87055 MOZARTS MASSES, VINCENT NOVELLO. —— Price Fourteen Shillings, Lonpon siexap MUSIC WansnoUse NOVELLO, EWER AND CO, \ 4, BERNERS STREET (W.} AND 35, POULTRY (2.0). .. :A CRITICAL NOTICE MOZART’S FIRST (IN ©). MASS Extracted from the papers on Mozart's Masses in the * Musical Times.” Tue Masses of Mozart, collected and published by Mr. V. Novello, including the Requiem amount 0 eighteen, and of these, more than half were ob- tained from MS. scores and private collections, "The editor used all diligence to render his work complete, and caused enquiries to be made in the pprinefpal Iibraties of the Continent coneeruing ‘works which he imagined Mozagt had written for religious establishments in Bohemia, ‘Though ‘nsueeessful in these enquiries, Mr. Novello was still right in the suspicion that more remained ‘than had come into hia posseasion, and the rapid growth of the work after he first took it im hand favored and encouraged the idea. ‘The information which has turned up within ‘these few years through the publication of the catalogue of that portion of Mozart’: original ‘manuscripts which fell into the hands of M. André, of Offenbach, would have been of the highest ‘value to the oditor had it occurred in time. In the Offenbach catalogue a great number of the EDWARD HOLMES. works collected by Mr. Novello are unmentioned, ‘and we have his diligence entirely to thank for our acquaintance with them; on the other hand thore aro six Masses at least which have escaped the notice of the editor. ‘The list of them is curious. A Mass in G, composed in 1768, at Vienna, ‘The score has only # quartett of stringed instruments as accom- paniment, A Mass in D minor, composed in January, the next year, at Salzburg. ‘The secompaniments are only for two violins and a bass. A Mass in ©, dated October, 1769. ‘The or- chestral parte are for the quattett of stringed instruments, trampets, and drums. ‘The intro- duetory adagio is very grand and choral. ‘A Mass in © minor. ‘Theorchestral parts, two violins, two tenors, bass, two oboes, and three trombones. ‘This work is undated, and the com~ ‘Pocor woul soem to have passed the years of boyhood, from the characte peeing — A Maes in O, insribed in Mozart's hand : Missa in honorem S. Simae Trinitatis, del Sign. Crvalicre A. W. Mozart. nel Giugno, 1778, in Salisburgo. ‘The orchestral parts are to violins, bss, oboes, trumpets, and drum: ‘A Mass in G, in which, after a symphony, the ‘voices bogin the Kyrio with a fague on two eub- jets, the bass Leading. ‘The accompanimentsii, are for tro viling, two oboes, two trampets, and drums, organ, and bass. ‘From a comparison of Mr. Novello’ eoletion ‘of Masses with the catalogue of André, in which so many of them are unmentioned, the natural fnforence would appear to bo, that many moro ‘works of thiskind remain to be known than have ‘yet come to light through either soures, It is not with the idea of hastening the appear- ‘ance of any supplementary volame of the Masses, stil lea of throwing any consure on the service Which Mr. Novello has performed towards the ‘musical world in giving us his arrangements, that we adopt this subject. ‘The era of Mozart's ‘Masses, their object, their effect on the com- poser’s career, their testimony of his diligence ‘composition, eemed to us to offer 10 which might be pursued with interest and profit to the musical reader. ‘The difialty which there is in ascertaining all that o master wrote, whoae life was not extended to thirty-six years; the perpetual grovth of a fame for com. Position founded at twelve years of age or earlier; the certainty that ofthis music a great part must for ever remain unknown to us—all these matters are fertilo in refletion on the wonderful career of genius. But it is of the first consequence that the order of the productions, and the efroum~ stances under which the composer wrote, shoul be duly ascertained, if we would know correctly the infizence of his social postion on the progress and development of his powers. After the removal of Mozart to Vienna, in ‘mature life it appears that he was never engaged fon any chareh