, wenngleich widerstrebend, seinenvterlichen Segen. Ein Jahr nach der Hochzeit reiste dasjunge Ehepaar nach Salzburg, wo Constanze ihrenSchwiegervater und ihre Schwgerin kennenlernte. Beidieser Gelegenheit konnte Mozart die abgeschlossenenTeile seiner Messe c-moll KV 427 auffhren, an der er

Wolfgang Amadeus Mozart (1756-1791)Davide penitente, KV 469 Regina coeli KV 108

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Trine Wilsberg Lund

The coloratura soprano Trine Wilsberg Lund was born in Oslo in 1979. She was a pupil of Barba Marklund andHkan Hagegrd at the Norwegian Academy of Music and gained her diploma with distinction in 2003. She thencontinued her studies at the Cologne Musikhochschule as a pupil of Barbara Schlick. Trine Lund already enjoys aconsiderable reputation in Europe as a concert soloist, with a repertoire that ranges from early Baroque music to thepresent, 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, OsloInternational Contemporary Music Festival, Mnster Barock Fest, Wiesbaden Bach Festival, La Folle Journe,Nantes, Festa da Msica, Lisbon, and MDR Musiksommer, collaborating with the Leipzig BaroqueOrchestra/Chamber Orchestra, the Leipzig Gewandhaus Orchestra, Cologne Chamber Orchestra, CologneCollegium Cartusianum, Dresden Barock, Oslo Symphony Orchestra/Chamber Orchestra, conducted by PeterNeumann, Georg Christoph Biller and Morten Schuldt-Jensen. As an opera-singer she has appeared as Clarice inHaydns Il mondo della luna, as Servilia in La clemenza di Tito at the Mnster City Opera, and in Wuppertal asAmintha in Mozarts Il re pastore. She won first prize at the 1998 Norsk Sanglrerforening Singing Competitionand at the 2003 national Queen Sonja International Music Competition with the Stavanger Symphony Orchestra. In2004 she won the second prize at the Leipzig International Johann Sebastian Bach Competition. In 2006 she wonthe second prize at the Fifteenth European Mozart Competition in Wrzburg. Trine Wilsberg Lund has taken part innumerous international broadcasts and commercial recordings.

Kristina Wahlin

The talented young mezzo-soprano Kristina Wahlin is Swedish-born and studied singing at the Royal MusicAcademy in Stockholm, completing her musical education as an opera singer at the Royal Academy of Music inLondon, from which she graduated in 2000. She has sung Cherubino in Le nozze di Figaro and the title rle inHandels Ariodante at Opera Funen in Denmark. Her performance of Ariodante made an exceptionally favourableimpression on the critics and she was invited to return to sing the title rle in Glucks Orfeo in 2004. She had greatsuccess 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 inScandinavia, performing Bach, Mozart, Handel and Rossini. Since 2006 she has been a member of the soloistensemble at Oper Kln, where her rles include Rosina, Hnsel, Isabella, Nicklausse, Cherubino and Giulio Cesare.

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zwischendurch immer wieder gearbeitet hatte, um einGelbde zu erfllen: Sollten die Schwierigkeiten um diegeplante Heirat ein glckliches Ende finden, wollte ereben dieses geistliche Werk komponieren (dasschlielich ohne Credo und Agnus Dei unvollendetblieb). Bei der Auffhrung in der SalzburgerBenediktinerkirche St. Peter hat Constanze nach allem,was man wei, das Sopransolo gesungen.

Im Jahre 1785 erhielt Mozart, damals auf demHhepunkt seines kompositorischen und pianistischenErfolgs, von der Wiener Tonknstler-Societt denAuftrag zu einem neuen Werk, dem er insofern gernnachkam, als diese Wohlttigkeitsorganisation in Notgeratene Musikerwitwen und -waisen untersttzte, wenndie Verstorbenen Mitglieder der Societt gewesenwaren, und er sich ebenfalls um eine Mitgliedschaftbemhte.

