Kathryn Isaak “Ave Verum Corpus” W.A. Mozart, K. 618
Mozart composed composed this piece piece in June of 1791, 17 91, six months before his his death. It was composed for his friend, Anton An ton Stoll, who was a choir‐master of the parish church in Baden. This tiny motet – only 46 measures long ‐ has been among his most widely known works for over two centuries. Perhaps only "Twinkle, Twinkle, Little Star" and the KV545 C‐Major Piano Sonata surpass it in this regard. The oldest version of the text comes from a Florentine manuscript from 1293 accompanied by the rubric oratio ad hostiam. Because of the brevity of the prayer and the rhyme scheme it was most likely conceived as a private devotion, perhaps intended as a prayer at the elevation at Mass. While it was not included in official liturgies of the Mass or office until the sixteenth‐century, the text had long been associated with the feast of Corpus Christi. There are numerous variations of the text that were available in Mozart's day, some following local traditions unique to Austria.6 The text used by him, however, is given below with a translation.
1 Ave, verum corpus natum 2 De Maria virgine, 3 Vere passum, immolatum 4 In cruce pro homine. 5 Cuius latus perforatum 6 Unda fluxit et sanguine: 7 Esto nobis praegustatum 8 In mortis examine.
1 Hail, true body born 2 Of the Virgin Mary, 3 Which truly suffered, immolated 4 On the cross for man. 5 Whose pierced side 6 Flowed F lowed with water water and blood: 7 Be for f or us a protection protection 8 In the trials of death.
The original text also included, “O “ O dulcis, O pie, O fili Mariae” but it was a common variation to omit these last two lines, as Mozart did . (Weber, Paul Matthew )
The form of this piece follows the popular sonata style form that was widely used by composers during the classical period. period. Everything revolved around a tonal to nal heirarchy heirarchy where wh ere a piece would start in a key, move away from that tonic, introduce a new key, and then move back to the home key to finish the work. Dissonanc Dissonances’ es’ function was always to build the tension tension that would resolve into into the consonant chords of the key. Every note was written out, rather than allowing soloists to improvise. improvise. The composer had complete control over the notes and the form and the audiences knew what to expect. Ave V erum Corpus composed by a very mature master. This piece is divided in half with the more
consonant harmonies in the first half – A – and the dissonant chords and harmonies occuring in the second half where there is movement among 3 different keys as it moves back to the original tonic harmonies of the beginning. 1.
A (mm 1‐21) key: D...A a.
Introduction (mm1‐2) i.
b.
Orchestra
Phrase 1 (mm3‐10) – Half Cadence i.
Subphrase 1 (mm 3‐6) 3‐6 ) –IAC –IAC
ii. Subphrase 2 (mm 7‐10) – HC c.
Phrase 2 (mm 11‐18) – Key: A i.
Subphrase 1 (mm 11‐14) – DC – diminished 7 th chord
ii. Subphrase Subphrase 2 (mm 15‐18) d.
Interlude (mm 19‐21) i.
2.
– PAC
Orchestra
B (mm 22‐46) key: A...F...d...D a.
Phrase Phrase 1 (mm 22‐25) – Key: Key: A...F ‐ IAC
b.
Phrase 2 (mm 26‐29) – Key: F...d – HC
c.
Phrase 3 (mm 30‐37) – Key: D – DC
d.
Phrase Phrase 4 (mm 38‐43) ‐ PAC
e.
Coda (mm44‐45) i.
Orchestra
Mozart uses the music to accompany the text; i.e. the harmonies and movement of the chords act as
text painting to describe the message. message. For example, there are 4 instances of a diminished 7 th chord, which is the most dissonant of all the harmonies. Mozart uses these harmonies in crucial crucial spots in the piece; piece; on the words, “ immolatum, latus, sanguine, in mortis”. Besides “latus”, “latus”, these spots occur during important movements in the harmonies either away from the tonic, or in an effort to work back to the tonic. Also, these chords fall on the words that describe the death and suffering of the Savior – painfu painfull chords illustrate a terrible experience. Spots to work on: 1.
Mozart bookends the piece with the sopranos soaring to a suspended high D in mm 15 and mm38; mm38 ; the first instance refers to Christ’s death, the second to our death.
2.
Phrasing. This piece is divided into 4 measure phrases until the very end and the harmonies shape the phrases beautifully as they move towards cadences. Where is the climax climax of the phrase? How can dynamics shape the phrase?
3.
The third phrase of B is an imitative sequential passage that pushes the music so beautifully to the closing phrase.
4.
Individual Phrases working on diminished 7 th chords.
Overall Outcomes: Students will perform Mozart’s “ Ave V erum Corpus ” with arching phrases that
clearly show the different phrases and sections of this sonata‐style piece. Phrasing: ●
Affect Outcome: Students will discuss how musical phrases enhance the text. text. 1.
2.
Have a student read the English translation of the text in mm 3‐18 ■
“If you were a composer, how would you break up this sentence?”
■
“How would you use music to interpret these phrases?”
Have accompanist play mm 3‐18 while choir listens and follows along. ■
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Knowledge Outcome: Students will define “musical phrase” 1.
●
“How did Mozart use music to interpret the phrases in the text?”
Discuss literary sentences and make the connection to musical sentences.
Skill Outcome: Students will perform arched phrases, showing understanding understand ing of tension and
release
1.
Have students pair up and take hands. Pull apart during tension and relax relax on the release.
2.
Everyone sing the soprano line and use their hands by pulling apart during tension and relaxing back together during release.
Diminished Chords: ●
●
Knowledge Outcome: Students will identify diminished 7th chords visually and aurally 1.
On the board show a major/minor 7 chord on the staff
2.
Play the chord on the piano “sing the tone that it sounds like it wants to go to”
3.
On the board show a diminished 7 chord on the staff (point out the accidentals)
4.
Play the chord on the piano “sing the tone that it sounds like it wants to go to”
5.
Show mm 28 beat 4‐mm29 beat 1 – build the chords on the staff in root position
6.
Play measure measure 28 beat 4, think of the resolution, resolution, play measure 29 beat 1.
Skill Outcome: Students will sing diminished chords in 4‐part harmony 1.
●
Mm 28‐29 B, BA, T, TS, BATS on solfege (d minor) ■
B – la, so, fi, so
■
T – ti, do, le, re
■
A – re, do, ti, do, ti
■
S – fa, me, re, me , re
Affect Outcome: Students will discuss how diminished 7 th chords illustrate the text 1.
Point out mm 14 beat 1, mm 27‐28, mm38‐39 instances of diminished 7 th chords and have students discuss discuss why they think Mozart would have chosen these spots to use these chords.
2.
What affect do the chords produce?
