Exsultate, jubilate
Wolfgang Amadeus Mozart composed the motet Exsultate, jubilate in 1773 while staying in Milan. The work emerged during the production of his opera Lucio Silla at the Teatro Regio Ducale. A castrato named Venanzio Rauzzini had sung the role of Cecilio in that opera the previous year. Mozart wrote this religious piece specifically for Rauzzini, whose technical excellence he greatly admired. The composer waited until the end of the opera run to finalize the composition. The performance window stretched from the 26th of December 1772 to the 25th of January 1773. On the 17th of January 1773, the first performance took place inside the Theatine Church. Rauzzini sang the solo part even while performing in Mozart's opera later that same night. This dual schedule highlights the intense demands placed on the singer and the urgency of the commission.
The motet divides into four distinct sections with varying tempos and keys. The opening movement bears the title Exsultate jubilate and moves at an Allegro pace in F major. A secco recitative follows under the heading Fulget amica dies. The third section carries the name Tu virginum corona and proceeds as an Andante in A major. The final movement returns to Allegro speed in F major under the label Alleluja. Musicologist Stanley Sadie described the closing Alleluia as a jewel of a piece filled with high spirits and wit. He noted its music speaks unmistakably of Mozart's relaxed confidence following his opera-house success. Although intended for liturgical use, the work shares many features with concert arias drawn from Mozart's operas. The composer also integrated elements of concerto form directly into this sacred composition. An occasionally divided viola section gives the orchestra a richer sound than usual. This orchestration choice appears more frequently in works like the Sinfonia Concertante KV 364.
Mozart made some revisions around 1780 to alter the original text. On the 30th of May 1779, a Trinity Sunday, a revised version appeared at the Holy Trinity Church in Salzburg. Francesco Ceccarelli performed that altered edition before a local congregation. Another revised version was originally intended for Christmas observance. Manuscripts containing these two Salzburg versions remained hidden until their discovery in 1978 within St. Jakob in Wasserburg am Inn. The first Salzburg revision changes the opening lines to reference the Great Trinity instead of blessed souls. It states that the Great Triad is adored everywhere and demands glory be given. A second Salzburg version differs only in the first section by mentioning flesh made man as the object of worship. These textual shifts reflect changing theological emphases or specific liturgical requirements of later performances. The autograph manuscript of the original motet remains preserved today in the Jagiellonian Library.
The premiere featured Venanzio Rauzzini singing the solo part on the 17th of January 1773. Modern times usually assign this role to female sopranos rather than castrati. Countertenors have recorded significant interpretations including Michael Maniaci and Franco Fagioli. Aris Christofellis recorded only the Alleluia movement for his discography. The evolution from Rauzzini's voice type to contemporary vocal traditions marks a shift in performance practice. Some recordings feature period instrument ensembles while others utilize modern orchestras. The piece has been performed by various conductors including Leonard Bernstein and Christopher Hogwood. Artists like Emma Kirkby and Rosmarie Hofmann brought distinct approaches to the score. Barbara Bonney and Nikolaus Harnoncourt collaborated on a Teldec release in 1990. Contemporary singers such as Danielle de Niese and Susan Gritton continue to expand the repertoire's reach.
A 1990 CD and DVD recording features Arleen Auger with the Bavarian Radio Symphony Orchestra under Leonard Bernstein. Period instrument recordings include a 1983 version by Emma Kirkby and Christopher Hogwood with the Academy of Ancient Music. Rosmarie Hofmann and Peter Sigrist released a 1989 edition with the Orchestra of the Schola Cantorum Basiliensis. Barbara Bonney and Nikolaus Harnoncourt produced a 1990 Teldec album featuring Concentus Musicus Wien. Aris Christofellis and Flavio Colusso recorded an Alleluia movement only for EMI between 1994 and 1995. Doris Hagel and Capella Weilburgensis issued a 2004 Profil recording. Carolyn Sampson and Robert King released a 2005 Hyperion Records version titled Exsultate jubilate. Michael Maniaci and Martin Pearlman contributed a 2009 Telarc Arias for Male Soprano collection. Later entries include a 2016 Signum Classics release by Aksel Rykkvin and Nigel Short. Robin Johannsen and Giulio Prandi delivered a 2022 Arcana album focusing on Mozart in Milan.
Common questions
When and where did Wolfgang Amadeus Mozart compose the motet Exsultate, jubilate?
Wolfgang Amadeus Mozart composed the motet Exsultate, jubilate in 1773 while staying in Milan. The work emerged during the production of his opera Lucio Silla at the Teatro Regio Ducale.
Who performed the first performance of Exsultate, jubilate on the 17th of January 1773?
The first performance took place inside the Theatine Church on the 17th of January 1773 with Venanzio Rauzzini singing the solo part. Rauzzini sang the role even while performing in Mozart's opera later that same night.
What are the four sections of the musical composition Exsultate, jubilate by Wolfgang Amadeus Mozart?
The opening movement is titled Exsultate jubilate and moves at an Allegro pace in F major. A secco recitative follows under the heading Fulget amica dies, followed by Tu virginum corona as an Andante in A major. The final movement returns to Allegro speed in F major under the label Alleluja.
When was a revised version of Exsultate, jubilate presented at Holy Trinity Church in Salzburg?
On the 30th of May 1779, a Trinity Sunday, a revised version appeared at the Holy Trinity Church in Salzburg. Francesco Ceccarelli performed that altered edition before a local congregation.
Which recordings feature Arleen Auger and Leonard Bernstein for the work Exsultate, jubilate?
A 1990 CD and DVD recording features Arleen Auger with the Bavarian Radio Symphony Orchestra under Leonard Bernstein. This release captures the piece using modern orchestral forces rather than period instruments.