Bei der Komposition des neuen Werkes Davidepenitente vertonte Wolfgang Amadeus Mozart einenitalienischen, vielleicht von Lorenzo da Ponte verfasstenText und zwar dergestalt, dass er die lateinischenWorte des Kyrie und des Gloria aus seinerunvollstndigen Messe c-moll durch die italienischeDichtung ersetzte. Auerdem schrieb er zwei neueArien sowie eine Schlusskadenz. Davide penitentewurde am Wiener Burgtheater am 13. und 15. Mrz1785 mit der von Salieri protegierten SopranistinCaterina Cavalieri aufgefhrt, die in MozartsEntfhrung aus dem Serail bereits die Constanzegesungen hatte. Als zweite Sopranistin war ElisabethDistler zu hren, und Johann Valentin Adamberger,Mozarts erster Belmonte, sang die Tenorpartie. LeopoldMozart, der damals gerade in Wien zu Besuch war,fhlte sich nicht sonderlich wohl bei der rastlosenGeschftigkeit seines Sohnes. Im Gegensatz zu frherenKonzerten erwhnt er die bevorstehende Veranstaltungder Tonknstler-Societt, die er besucht haben muss, inden Briefen an seine Tochter nur beilufig.

Dem groen Orchester entsprach die Zahl derChoristen, die Programme waren in der damals blichenWeise gemischt: Unter anderem gab man die jngsteSymphonie von Joseph Haydn sowie einen Chor aus

dessen Oratorium Il ritorno di Tobia sowie einensolchen aus Florian Leopold Gamanns Amore ePsiche; dazu kamen Solo-Arien und weitereInstrumentalwerke beim ersten Abend einOboenkonzert, beim zweiten ein Violinkonzert, dasLeopold Mozarts Geigenschler Heinrich Marchandspielte.

Davide penitente verlangt je zwei Oboen, Fagotteund Hrner, dazu drei Posaunen, in den EckstzenPauken und Trompeten, die obligatorischen Streicherund wohl auch ein Tasteninstrument fr die Continuo-Stimme. Zu Beginn begleitet das volle Orchester denChor mit Sopransolo c-moll Alzai le flebili voci (Icherhob meine klagende Stimme), in dem das Kyrie derc-moll-Messe verwendet wird. Der zweite Chor in C-dur, Cantiam le glorie e le lodi (Wir wollen Ruhm undLobpreis singen), ist auf den Beginn des Gloriagesetzt. Die Sopranarie F-dur Lungi le cure ingrate(Weit sind die undankbaren Sorgen) mit Oboen,Hrnern und Streichern entstand als Neutextierung desLaudamus te. Der vom vollen Orchester untersttzteChor in a-moll, Sii pur sempre benigno, oh Dio (Seiimmer gndig, o Gott) ist ein Arrangement des Gratiasagimus tibi. Darauf folgt das von Streichern begleiteted-moll-Duett der beiden Soprane, Sorgi, o Signore, espargi (Erhebe dich, o Herr, und zerschmettere deineFeinde) 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) mitdem abschlieenden Allegro Udisti voti miei (Du hastmein Gebet gehrt), ist die erste neue Komposition desWerkes, wobei Soloflte, Oboe, Klarinette und Fagottnebst zwei Hrnern in Hoch-B und Streichern zumEinsatz kommen. Der anschlieende Chor g-moll mitvollem Orchester, Se vuoi, puniscimi (Wenn du willst,bestrafe mich) ist die Einrichtung des Qui tollispeccata mundi, whrend die Sopranarie in c-moll, Traloscure ombre funeste (Unter den dunklen, traurigenSchatten) fr Caterina Cavalieri neu komponiertwurde: 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

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soprano was Elisabeth Distler and the tenor JohannValentin Adamberger, Mozarts Belmonte. LeopoldMozart, who was visiting his son in Vienna, found hissons constant activity bewildering, but his survivingletters to his daughter only mention briefly the comingTonknstlersoziett concerts, which he must haveattended. 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 mixedone, including the latest Haydn symphony and a chorusfrom the latters oratorio Il ritorno di Tobia, with achorus from Gassmanns Amore e Psiche, solo arias andinstrumental contributions. The first concert alsoincluded an oboe concerto and the second a violinconcerto played by Leopold Mozarts pupil HeinrichMarchand.

