Mozart also appears to have tried to win favour with the Elector by
a new church composition; at least a grand Kyrie in D minor (341 K.),
judging by the character of the composition and the distribution of the
orchestra, can only have been written during this stay in Munich. The
orchestra consists of the usual string quartet, and in addition two
flutes, two oboes, two clarinets, two bassoons, four horns (in D and F),
two trumpets, and drums; there is no grouping of the kind that is found
in "Idomeneo." Whether this is a fragment of a Mass which was never
completed, or whether it was intended for insertion in another work,
cannot now be decided. It is tolerably long, but elaborated without much
thematic treatment, the elements of the construction and flow being
more rhythmical and harmonic, and taking their principal charm from
the independent and richly elaborated orchestral accompaniment. Among
Mozart's sacred compositions his Kyries are specially distinguished by
an originality of tone-colouring and peculiarly melodious treatment,
which are extremely well suited to the melancholy tone of the movement
before us. Much of it points to the Requiem, and opens the door to
conjecture as to the path which Mozart would have pursued had he devoted
himself specially to church music.
Another great work, apparently written for the Munich Kapelle, is a
grand serenata for wind instruments (361 K.),[16] with the date 1780,
which he must have taken with him, since he would hardly have undertaken
so important a work while engaged on "Idomeneo." The serenata is for two
oboes, two clarinets, two viols, four horns, two bassoons, violoncello,
and double-bass. The instruments, and the task appointed for them, point
rather to the Munich orchestra
{SERENATA, 1780.}
(167)
than to that of Salzburg. Compositions for wind instruments alone,
called Harmonie-Musik, were then much in favour, and Mozart may have
wished to recommend himself by producing an important piece of the kind,
which would place the performances of the band in a brilliant light.[17]
Public-domain text, read in full here on John Shaqi.
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