musie, eave the Mass in minor, which he afterwards turned into the Oratorio MOZART'S FIRST MASS. Davidde Peniterte,—and the Requiem. Tn this last work it seems highly probable that he used some ideas which had been beating about in his head for a long time. ‘This was his way; he perfected in maturity many of the thoughts which hho had but imperfectly developed in childhood, ‘The similarity of the opening of the Requiem and of Handel's Funeral Anthem for Queen Caroline hhas been noticed ; and possibly in commencing that work he may have remembered some exer- ize of his youth in which he had voluntarily placed himeelf side by side with Handel. But of this merely as a passing observation. "The Masses of Mozart were his exercises in composition written principally for the Cathedral of Salzburg, and extending from about twelve yeara of age to twenty-one, His first Kyri composed at Paris in his tenth year, actually foreshadows the melody of the mature Mozart. ‘Thia fragment was probably merely produced to gratify curiosity ; but the Masses which in a few offs years he began to write at home were 1) spring of his happiest hours of existence, he lived undisturbed under tho paternal wing, and as yet had ecarcely tasted of disappointment for adversity. One sees in the construction of the movements that he was soon obliged to sub- mit his pen to convenience. Tn one place, perhaps, he might be permitted to develop an illea at length—but on most occasions the bishop or other ecclesiastical personage performing service might not be detained too long. He received his com- ‘mands concerning length, &e., with docility, and earned to please the authorities in their own wa fitting the people he had to work for with musk a9 a tailor does a man with a coat! It is his own comparison. Put these restrictions exervised his invention, and pat his address to tho test. Ta like manner the orchestrat he had to write for. Sometimes there was no viola in the band; sometimes there were no wind instraments but ‘oboes, oF only oboes and trombones! ‘There was the organ to fill up and cover defilcations ; and it was Mozart's busiacss to make music out of any means that offered. ‘The violins in the or- chestra were good, as may be seen by the busy passages which he wrote for them, not only in the Allegros of his Masses, but in numerous instra- ‘mental pieoos consisting of Sonatas for the organ and violins, or for the organ with violin and trumpets (little symphonies, in fact), which en- livened the routine of the service at the cathedral of Salabarg. ‘The bishop liked to hear the trum- ‘pets, and to have the service on high festivals go off in as jubilant and dashing a style as pussible— therofore Mozart wrote tile at home in the old solemn monastic style. He rather introduced a apecial style of his own, not so devout as imposing combining dramatic effect and choral dignity with the elegance of the symphony. ‘Never was the most brilliant opera of a metro- politan city supplied with half the novelties with which the eathedral goers of Salzburg were en- tortained from the pen of Mozart for about ten years, from 1768 to 78. ‘The old contrapuntists ‘and composers, berlin, Adlgasser, Michael Haydn, and the rest of the staff of Selzbung ‘musicians, readily gave way to the young man, who supplied their work for nothing, and whose rapid pon was equal to any emergency. ‘The pleasure of this awakening consciousness to great genius can scarcely be appreciated,Mozart gained no emolument for the composition of his Masses ;—his name, indeed, appeared in ‘the cathedral books as the recipient of an_annal present too insignificant for mention ;—but his chief reward was in the sympathy and approba- tion of his private friends and citele of acquaint- ance. When a now Mass or « new Offertoriam hhad gone off with uncommon effect, there was, doubtless, on fine Sundays an unusual utter of congratalation and criticism among the amateurs resorting the publie gardens, the orangery, and other amenities, of the picturesque city of Salz- burg. But the echoes of fame and the reports of tho casual traveller searely