Wolfgang Amadé Mozart - The Compleat Mozart (Neal Zaslaw)
Instrumental music
Church Sonatas
Background and overview
Apart from three pieces for mechanical organ, and perhaps the fugues K. 154a and K. 401, the only organ music of Mozart extant is the collection of seventeen sonate da chiesa, church sonatas – or, as they are often known, epistle sonatas, since they were played during the celebration of the Mass between the Epistle and the Gospel (or in terms of the music, between the Gloria and Credo). The sonatas date from between 1772 and 1780, and were written for Salzburg Cathedral. All are short pieces of only one movement and all are in major keys.
Three of the sonatas are scored for an orchestra that includes oboes, horns, trumpets, and timpani; the rest are for organ and strings (without violas, as was the regular practice for music written for the cathedral). For nine of the sonatas Mozart limited the organ part to accompanying from a figured bass; the other eight sonatas also have obbligato solos for the organ.
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K. 67 Church Sonata in E flat major, No. 1 (K6 41h)
Origin: Salzburg, 1772
Scoring: 2 violins, basso continuo
This first sonata moves, atypically, at a moderately paced tempo. In triple time, its mood is peacefully devotional. The first violins take the lead with a graceful melody.
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K. 68 Church Sonata in B flat major, No. 2 (K6 41i)
Origin: Salzburg, 1772
Scoring: 2 violins, basso continuo
This is a typically Italianate movement, lively, optimistic, and full of inventive melodic ideas, with occasional tentative polyphonic excursions.
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K. 69 Church Sonata in D major, No. 3 (K6 41k)
Origin: Salzburg, 1772
Scoring: 2 violins, basso continuo
K. 69 is the most jubilant of this first set of sonatas. Held chords in the continuo contrast brightly with busily rushing violin scales. There is a short and more relaxed second subject.
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K. 144 Church Sonata in D major, No. 4 (K6 124a)
Origin: Salzburg, 1774
Scoring: 2 violins, basso continuo
The next two sonatas postdate the first group by two years. They show clearly how Mozart, at the age of sixteen, had already gained a firm grasp of symphonic form. A bright and particularly jolly motif introduces and dominates this movement, but is varied to provide contrasts of major and minor, loud and soft.
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K. 145 Church Sonata in F major, No. 5 (K6 124b)
Origin: Salzburg, 1774
Scoring: 2 violins, basso continuo
In triple time, this sonata is devotional in feeling, characterized by long melodic lines.
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K. 212 Church Sonata in B flat major, No. 6
Origin: Salzburg, July 1775
Scoring: 2 violins, basso continuo
A rather long and elaborate piece, this work sounds like the opening movement of an early symphony. Mozart has written in occasional polyphonic experiments, a little unsure perhaps, but charming nonetheless.
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K. 241 Church Sonata in G major
Origin: Salzburg, January 1776
Scoring: 2 violins, basso continuo
Unlike the earlier sonatas, this piece has a completely realized organ part. It shares the dancelike character of the later church sonata, K. 225 (see below), although it is perhaps even more informal.
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K. 244 Church Sonata in F major No. 9
Origin: Salzburg, April 1776
Scoring: 2 violins, basso continuo, organ obbligato
Here for the first time the organ functions independently. Once again the style is that of a stately minuet, with strings and organ alternating statement and answer. The development is boldly exploratory and there is a charming quiet ending.
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K. 245 Church Sonata in D major, No. 10
Origin: Salzburg, April 1776
Scoring: 2 violins, basso continuo, organ obbligato
For Mozart the key of D major was the one ideally suited to virtuosity and the display of pomp. Although the organ plays a somewhat subsidiary role in this sonata, the general effect is that of confident jubilation. Contrasts are handled in a masterful fashion, there is a wealth of melody, and the development is boldly written.