Davide penitente is scored for an orchestra thatincludes pairs of oboes, bassoons, horns, and strings,with three trombones, and probably with keyboardcontinuo, together with trumpets and drums for the outermovements. The oratorio opens with the C minor chorusand soprano solo, with the full orchestra, Alzai le flebilivoci (I raised my weeping cries), using the Kyrie of theMass in C minor. The second chorus, Cantiam le gloriee le lodi (Let us sing the glories and praises), in C major,takes the opening of the earlier Gloria. The F majorsoprano aria, Lungi le cure ingrate (Far away bethankless cares), with oboes, horns and strings, rewordsthe earlier Laudamus te. The A minor chorus, Sii pursempre benigno, oh Dio (Be ever gracious, O God), withthe full orchestra, uses the original Gratias agimus tibiand is followed by a duet for two sopranos, Sorgi, oSignore, e spargi (Arise, O Lord, and scatter yourenemies), a D minor movement, accompanied bystrings, a version of the original Domine Deus, Rexcaelestis. The sixth part, a B flat major tenor aria, A te,fra tanti affanni (From you, amid such troubles), with itsfinal Allegro, Udisti voti miei (You heard my prayers) isthe first newly composed addition to the work, and uses

solo flute, oboe, clarinet and bassoon, with two horns inhigh B flat and strings. This is followed by a G minorchorus with full orchestra, Se vuoi, puniscimi (If youwish, punish me), with its dotted rhythms, using theoriginal Qui tollis peccata mundi. The C minor sopranoaria Tra loscure ombre funeste (Amid the dark grievousshadows), with a flute, pairs of oboes, bassoons andhorns, and strings, is newly composed for CaterinaCavalieri. This is capped by an E minor trio for thesoloists, with oboes, bassoons and strings, Tutte le miesperanze (All my hopes) derived from the originalQuoniam tu solus sanctus and a concluding C majorchorus, Chi in Dio sol spera (Who hopes alone in God),the original Jesu Christe and the polyphonic Di taipericoli non ha timor (Of such dangers he has no fear),initially more aptly matched with the traditionalliturgical text, Cum Sancto Spiritu. To this Mozart addsa new cadenza that allows the soloists their finalmoment of glory. The chief interest of the whole workmust lie in the two newly composed dramatic arias andthe final bars, where text and music are better matched.

In 1770 and 1771 Mozart and his father were inItaly, and spent a few months at Bologna, where Mozartwas able to study traditional counterpoint with PadreMartini. One result of the Italian journey was the Reginacoeli, K.108, written in May 1771 after their return toSalzburg. Scored initially for pairs of oboes, horns,trumpets and timpani, strings, soprano solo and four-part choir, with a figured bass for the organ, thecelebratory C major first section is followed by an Fmajor movement accompanied by two flutes and strings,with a florid soprano solo and a contrapuntaldeployment of the choir. The A minor soprano solo thatfollows, marked Adagio un poco andante and setting thewords Ora pro nobis (Pray for us), is accompanied bythe strings. The full orchestra returns, with the soloistand chorus, for the final Alleluia.

Keith Anderson

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Solisten, die von Oboen, Fagotten und Streichernakkompagniert werden: Dieses Tutte le mie speranze(All mein Hoffen) entstand als Arrangement desQuoniam tu solus sanctus. Der Schlusschor in C-dur Chi in Dio sol spera (Wer allein auf Gott hofft) istdie Einrichtung des Jesu Christe aus der Messe , und daspolyphone Di tai pericoli non ha timor (SolcheGefahren frchtet er nicht) entstand aus dem CumSancto Spiritu, dessen liturgischer Text zunchst besserzur Musik passt. Darauf lsst Mozart eine neue Kadenzfolgen, die den Solisten einen letzten glanzvollenMoment gewhrt.

