Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific … Read Full Bio ↴Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.
Mass in C K.317 "Coronation": 6. Agnus Dei
Wolfgang Amadeus Mozart Lyrics
We have lyrics for these tracks by Wolfgang Amadeus Mozart:
Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte Erzeugt von heißer Phantasie, In einer schwärmerischen Stund…
Ave Maria Ave, ave verum corpus natum De Maria virgine Vere passum imm…
Ave Verum Ave ave verum corpus natum de Maria Virgine Vere passum, imm…
Ave Verum Corpus K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Ave Verum K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Batti Batti O Bel Masetto Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qu…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…
Confutatis Confutatis maledictis, flammis acribus addictis, voca me c…
Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen Tod und Verzweiflung…
Der Vogelfänger bin ich ja Der Vogelfänger bin ich ja Stets lustig heissa hopsasa! Ic…
Die Zauberflöte K. 620 Act 2: Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung…
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen, Hells Revenge cooks …
Dies Irae Dies irae Dies illa Solvet saeclum en favilla Teste david…
Domine Jesu Domine, Jesu Christe, Rex gloriae, libera animas omnium fid…
Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
I. Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
III CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
III. Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
III. Sequentia: / Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Introitus Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
iv HOSTIAS et preces tibi, Domine, laudis…
IV. Offertorium: / Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
La' ci darem la mano (Don Giovanni): Là ci darem la mano, Là mi dirai di sì, Vedi…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
Laudate Laudate Dominum omnes gentes Laudate eum, omnes populi Quon…
Le Nozze di Figaro: Che soave zeffiretto Sull'aria... Che soave zeffiretto... Zeffiretto... Questa se…
Le nozze di Figaro: Cinque... dieci... venti... trenta... Cinque... dieci... venti... trenta... Trentasei... quarantat…
Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Offertorium Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Offertorium Hostias HOSTIAS et preces tibi, Domine, laudis…
Offertorium: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Porgi amor Porgi, amor, Qualche ristoro Al mio duolo A′miei sospir! O …
Porgi, amor (Le nozze di Figaro) Porgi, amor, qualche ristoro al mio duolo a'miei sospir! O …
Queen Of The Night Aria Der Hölle Rache kocht in meinem herzen Tot und verzweiflung …
Recordare Recordare Jesu pie, quod sum causa tuae viae, ne me perdas…
Requiem 1. Requiem Requiem aeternam dona eis, Domine, et lux…
Requiem Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem in D minor K 626: 3. Sequentia: "Recordare" Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas …
Requiem in D minor K. 626: I. Introitus: "Requiem aeternam" INTROITUS Requiem aeternam dona ets, Domine, et lux perpetu…
Requiem in D minor K.626 Dies iræ, dies illa Solvet sæclum in favilla Teste David cum…
Requiem in D Minor K.626: 1. Introitus: Requiem Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Requiem in D Minor K.626: 3. Sequentia: Lacrimosa La crimosa Dies illa Qua Re sur get est fa vi lla Iudicandus…
Requiem in D Minor K.626: 4. Offertorium: Domine Jesu Domine, Jesu Christe, Rex gloriae, rex gloriae Libera animas…
Requiem in D Minor K.626: 4. Offertorium: Hostias Hostias et preces, tibi, Domine, Laudis offerimus: Tu suscip…
Requiem Introitus Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem%3A Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Agnus Dei CHORUS AGNUS DEI, qui tollis peccata …
Requiem: Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: IV. Offertorium: Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Requiem: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem: VII. Agnus Dei Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Requiem: VIII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Ridente la calma K.152 Ridente la calma nell′alma si desti Né resti più segno di…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Sequentia Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Sequentia%3A Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Time To Say Goodbye cutumn roams silently through the streets, You'll be gone, a…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
Turkish March Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa …
V. Sanctus SANCTUS, Domine Deus Sabaoth. Pleni sunt …
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
VII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Voi che sapete che cosa è amor Voi che sapete Che cosa è amor, Donne, vedete S′io l'ho nel …
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SP's score videos
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I. Kyrie (0:00)
II. Gloria (2:56)
III. Credo (7:33)
IV. Sanctus (13:51)
V. Benedictus (15:44)
VI. Agnus Dei (19:20)
Elias
If you're looking for a specific part, look here:
I. KYRIE
0:00 Kyrie
1:14 Christe
1:35 Kyrie
II. GLORIA
2:56 Gloria in excelsis Deo
4:12 Domine Deus
4:40 Qui tollis
6:00 Quoniam
6:52 Amen
III. CREDO
7:33 Credo in unum Deum
9:25 Et incarnatus est
11:10 Et resurrexit
11:56 Et in Spiritum
12:33 Et unam sanctam
IV. SANCTUS ET BENEDICTUS (or you can view the Sanctus and Benedictus as two separate sections)
13:51 Sanctus
14:59 Osanna
15:44 Benedictus
18:13 Osanna
V. AGNUS DEI
19:20 Agnus Dei
23:21 Dona nobis pacem
24:14 Dona nobis pacem (Allegro con spirito)
Hope I helped. Also, @Stefano Paparozzi, your profile pic is beyond amazing.
