Sunday Classics preview: Solo-soprano and choral magic from the master magician Mozart

Renée Fleming sings Mozart's "Alleluja," with Kurt Masur conducting the New York Philharmonic, on opening night of the Philharmonic's 1997-98 season, Sept. 17, 1997.

by Ken

Now this is what I call a win-win. If you already know the "Alleluja" from Mozart's earlyish motet Exsultate, jubilate, then you will bless me for letting you hear it again. And if you've never heard it, then you'll just bless me. Why, I think back to the first time I . . .

No, no! Music first, story after.

MOZART: Exsultate, jubilate (motet), K. 165:
iv. Allegro, "Alleluja"

[I don't think you'll need help with this text.]

Felicity Lott, soprano; London Mozart Players, Jane Glover, cond. ASV, recorded c1988

Now the story. My first summer in music camp, I was horrified to discover that everyone was required to be in the chorus. The chorus director was of the opinion that everyone can contribute to a chorus -- until he heard me. For reasons I can't explain, he had not only found but chosen to have us sing a choral arrangement of the "Alleluja." Or maybe it was for soprano with chorus? I honestly have no recollection of what we did to this little treasure; I can only assume the worst -- notwithstanding which, I fell hopelessly in love with the piece. How can anyone not? (Oh, the picture? That's Felicity Lott, whom we just heard sing the "Alleluja.")

Mercifully, I wouldn't even no where to look for a recording of a choral arrangement of the "Alleluja." Of course when Mozart wanted to write for chorus, it was his habit to make magic. Here, from the other end of his career, is a about as lovely a four-minute hunk of music as you could ask for.

MOZART: Ave verum corpus, K. 618

[Wikipedia offers this translation of the 14th-century Eucharistic hymn Ave verum corpus.]

Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
Oh dear Jesus, Oh merciful Jesus, Oh Jesus, son of Mary,
have mercy on me. Amen.

Vienna Singverein, Philharmonia Orchestra, Herbert von Karajan, cond. EMI, recorded July 1955

SUNDAY CLASSICS SCHEDULING NOTE

I know we're supposed to be continuing this week with Pietro Mascagni's Cavalleria rusticana. We'll do that next week. (Probably.) And don't be surprised if the heroine of Cavalleria, Santuzza, comes accompanied by her cousin-in-suffering, Amilcare Ponchielli's La Gioconda.

By the way, I've got my copy of the Raging Bull soundtrack set, and the orchestra that Arturo Basile conducts in the Mascagni excerpts really is billed as "Orchestra of Bologna Municop Theatra." I'll probably have more to say, and maybe play, but for now, if you were worried that you might asked to sit through the entire Cav Intermezzo, not to worry -- it's just the part that's used in the movie.

IN TOMORROW NIGHT'S PREVIEW --

We hear more Mozart, having nothing (at least nothing that the naked ear can discern) to do with tonight's. (For the connection, see Sunday's main post.)

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