carried the knowledge of this musie beyond the mountains, Salzburg was essentially provincial : even the court, though splendid in some respects, wanted polished tone of the electoral and imperial cities. ‘Tho celebrated Archbishop was long be- fore ho could be induced to put the orchestra of his palace, who performed his private concerts, ‘on such a footing as would distinguish it amid ‘the musica! establishments of Germany. But at ‘the cathedral, the appointments were very incom plete, ard there was always a large dependance upon chance or volunteer assistance. ‘The choir ‘was pretty well supplied with voices, and combined the services of » varied class of amateurs— soldiers, priests, and laymen. some Italian singing-masters, past the prime of their years and ambition, who sought repose in the secluded life of Salzburg. ‘The treble chorus ‘was supported largely by boys who eame from all pparts and presented themselves at the chs hhouse as candidates for the honour of serving in the choir. It was a long and arduous task to MOZART @ FIRST MASS. polish their rusticity and to make their well-meant efforts serviceable to musi Perhaps it was only a family of such skill and address as Mozart's, which could effectually tend with the dificulties of making good music from such imperfect means as existod in the Salzburg chofr. Leopold Mozart devoted him- self indefatigably to please—for he had ever and anon a favor of leave of absence to ask at court; ‘yet with all his teaching, hia experience, and in- Gustrious efforts, and notwithstanding. all the serviees of his son, hi pell-meister was of that grating kind which is only endurable in the hope of getting a release from it. He was in perpetual contact with certain mouthpieces of the court, who made him uncomfortable by their representations. ‘The travels of the Mozarts, their fame out of their own country, the solid testimonies of regard which they had received, not less than their superior manners, had made them enemies ; and the counterpoise to this was that they enjoyed the good offices and friendship of several ladies of influence at court, whom Mozart had formed as musicians. ‘The. profes sionel existence of the father was thus balanced. Without having travelled ond heard the best rusic that Europe could produce, it would have ‘been impossible for young Mozart to have con- ceived the polished and elegant passages of these Masses. ‘They could never have sprang up spontaneously like wild flowers in the mountain solitades of Salzburg. But the want of tasto in the then existing upper class of the patrons of ‘music is apparent in nothing more than that they were content to receive these compositions from time to time as amatour amusement, and to suifer situation iii, the author to seek sn appointment through Eu- rope as soon as he cought a pecuniary recompense {or his service Te is necessary to cast this backward glance ac the time and circumstances of the production of ‘Morart’s Masses, because they are often com pared with Haydn's, which were composed for a complete orchestra, and amidst every circum- tance which could favor their full and perfect development, Having but small resouree in his eathedral orchestra (though the stringed parts of the Masses are everywhere eminent and cha- acteristic), Mozart studied the voices, and it is impossible to refer to any works in which there is . a Gver collection of beantiful choral effects, Tn thie reapect they are, amidst all existing music, quite peculiar ; and most of them would give great pleasure in public, notwithstanding their want of complete wind-inetrument parts. ‘The finest counterpoint and melody abound. The antecedent of the style of Mozart's Masses can scarcely be discovered. ‘This music, so majestic and expressive, and sometimes so dramatic, must hhave been @ pure effort of invention, originating: in the desire to unite good musie with what was agreeable and popular. Hence the beautiful melodies, the florid accompaniments, and the avoidance of all that waa formal and eonventional. Setting the same text over and over, drew out ‘Mozart's resources as an