1770 und 1771 hielten sich Mozart und sein Vaterin Italien auf. Unter anderem weilten sie einige Monatein Bologna, wo Mozart bei Padre Martini traditionellenKontrapunkt studieren konnte. Ein Resultat der

Italienreise war das Regina coeli KV 108, das im Mai1771 nach der Heimkehr in Salzburg entstand. Demfestlichen, mit je zwei Oboen, Hrnern, Trompeten undPauken, Streichern, Solosopran und vierstimmigemChor nebst figuriertem Bass geschriebenen Anfang inC-dur folgt ein von den zwei Flten und den Streichernbegleitetes, zierreiches Sopransolo mit kontrapunktischgestaltetem Chor in F-dur. Nur von Streichern getragenwird das anschlieende a-moll-Sopransolo Ora pronobis (Bitte fr uns) mit der Bezeichnung Adagio unpoco andante. Volles Orchester, Sopransolo und Chorbeschlieen das Werk mit dem Alleluia.

Keith Anderson

Deutsche Fassung: Cris Posslac

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Wolfgang Amadeus Mozart was born in Salzburg in1756, the son of a court musician who, in the year of hisyoungest childs birth, published an influential book onviolin-playing. Leopold Mozart rose to occupy theposition of Vice-Kapellmeister to the Archbishop ofSalzburg, but sacrificed his own creative career to thatof his son, in whom he detected early signs ofprecocious genius. With the indulgence of his patron, hewas able to undertake extended concert tours of Europein which his son and elder daughter Nannerl were ableto astonish audiences. The boy played both the keyboardand the violin and could improvise and soon write downhis own compositions.

Childhood that had brought Mozart signal successwas followed by a less satisfactory period ofadolescence largely in Salzburg under the patronage of anew 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 upemployment in Salzburg to seek a future elsewhere, butneither Mannheim nor Paris, both musical centres ofsome importance, had anything for him. His Mannheimconnections, however, brought a commission for anopera in Munich in 1781, but after its successful staginghe was summoned by his patron to Vienna. ThereMozarts dissatisfaction with his position resulted in aquarrel with the Archbishop and dismissal from hisservice.

The last ten years of Mozarts life were spent inVienna in precarious independence of both patron andimmediate paternal advice, a situation aggravated by animprudent marriage. Initial success in the opera-houseand as a performer was followed, as the decade went on,by increasing financial difficulties. By the time of hisdeath in December 1791, however, his fortunes seemedabout to change for the better, with the success of theGerman opera The Magic Flute, and the possibility ofincreased patronage.

The greater part of Mozarts church music had beenwritten during his years in Salzburg, where it fulfilledsomething of the requirements of his employment. InVienna from 1781 he had other preoccupations, but in1783 he had worked on another Mass setting, again withSalzburg in mind. In August 1782 he had marriedConstanze Weber, one of his former landladysdaughters and a cousin of the composer Carl Maria vonWeber. He had done his best at first to conceal hisrelationship from his father, who disapproved of thematch. It was not until a year later that the coupletravelled to Salzburg, where Constanze might meet herfather-in-law and sister-in-law. The occasion broughtfrom Mozart his Mass in C minor, K.427, a compositionhe had worked on intermittently and that was to remainunfinished, without a completed Credo or Agnus Dei. Itwas written in fulfilment of a promise to his new wife,who sang the soprano solo when the work was firstperformed at the Benedictine church of St Peter inSalzburg during the course of the couples first visitthere together. It was to this earlier composition thatMozart had recourse in 1785, when, at the height of hispowers and fully occupied as a composer and performer,he was required to produce a composition for theVienna Society of Artists, a charitable organization inwhich he had an obvious interest and in which he soughtmembership, since the Society took responsibility forthe care of the impoverished widows and orphans of itsdeceased members.

