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MOZART: Davide penitente / Regina coeli, K. 108

Composer(s):Mozart, Wolfgang Amadeus
Period(s) Classical (1750-1830)
Genre Classical Music
Category Choral - Sacred
Catalogue 8.570231
Label Naxos
Quality   320kbps
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In 1785, at the height of his career in Vienna, Mozart was commissioned by the Viennese Society of Musicians to write a work for a Lenten benefit concert. Short of time, he recycled the Kyrie and Gloria from his earlier unfinished Mass in C Minor to form part of the oratorio Davide penitente. Drawing upon the psalms of David, both penitential and joyful, this is a work of great beauty, notable for its memorable choruses, exquisite writing for the woodwind and, in particular, the two new solo arias, A te, fra tanti affanni (In you, amid such tribulation) and Tra l’oscure ombre funeste (Amid the dark grievous shadows), both of which begin with a long expressive opening followed by a virtuoso second section.

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Review By ,Fono Forum,June 2008


Review By Giv Cornfield,The New Recordings, Cliffs Classics,February 2008

Mozart's only oratorio has been rarely recorded and even less performed. I can recall long stretches when the work was totally absent from the catalogues. It's gratifying, therefore, to have this new up-to-date, excellent performance available. To round out the disc, a nice rendition of the lovely regina coeli - a much earlier work - is included.

Review By Tobias Roth,,February 2008

Das Oratorium ‘Davide penitente’, dessen italienischer Text vielleicht aus der Feder Lorenzo da Pontes stammt, komponierte Mozart 1785 im Auftrag der ‘Wiener Tonkünstler-Societät’. Bis auf zwei neue Arien und den Schluss lieh er sich ]das Tonmaterial bei sich selbst, und legte den neuen Text über das ‘Kyrie’ und das ‘Gloria’ seiner c-Moll-Messe, die zwei Jahre zuvor entstanden war. (…)


Review By David Denton, Naxos,January 2008

With the deadline fast approaching for his promised work requested by the Vienna Society of Artists, a charitable organisation that he was anxious to join, Mozart succumbed to the duplicity of recycling the Kyrie and Gloria from his incomplete Mass in C minor with the hope that no one had been in Salzburg two years earlier to hear its first performance. The work was to be the oratorio, Davide penitente, the original Latin text in the Mass now replaced by an Italian libretto, the new words at times fitting awkwardly with the music. To give it a proverbial ‘new coat of paint’ he added two new arias and brought the soloists back for a final burst of activity in a brilliant cadenza. His expedient worked, and with three outstanding soloists it received



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