instrumental composer in great variety ; and the unfavourable cireum- stances of the composer's position, in some re- spects helped him the more completely to fulfil his destiny. ‘What part Mozart took in the Ssizburg eathe- ral orchestra can scarcely be affirmed with cer-wv. tainty. But during his long absence at Paris, ‘when he had made himself greatly missed, it was sid to be chiely at the organ. His Highness the Archbishop wanted an organist who was also pianoforte player. Mozart was master of both theory and practice at a time whon the most earned musicians hardly knew how to finger a scale, oF to place their hands on a keyed instra- ment. His return to his old quarters in Salzburg, in 1779, 8 young man in his twenty-third year, ‘was in some sort a melancholy triumph for his genius. In the interval, the death of hls mother Thad oceasioned an important void in the house hhold; and, to add to this, he bad been deceived his first attachment. ‘The father consoled himeelf that his comewbat mercurial son was safe under his own roof from the contamination of foreign cities ; while the enemies of the family rejoiced that Mozart had been foiled in his firet attempt to establish himself abroad. ‘These circumstances bring us to the era of ‘Mozart’s first Mass (No. 1 in C, Novello’ edition), ‘composed for the great Easter festival, 1779, when ‘we soe that the composer had reason for exertion, and to announce himself with dignity after his Jong absence. ‘The symphonist, the dramatic ‘musician, the composer in the fullest and com- pletest sense of the word, burst out on tl MOZART'S FIRST MASS. splendid occasion. Nevertheless, the Salzburg orchestra had not greatly improved in its appoint- ments. ‘The original orchestra consists of two violing, two oboes, two trumpets, drams, organ, ‘and basses. In an appendix to the seore, Mozart ‘has added parts for two horns, and here and there for three trombones. ‘This Mass, the latest in the onder of time of Mozart's Masses, is the most vigorous, the most dramatic and impassioned of all the ehurch works h he followed his own style. ‘The Kyrie was evidently written with restrictions as to Tength, but the composer, to render his design complete, introduces a phrase oF two of it again at the end. How characteristic and grand are the Mozartean progrossions condensed in this brief introduction. ‘The Gloria, changing to } time, is remarkable for the beautifal manner i which the voices are joined on to the eymphonie orchestra, and for the fire of fae whole concep tion, which seems to have been struck off in a moment. ‘The movement of the treble snd alto voices in octaves at ‘ bone voluntatis’ must have been a novelty in the counterpoint of the last century. ‘The modulation at the ‘miserere the middle of the Gloria is still admirable. The Credo is peculiarly majestic in the voice parts, and is set off by the interesting motion of the | violing, A sublime contrast of harmony is pro- duced by the pedale, “Et in unum,’ first on the dominant of A minor, and then in the second part, “Et expecto,’ on the dominant of C minor. ‘Mozart's grandest choral style appears in the Sanctus. ‘The Benedietus is eweet and simple, with an exquisite movement of the parts in the voeal quartett.” It is remarkable for the absence of modulation. ‘The soprano eolo, ‘Agnes Dei’ was written for the famous singer, Aloysia Weber, whom Mozart once admired; ond here, curiously enough, he employs the same vocal phrase whieh he afterwards gave to the Countess in Figaro in “Dove sono.’ Kindred feelings pos- sibly enggested the same music. ‘This noble Mass, however already known and admired by musi- cians, becomes doubly interesting through the history of its production, ‘There was one thing which was always purposely Kept in dispute in Mozart's native city, and that was whether he ‘was really a gonius or not, Here, probably, he intended to settle the question ; or, perhaps, not heeding the crities, he intended to take a gentle ‘and magnanimous revenge on Madlle, Weber. His next step from this work was to Idomeneo, and then came in succession the whole train of ‘grand operas and eymphonies,iw C, NOL. y ANDANTE MAESTOS| The Organ Part by NOVELLO, Pattie Sopnino. = ————— Ky. iP Ky rice Ky orice ALTO. Ky-rive Ky ~ rive Ky_ rice TRNORE anrluners : Ky orice Kyrie Bass. Ky rine ORGAN ANDANTE 7 i i MAESTCSO, ’ s ay PIG ANDANTE. 