For the new work, Davide penitente, a setting of anItalian text perhaps by Lorenzo da Ponte, Mozart tookhis earlier Kyrie and Gloria, replacing the Latin textwith the new Italian words, not always happily. He was,however, able to add two new arias and a new finalcadenza. Davide penitente was performed in Vienna atthe National Theatre in the Hofburg on 13th and 15thMarch 1785, with the soprano Caterina Cavalieri, aprotge of Salieri, who had sung the part of Constanzein Mozarts Die Entfhrung aus dem Serail. The second

Wolfgang Amadeus Mozart (1756-1791)Davide penitente, K.469 Regina coeli, K.108

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Davide penitente, K.469

1 Coro Chorus Alzai le flebili voci al Signor I raised my weeping cries to the LordAlzai le flebili voci al Dio I raised my weeping cries to God da mali oppresso. oppressed by evils.Alzai le flebili mie voci a Dio I raised my weeping cries to Godda mali oppresso. oppressed by evils.

2 Coro Chorus Cantiam le glorie e le lodi, Let us sing the glories and praisesreplichiamole in cento e cento modi Let us repeat them a hundred hundred waysdel Signore amabilissimo. the praises of the most loving Lord.

3 Aria AriaLungi le cure ingrate, Far away from sad afflictions,respirate omai. feel free again.S palpitato assai If once you were afraid tempo da goder. now is the time to rejoice.

4 Coro ChorusSii pur sempre benigno, oh Dio, Be ever gracious, O Gode le preghiere te muovano a piet. and let our prayers move you to mercy.

5 Duetto DuetSorgi, Signore, e spargi i tuoi nemici. Arise, Lord, and scatter your enemies.Sorgi, Signore, spargi Arise, Lord, scatter e dissipa i tuoi nemici. and disperse your enemies.Fuga ognun che todia, Put to flight whomsoever may hate you, fuga da te che todia, Put to flight those who hate you,sorgi e spargi i tuoi nemici. arise and scatter your enemies.

6 Aria AriaA te, fra tanti affanni, In you, amid such tribulation,piet cercai, Signore, I sought mercy, Lord, che vedi il mio bel core, that you should see my good heart,che mi conosci almen. that at least you should know me.Udisti i voti miei, You have heard my prayers, e gi godea questalma and already my soul has rejoiced per te lusata calma since through you the storms in delle tempeste in sen. my bosom have been calmed.

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Wolfgang Amadeus

MOZART(1756-1791)

Davide penitente, K.469 40:311 1. Coro: Alzai le flebili voci al Signor (Chorus, Soprano 1) 5:442 2. Coro: Cantiam le glorie (Chorus) 2:043 3. Aria: Lungi le cure ingrate (Soprano 2) 4:274 4. Coro: Sii pur sempre benigno, oh Dio (Chorus) 1:025 5. Duetto: Sorgi, o Signore, e spargi (Soprano 1 and 2) 2:406 6. Aria: A te, fra tanti affanni (Tenor) 6:037 7. Coro: Se vuoi, puniscimi (Chorus) 4:488 8. Aria: Tra loscure ombre funeste (Soprano 1) 5:299 9. Terzetto: Tutte le mie speranze (Soprano 1 and 2, Tenor) 3:380 10. Coro: Chi in Dio sol spera (Chorus and Soli) 4:35

Regina coeli, K.108 12:34! Regina coeli, laetare (Chorus) 2:45@ Quia quem meruisti portare (Soprano, Chorus) 3:16# Ora pro nobis Deum (Soprano) 3:51$ Alleluia (Soprano, Chorus) 2:42

Trine Wilsberg Lund, Soprano 1Kristina Wahlin, Soprano 2

Lothar Odinius, TenorImmortal Bach Ensemble

Leipziger KammerorchesterMorten Schuldt-Jensen

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MOZARTDavide penitente(Oratorio)