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K. 263 Church Sonata in C major
Origin: Salzburg, December 1776
Scoring: 2 trumpets, 2 violins, basso continuo, organ obbligato
In this work, strings are joined by trumpets, the organ part is prominent – written out for both hands – and the general mood is of majestic celebration.
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K. 274 Church Sonata in G major, No. 11 (K6 271d)
Origin: Salzburg, 1777
Scoring: 2 violins, basso continuo
Although the mood is a lyrical one, this sonata is full of playful touches. The organ part is realized again from the figured bass. The independence of the three main musical strands (first violins, second violins, and the bass line), together with ventures into polyphony, put the listener in mind of Handel.
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K. 278 Church Sonata in C major, No. 12 (K6 271e)
Origin: Salzburg, March or April 1777
Scoring: 2 oboes, 2 trumpets and timpani, 2 violins, basso continuo
This sonata, like K. 274 above, was composed during the Lenten season of 1777, but it may well have been intended for the Easter Mass, since oboes, trumpets, and drums join the string band, and the atmosphere is once more of joyful celebration. Mozart copes admirably with the resonant cathedral acoustics, allowing chord to build on chord in the loud passages. The chief harmonic interest is reserved for the soft passages for strings alone.
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K. 329 Church Sonata in C major, No. 14 (K6 317a)
Origin: Salzburg, March? 1779
Scoring: 2 oboes, 2 horns, 2 trumpets and timpani, 2 violins, basso continuo, organ obbligato
Two years passed between the composition of sonatas K. 278 (see above) and K. 329; it was the period of Mozart's visits to Mannheim, Paris, and Munich, of his mother's death, and of his failure in love. The final church sonatas reflect a new maturity, a firmer mastery of structure and contrast, a greater emotional depth.
It seems fairly certain that K. 329 was written for performance with the "Coronation" Mass, K. 317 (discussed on p. 13). It dates from the same time, the key is the same, and the instrumentation is identical, including the two horns that were rarely employed in Salzburg Cathedral. Two oboes, two trumpets, and timpani are also added to the string band. The organ part is elegantly written, and the mood is of grandeur and majesty, perfectly matching that of the Mass.
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K. 328 Church Sonata in C major, No. 13 (K6 317c)
Origin: Salzburg, early? 1779
Scoring: 2 violins, basso continuo, organ obbligato
Although there are no wind instruments in K. 328, the sonority is brilliant. The busy violin parts demand both virtuosity and lyricism, as Mozart explores corresponding moods of both jubilation and contemplation. The organ adds considerable brightness of color.
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K. 224 Church Sonata in F major, No. 7 (K6 241a)
Origin: Salzburg, early 1780
Scoring: 2 violins, basso continuo, organ obbligato
The writing of this sonata is thoroughly assured. The development section is especially interesting, with cellos and double basses toying busily with the rhythmic figures of the opening. There are striking contrasts of mood and texture.
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K. 225 Church Sonata in A major, No. 8 (K6 241b)
Origin: Salzburg, early 1780
Scoring: 2 violins, basso continuo, organ obbligato
A noble first subject, which reminds us of a courtly minuet, stands in striking contrast to the flowing melody of the second. Mozart treats the latter one with daring harmonic experimentation in the brief development. The organ is used discreetly to add color.
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K. 336 Church Sonata in C major, No. 15 (K6 336d)
Origin: Salzburg, early 1780
Scoring: 2 violins, basso continuo, organ obbligato
Scored for organ with strings alone, this sonata is unique among the seventeen in being a typical Mozartean keyboard concerto movement. Mozart undoubtedly designed the organ part for himself; his official position at Salzburg in 1780 was court organist. The sonata was designed to be performed between the Gloria and Credo of Mozart's last Salzburg Mass, K. 337 (discussed on p. 13) a work that contains an elaborate solo for organ in its Agnus Dei. The organ part in this sonata would sound equally effective on the piano, although the upper overtones of the church instrument give the piece a delicious brightness.
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