In 1772-73, an adolescent Mozart and his father Leopold
traveled to Milan to oversee the first performances of Lucio Silla, an
opera seria commissioned by the ducal court. Towards the end of his time in
Milan, Mozart composed a solo motet for the Italian castrato Venanzio Rauzzini,
who had also been the prima uomo in Lucio Silla. The motet, Exsultate,
jubilate, is the earliest of Mozart's works to remain widely popular today.
Exsultate, jubilate, scored for oboes, horns, strings
and continuo, follows the typical pattern of Italian motets during the 18th
century—two da capo arias encompassing a brief recitative and capped off with a
joyous Alleluia. Furthermore, the tempos of the different sections follow the
pattern of the Classical concerto. The opening aria and the concluding
Alleluia, both in Allegro tempo and utilizing the full ensemble, demand
the vocalist to execute brilliant, florid passages. The second aria, on the
other hand, requires great lyricism and is accompanied by only the strings and
continuo.Joseph DuBose
Classical Music | Soprano
Wolfgang Amadeus Mozart
Tu virginum corona and Alleluja, from Exultate, Jubilate Play
Recorded on 03/01/2009, uploaded on 03/01/2009
Musician's or Publisher's Notes
In 1772-73, an adolescent Mozart and his father Leopold traveled to Milan to oversee the first performances of Lucio Silla, an opera seria commissioned by the ducal court. Towards the end of his time in Milan, Mozart composed a solo motet for the Italian castrato Venanzio Rauzzini, who had also been the prima uomo in Lucio Silla. The motet, Exsultate, jubilate, is the earliest of Mozart's works to remain widely popular today.
Exsultate, jubilate, scored for oboes, horns, strings and continuo, follows the typical pattern of Italian motets during the 18th century—two da capo arias encompassing a brief recitative and capped off with a joyous Alleluia. Furthermore, the tempos of the different sections follow the pattern of the Classical concerto. The opening aria and the concluding Alleluia, both in Allegro tempo and utilizing the full ensemble, demand the vocalist to execute brilliant, florid passages. The second aria, on the other hand, requires great lyricism and is accompanied by only the strings and continuo. Joseph DuBose
More music by Wolfgang Amadeus Mozart
Soave sia il vento, from Così fan tutte
Rondo in D Major, K. 485
Hostias from Requiem K.626
Sonata in D Major
Concerto No.21 Do major 2nd moviment
Benedictus from Requiem K. 626
12 Variations in C Major on “Ah, vous dirai-je Maman” K. 265
Piano Concerto 12 KV 414 (1ºmov)
Piano Sonata No. 8 in a minor, K 310
Dies Irae from Requiem K. 626
Performances by same musician(s)
Rompe sprezza, from 7 arie con tromba sola
Mio tesoro, from 7 arie con tromba sola
God, the Lord, my Shepherd is, from Biblical Songs
Con voce festiva, from 7 arie con tromba sola
Give ear, O God, unto my Prayer, from Biblical Songs
Rejoice Greatly, O Daughter of Zion, from Messiah
Come unto Him, from Messiah
You'll never walk alone, from Carousel
There's no place like home for the Holidays
Mary Had a Baby (arr. Dawson)
Classical Music for the Internet Era™
Courtesy of International Music Foundation.