Trine Wilsberg Lund, Soprano

Kristina Wahlin, Soprano

Lothar Odinius, Tenor


LeipzigerKammerorchester

Morten Schuldt-Jensen8.570231 12

7 Coro ChorusSe vuoi, puniscimi If you will, punish mema pria, Signore, lascia che almeno, but first, Lord, let at leastche sfoghi, che si moderi your scorn find relief,il tuo sdegno, il tuo furore. your anger be tempered.Puniscimi, se vuoi, Punish me, if you will,lascia, che sfoghi il tuo furore. let your anger find relief.Vedi la mia pallida guancia inferma, Behold my pale weak face, Signore, deh, sanami, porgimi soccorso, Lord, heal me, bring me succour,aita, Signor, tu puoi, porgimi aita. help, Lord, you are able, bring help.

8 Aria AriaTra loscure ombre funeste, Through the dark grievous shadows splende al giusto il ciel sereno, the serene heaven shines on the just,serba ancor nelle tempeste and during the storms bringsla sua pace un fido cor. peace to the faithful heart.Alme belle, ah s, godete! Fair souls, ah yes, rejoice!alme belle! ah s, godete, Fair souls! Ah yes, rejoicen alcun fia che turbi audace, that no one dares to disturbquella gioia e quella pace, that joy and that peacedi cui solo Dio lautor. of which God alone is the author.

9 Terzetto TrioTutte le mie speranze All my hopesho riposte in te. I have placed in you.Salvami, o Dio, dal nemico feroce Save me, O God, from the cruel enemyche minsegue e che mincalza, that pursues me and that presses upon me,o Dio, salvami! O God, save me!

0 Coro ChorusChi in Dio sol spera: Who hopes in God aloneDi tali pericoli non ha timore. Has no fear of such dangers.

Regina coeli, K.108

! Regina coeli laetare, alleluia. Rejoice, O Queen of Heaven, alleluia.

@ Quia quem meruisti portare For he whom you were worthy to bearresurrexit, sicut dixit, alleluia. has arisen, as he said, alleluia.

# Ora pro nobis Deum. Pray for us to God.

$ Alleluia, alleluia. Alleluia, alleluia.

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

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Booklet notes in E

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w.naxos.com

Wolfgang Amadeus

MOZART(1756-1791)

Davide penitente (Oratorio)

Trine Wilsberg Lund, Soprano Kristina Wahlin, SopranoLothar Odinius, Tenor Immortal Bach Ensemble

Leipziger Kammerorchester Morten Schuldt-Jensen, Conductor

Davide penitente, K.469 40:311 1. Coro: Alzai le flebili voci

al Signor 5:442 2. Coro: Cantiam le glorie 2:043 3. Aria: Lungi le cure ingrate 4:274 4. Coro: Sii pur sempre benigno,

oh Dio 1:025 5. Duetto: Sorgi, o Signore, e spargi 2:406 6. Aria: A te, fra tanti affanni 6:03

7 7. Coro: Se vuoi, puniscimi 4:488 8. Aria: Tra loscure ombre funeste 5:299 9. Terzetto: Tutte le mie speranze 3:380 10. Coro: Chi in Dio sol spera 4:35

Regina coeli, K.108 12:34! Regina coeli, laetare 2:45@ Quia quem meruisti portare 3:16# Ora pro nobis Deum 3:51$ Alleluia 2:42

A detailed track list can be found on page 2 of the booklet Sung texts and translations includedThe sung texts and translations can also be accessed at www.naxos.com/libretti/570231.htmRecorded at the Gewandhaus zu Leipzig, Groer Saal, Germany, from 18th to 23rd April, 2006

Producer and Editor: Michael Silberhorn, Genuin, Leipzig Engineer: Tatsuo NishimuraBooklet Notes: Keith Anderson

Cover image: David by Simeon Solomon (1840-1905)(Fitzwilliam Museum, University of Cambridge / The Bridgeman Art Library)

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