19 = 0 el ANDANDE 100 ( y p yySele, Ky----Fibe eeeANDANTE atiestoso ss =o "Pate [ei — son Kyrive e.4 lei — - son Ky rife === Wigton Wyre es wen Bye d ‘MAESTOSO Swell Stop Diapt onl Che Swell 2 Days leh, Z = =ALLEGRO CON SPIRITO.20=4 Sa Tutti wv lori Glow rica Glo- rica ALLEGRO con | Glow rina @lo— ria | Glow tia sriRITO Glo ori-a Gloria cel — sis | De. et in terra et in terra | pax Gloria et in terra | pax —. et in terraChoir, Hai. eimus -di --eimus — Lan ~ aa. nis|niegnam magna naga Glo.ri Fi Blo.riam gloriam glo. riam glo [eas mus | te = gloriam lori gloram gloriam N Grating Gratias Gratin [Gracias gratias gratias ratios gratiag N a gimus 2. gins a-gimus a..-eiqnus | tibi a.--¢imus| tii ‘ims | t1_bi ace-Rimus| ti-bi NI i propter propter propte propter|ni lge- Jesu Chris ~ ni |ge_nite iw Chris m=. mipotens Jest Chrts qui [tol lis) ‘Agnus De ‘qui | tol lis| ‘ui | Collis qui tol ts!Pea 8 GEOFe Bans _— Tutti 2 oh | tol. dis = qui | tol lis covi | tol, qui | tol tisSolo mun fai Sus cinpel! de... pre [cas new nos. wwp-bat hy aoat a mun [di Sus_ci-pe. hos. —~ | ~~ os _— Se-deg ad [dexteram ‘uj [aennaces_ ad [dex=teram) dex teram Jtram Tyfth Qui se_ des ad [dextorap qui [aedes ad |dex.teram lex_teram Qul se-des ad | dexteram quil se des ad Tutti ldexteram ad |dex_teram| dex.teram] Qui] se-des ad [dexteram quilse des ad [dex.teram| dex -teram|Tarts Gio — nia sOT=L_ lus | so --_ lus Quo — nia’ ‘Quo — niam aif Do- minus De- minus Do-minus Do- minus Qvo_niam Quo-niam ‘Quo_niam ta so -— lus mo—niam tr fquo—niam ts Quo—niam tu sane-—tus | ty, so—lus lus lus te so. lus tu sous sanctus saneiss sanctusCum saneto i in | Gloria ate Cum sancto | spi- in [Glo-ri-a ~te ‘Cum saneto | spi in | Glori-w Full without Trumpet . ff13 ‘Riven Amen men “A men men. Fae ‘Trumpet14 ALLEGRO MOLTO. Dea fn wanda ALLEGRO MOLTO. Tite Win Credo in unum | Deum i Ey Cre.do in unum | Decum in unum ALLEGRO 7 an Full tit Patrem ofy[-ni- po - ten ___ltem <4 Pem Gue-li et Tam Patrem om[-hi - po. tem facto. rem [C a ter te Patrem omni po ten Facto erare on isu Patrem om-[ni po - ten Tim om. ni um<7 om... nium Tosi bi. if um in w-num | Dominum vic si bi et unum | Dominum Jesuw Christum et ex|Pa-tre exPatre| na-tum Christum Fi a et ex Fa Christm tre] na tiw ante na. tum ante £16 caate oma Ri. eum def pe frmende Iumine [Deum venim de Deum[terumde Deo def mine [De— um verum de| tum non [factum jconsubstant tum non [factum consubstanti -‘© stan. ticalem Pa [tri per quem tri perquem Jeri per quem Ronines et propter| Rortram * prep- ter | nostram “iS” qui propter_nos| homines homines qui propter nos | homiaes omnica |fac-...ta sunt perquew | omnia omnia |fac. omnia. ta sunt per quem omni-a | per ques mii.a etpropter nostra ta ct proper 10% Gram nostram fa ot propter tram nostram sa ‘ahi propter nes ‘quiprepter _-talsunt qui propter nos perquemomnia | Fac ‘quipropter ‘eendit de Cae] lie eendit de Con eendit de C cendit de Cer18 wade des cen ditdesleen-dit de Cur dit des —|cen.dit de Cor. een.dit de Co. con-dit de Cor. t Apacio, soufom! ADAGION Ft fncertatde de Spirjtu Vir gine apacrolf _ Ft ihearnatus ‘ie Npiritu_sancto Vir gine ADaGrOl| . Ft Incarnatds de Spiritu_sancto Vir fine fe Tnearnatus de Spiritu sancto View gine apaciol} — 60=- (See eee =19 Cpuci . fis etiam pro.no Ibis sul Pont Pi_la Ho.mo fae Crucifix. etiam pro_no bis sub Ponti.o Fi-la Ho etus Pts ast Grace totic prone tub Fonte fini fac.tus | faetus Cruci - fix. etiam bis sub Pontio Picla Coir Wise ALLEGRO MOLTO, arene passus et se] pultus sepultusfest se. pul-tus Terti-a pans = asus] et Ysepal--- tusfest ce-pul-tre ff Sta Featr| text aie assis Pastis) Shegse= pul ~ pul tus a resur|reit passie Passus passus| et se.