Performed by Michele Laporte (soprano) and Philippe Malgouyres (organ).
|Problems listening to this file? See media help.|
This religious solo motet was composed at the time Mozart was visiting Milan.12 It was written for the castrato Venanzio Rauzzini,34 Mozart's favouritecitation needed for his operas, who had been Cecilio in Lucio Silla the previous year.5 Mozart made slight revisions around 1780.6 In modern times, the motet is usually sung by a soprano.
It is divided into three parts:
The final allegro section is an "Alleluia," "a jewel of a piece with its high spirits and its wit ... its music speaks unmistakably of his relaxed high spirits at the time he wrote it and of the elation and confidence that his opera-house success at brought him".7
Although nominally for liturgical use, the motet has many features in common with Mozart's concert arias, such as those drawn from his operas.8 Mozart also used elements of concerto form in this motet.9
- K. Kuster, M. Whittall Mozart: A Musical Biography Oxford University Press, p. 25
- "The Three Versions of Mozart's Exsultate, jubilate". pzweifel.com. Retrieved 27 February 2008.
- L. Schenbeck (1996). Joseph Haydn and The Classical Choral Tradition Hinshaw Music p. 235
- P. Barbier (1989). The World of the Castrati: The History of an Extraordinary Operatic Phenomenon transl. M. Crosland, Souvenir Press p. 179
- Feldman, Martha (2007). Opera and sovereignty: transforming myths in eighteenth-century Italy. New York: University of Chicago Press. p. 56 n. 36. ISBN 978-0-226-24113-5.
- C. Eisen, S. Sadie. The New Grove Mozart Macmillan (2002) p. 11
- S. Sadie (2006). Mozart: The Early Years Oxford University Press p. 292
- p. 21, Corneilson (2006) Paul. "Arias, Concert" Cambridge The Cambridge Mozart Encyclopedia, C. Eisen, Keefe (editors), Simon P., Cambridge University Press
- p. 41, Küster, Whittall (1996) Konrad, Mary. Oxford Mozart: a Musical Biography Oxford University Press