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K. 257

Missa in C, "Credo"

By now, Mozart had come to terms with the restrictions imposed by the Archbishop of Salzburg, Count Hieronymus Colloredo, whose enlightened principals included a desire for less extravagant and more speedy music for his court and cathedral.

Commentators note the songlike character of this work's melodies. Mozart "renounced 'learnedness' completely, without giving up on polyphony," writes Alfred Einstein. "But polyphony acquired a new meaning, as did homophony also. Mozart's homophony was no longer galant; it is as 'unchurchly' as ever, perhaps even more unchurchly than previously, but it becomes more deeply felt, simpler, more personal."

The nickname comes from the frequent repetition of the word "Credo"; Mozart's "mystical" four-note motive, which appears also in his Missa brevis in F, "Little Credo" (K. 192), occurs here in the Sanctus.

Recommended recordings:

• Mozart: Missa in C Major ("Credo")/Litaniae K. 243, Teldec 9031-72304-2
• Mozart: Masses K. 257-259/Church Sonatas K. 244, 263, EMI CDC 7 54037 2

References:

• Einstein, Alfred. Mozart, His Character, His Work. New York, 1962.
• Giegling, Weinmann and Sievers, eds. Chronologisch-thematisches Verzeichnis samtlicher Tonwerke Wolfgang Amadé Mozarts. 6th edition. Wiesbaden, 1964.
• Sadie, Stanley. The New Grove Mozart. New York, 1983.
• Zaslaw, Neal, and Cowdery, William, eds. The Compleat Mozart. New York, 1990.