The Evolution of Mozart’s Church Music Style (on the Example of the “Litaniae Lauretanae” K. 125, K. 243)
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Abstract
The domain of sacred music in Mozart’s musical legacy of the Salzburg and Vienna periods
has been researched to various degrees. The greatest amount of attention is given by musicologists
to the compositions of the Vienna period, whereas the main body of church music was created by
the composer in Salzburg. Upon analysis of works of the early and middle periods, the evolution
of Mozart’s sacred style becomes apparent. Comparison of two “Litanies Lauretanae” (from
1771 and 1774), which are similar to each other in terms of genre and their literary texts, presents
the possibility of revealing the models which served as examples for Mozart during the time he
mastered the genres of sacred music, to trace out the stylistic sources which had influenced the
composer’s individual church style, as well as to elucidate the topoi inherent to sacred music.
In the “Litanies Lauretanae” there are topoi presented which have been developed in both the
Classical and the Baroque traditions, and which stem not only from church music, but also from
secular music. These include the “ethical” topoi, connected with prayerful moods, gallant and
sensitive topoi, presented by a lyrical type of melodicism and, frequently, by dance rhythmic
formulas, as well as topoi of grief and pathos, stemming from both church and opera genres.
Because of the multiplicity of the models which had influenced the formation of Mozart’s church
style, in his sacred works the heterogeneous are remelted into a special quality, discerning the
composer’s mature style.
Keywords: the tradition of Austrian sacred music, Mozart’s church music, “Litanies Lauretanae”,
the Salzburg style of sacred compositions.
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