Pro MC Gamer
@LEV TRETIAKOV The Catholic Church has always acknowledged the Creed of I Constantinople (A.D. 381), since Pope St. Leo I ratified both the Council and the Symbol (the Creed) in A.D. 451. The addition of the filioque is a development of the Creed that in no way contradicts the earlier version any more than the development and subsequent change of the Creed between the time of the Council of Nicea (A.D. 325) and I Constantinople represented a corruption of the Creed then.
The older Apostle’s Creed did not have the section of the Nicene Creed that says of the Holy Spirit “the Lord, the giver of Life, who proceeds from the Father (“and the Son” was, of course, added later), God from God, light from light, true God from true God, consubstantial with the Father.” This was added in the fourth century as an antidote to the Macedonian heresy that denied the divinity of the Holy Spirit.
Moreover, the Catholic Church agrees with the Orthodox that the Father is the first origin of the divine life of the Trinity.
The Council of Florence in 1438 explains: “The Holy Spirit is eternally from Father and Son; He has his nature and subsistence at once (simul) from the Father and the Son [filioque]. He proceeds eternally from both as from one principle and through one spiration.”
The affirmation of the filioque does not appear in the Creed confessed in 381 at Constantinople. But Pope St. Leo I, following an ancient Latin and Alexandrian tradition, had already confessed it dogmatically in 447 (Quam laudabiliter) even before Rome, in 451 at the Council of Chalcedon, came to recognize and receive the Symbol of 381. The use of this formula in the Creed was gradually admitted into the Latin liturgy (between the eighth and eleventh centuries).
At the outset, the Eastern tradition expresses the Father’s character as first origin of the Spirit. . . . The Western tradition expresses first the consubstantial communion between Father and Son, by saying that the Spirit proceeds from the Father and the Son (filioque). . . . This legitimate complementarity, provided it does not become rigid, does not affect the identity of faith in the reality of the same mystery confessed.
The filioque was also added, to combat Arianism. The Catholic Church was founded by Jesus Christ and chose Peter to build the church and be the first Pope, which must live on. The Catholic Church is the true Church which some eastern sects have unfortunately strayed from. With hope in Christ, one day the Eastern Christians not in communion with Rome will repent, convert (even to Eastern Rites of the Catholic Church) and we may all strive to live a life of true faith.
Jules Anderson
I'm an Atheist because I started thinking for myself at the age of 4.
That's when I started learning the Violin.
I'm playing this work tomorrow in an orchestra. Musically it's a great work.
Religiously it does nothing for me.
I simply listen to the music.
Think for yourselves don't go along with what is accepted by others.
And don't quote the Bible in your reasoning because that proves to me you are brain washed & not thinking for yourself.
Don't believe stuff just because someone else does, figure it out for yourself.
Read some Christopher Hitchens and Richard Dawkins, they figured it out 😆
SP's score videos
If you like this video, don't forget to show your love and help the channel stay online!