-pul se-pul-tus [fen et Fesur|rexit terti-a , a, ff) ALLEGRO MOLTO. pp Wr toeddiiwscrip| tu. ras seriptu dum serip| tu ras seriptw - dum scrip] tu. ras script dum scripl-tu.ras script ‘dex_teram Pa Jdex .teram Pa dex. teram Pa.. dex.teram Ph, etazcen [dit in Co ‘terum ven - terum ven . ~ tu, - ti sede] glo- ria gloAp J glo-ri_a, non rit glorica - mor_tna ae jus reg nit nen laria jucdl Ga fla] tops tion eri gloria Ta jusl regent non eo. pit Selo. = Finis non non erit fini Et in [spiFitum —etin | spi-ritum sanetun| rit finis non | non erit _ fits Tn erit fi. non erit fi. is fo non ferit. erit fi ---22 ; Soir pL, © Donitnam i Quicup Pa-tre i ety Pax tre cum Ps -caniem, Quienm Pa-tre cum Pa tre et = que proj er ait con glo- Fie fit. ca.tur ‘qui To...eu---tus FiuuJlilo sivatl dof fa tur et | con plo. ri- fi-{. ea-tur dof ractur et [eon glo... ri_fi-}- ea-tur et eonglori-fif.catur qui low Morar Mase.NE1,Tussi fest per Prophe .[trs Ft unam sinc... ftam Ca...tho... est per Prophe---}tas EC" vnam|sanc..._tam Ca_| tho.. fam fcclesiam ecclesi- neers ‘rut est per Prophe..., tas Et unam sane stolieam ecele-———-si- per Fro, Ticam et apos.{ tolicam ecele— Tam Confiteor_t-|ntutaptir— ana tn Fe caf.tq-rum et Te suprecti Confiteor tung bap in remissi - 0 ma in remissi to-rum et ‘unumbaptis...ma in remis _[o~ nem pec...ca| term et Fe. surrecti. J Runt with) Thumpels24 CS rrecti{onem jor] 8 vitam, _ventu_vi Fecsurrecti Fe surrecti.. _. tamventtt_ ri A. men tam venturi} smeuT) A-men rm _~ Fe.surrecti ei == So SSE s BLE 8 capmen| Amen Aw-[-men men [Amen Amen A men | A-men Aen Amen a Awen Amen AL wen Amen A Amen A mentor panctus Do~ wine ea ee 8 janetus Bo — minus MAFSTOSO seed anetis Do- winus facts |e nay wnpaxve Jie 7 Putte 15. MAESTOSG. © Saba_oth Ple— ni sunt Geli et [ters ra Pie — ni sunt Corli et [ter—ra 7 Saha_oth Fle ni sunt Geli et | — ra [Ple — ni sunt Corli et [terra le — nt want Cow. le - ni sunt Celt of [ter ra Ple— ni sunt Geli et [tera ra le — nisunt Corli et [ter— ra27 ALLEGRO ASSAI. 126=¢ ALLY E Sarl. 14 neo ALLEGRO aSSail 126. wea Hof san — nacel = #8 eel els | in ex. cel. [usis ‘anna in cel sis fin ex-cel of si is fin ex-cel Bengucteyre ALLECRETTO. ALLEGRETTO, Ch:Dules et alti: ESS Swall Hauthos: 50 Be tus qi ve_.-nit in | no_.-mi_ne | no. [tus qui ve-.-fnit in nominidic tus au venit. qui Ne aMt qui ait qui ne. fadie- (us venit ne -|die.tus Bene. us qui ictus dietus venit Do. mi. PY Dominit qui no.--mtine| Do- mi no..micne | De dictus dictus one { dicts veonit. qui ve.nit qui = ait quit it avi, ictus diets ictus venit 31 ene [ictus BeneJdictss qui jeReldictis qui |vev--nit Heneldictus qui adits qui | die-tus qui pdie-tus qt pdic-tus qui128d ALLEGRO ASSAL. Vol san—na Ho] sananal ines venit i i Ho Jsanenal tie on ani He | Do. 7 Hofsan cial ie venit nonine Sanna e i Hotsan-nal ms] = ANDANTE. _ Solosutto voce — = = ext eel Si Pn Be. ~ re -Ldietts qui ve. Be. sis qui | venit Solo Satter ts a tus qui | venit Boag tus qi33 ASSALTuted wa mi ne | Rowe f i ami ‘Ho fran na in exteelsis| VS ot The | no mi_né | ne Ho} san_na in ev{celsis| Tu Yeo nit in | no. mine | no. mi-ne Ho| san_na in ex eelsis Init in_no.mine| ee LEGRO| AASEAI al i Hohan.na in esfcel sis [in es.cel ets in excel eis inexcel .-.[eis. === : : =e Hofsanna in ex| ce] sis|in excel, sis in excelsis in excel [sis Yiolsanna in excel sis|in excel is in exeel-—is| jn excel ie, Hof sana in ex{eel-sisfin exeel {sis in excel ._|sis excel --|sis.34 Selo. S010. SOPRANO. AN DANTE SOSTENUTOT é sen | Ag. nus |De-. Tis pee.ea..:ta peeleata mun....jli misejrere YL ate err)35 a pecfea-ta munidi Mise frere Mise — a be oT = fT iS nobis mise|. rere bis | Age nus [Dei ; 4 =e : 4 pei quil tol i Agnud De-i qa tollis pedea-ta. = a a Segue Dona nobis:36 0a ANDANTE CON MOTO, Sola ANDANTE CON MOTO, Rt ‘com paren138= 4 37 ALLEGRO con SPIRITO Heute. Zcem do. na ne - dona | no_..bis - Dewna tobi | i~fA ALLEGRO cln SPMRiro| dona [nobis dona Do-na Tom em dona | nobis dons c ‘eem pacem -cem| dona nobis no-bis Pacem dona | dona nobis is e Dona hobis38 nobis doa nobis nobis do-na bis pacem is pacem Swell arumpey a Swell. Swell,bis pacem bis pacew Do-.-na Pane ~ bis pa bis pa Mozarc’s Mass NL.Dowtta nobis pa Do, na nobis PR Do. na nobis Pa. Dona nebis pa. Doi nobis Do, na nobis Do-7a nobis Dona nobis