🎶 HELP THE CHANNEL with PATREON! → patreon.com/spscorevideos
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I. Kyrie (0:00)
II. Gloria (2:56)
III. Credo (7:33)
IV. Sanctus (13:51)
V. Benedictus (15:44)
VI. Agnus Dei (19:20)
poplife123
Pure genius ....not a note out of place or unnecessary ....perfectly balanced and pure joy
Егор Чертовиков
It's a wonderful mass, I'm Russian myself, and it's a pity that there are no such services in the Orthodox Church (of course there are other features, and its own beauty, and there are Catholic and Protestant churches in Moscow), but still, sometimes you want to listen to such deep masses live, and it's tiring to take the subway to the conservatory or look for a Catholic church somewhere. But if you forget that, then this mass warms your soul very much, and it is very surprising that Mozart could achieve such a rich sound with such a small orchestra. And thank you for sharing this post.
El Cid Campeador
You would have very little luck finding this kind of music played in an average Catholic Church these days, unfortunately. The Church has had much of its beauty and art stripped and dumbed down since the Second Vatican Council. Every once in a while, though, you do find the odd mass with a bishop where music like this is played. One such mass occurred in America with Cardinal Raymond Leo Burke. It was a requiem mass that was accompanied by Mozart's famous Requiem Mass in D Minor.
Elias
If you're looking for a specific part, look here:
I. KYRIE
0:00 Kyrie
1:14 Christe
1:35 Kyrie
II. GLORIA
2:56 Gloria in excelsis Deo
4:12 Domine Deus
4:40 Qui tollis
6:00 Quoniam
6:52 Amen
III. CREDO
7:33 Credo in unum Deum
9:25 Et incarnatus est
11:10 Et resurrexit
11:56 Et in Spiritum
12:33 Et unam sanctam
IV. SANCTUS ET BENEDICTUS (or you can view the Sanctus and Benedictus as two separate sections)
13:51 Sanctus
14:59 Osanna
15:44 Benedictus
18:13 Osanna
V. AGNUS DEI
19:20 Agnus Dei
23:21 Dona nobis pacem
24:14 Dona nobis pacem (Allegro con spirito)
Hope I helped. Also, @Stefano Paparozzi, your profile pic is beyond amazing.
SP's score videos
Lol, thank you! :D
Musikkontext Scarabino
Thanks a lot. What confuses me is that every score i find and every version i listen to has only 2 Credo-Cues for Tenor and Soprano!!! It would have made much more sense if the whole middle part with the soloists was the Credo-Part and in the beginning and at the end tutti (witch choir) sing Kyrie.
SP's score videos
@Musikkontext Scarabino Sorry, I don't understand. °°
Elias
@Musikkontext Scarabino Are you talking about lyrics in the score only being written for the soprano and tenor (choir)? In this case, it means that the same text is shared by the female voices (SA) and also the same text is shared by the male voices (TB).
Musikkontext Scarabino
@SP's score videos The whole "più andante" in the Kyrie-Movement with the soloists singing sounds like what i would consider to be the Christe Eleison part. Musically in this mass i hear Kyrie (Choir, andante maestoso) - Christe (Soloists, più andante) - Kyrie (Choir, andante maestoso). But in this case, we only hear the words "Christe Eleison" for three bars (1:16), not even sung by the whole quartett but just Tenor and Soprano. The only thing that happens there is that it suddenly changes to C-minor. But otherwise i'm used to hear a very clear difference between music for the Kyrie and music for the Christe part. Just compare it to other Kyrie movements:
- The Spatzenmesse (K317) has very distinctive themes making the order Kyrie - Christe - Kyrie - Christe clear to everyone, or
- in Mozarts Requiem the kyrie-theme is presented by the bass with slower notes and a distinctive diminished 7th jump from b-flat to c-sharp, while the alto presents the Christe theme with its fast coloratura...
I'm just having a hard time understanding (or accepting) that Mozart really intented it this way, no matter how young he was. And I can't find anyone discussing this short christe cue of three bars in the internet either...