Wolfgang Amadeus Mozart (1756–1791), Missa brevis in F major K. 192

This early mass (written in 1774 at the age of 18) is a compact and tightly constructed work, ingenious in its concision.  There is a minimum of word repetition, and the longer movements (Gloria and Credo) conclude with imitative rather than fully fugal writing.  Both Mozart and his father Leopold worked in the Salzburg court chapel where Archbishop Colloredo, enthroned in 1772, was a reformist churchman; he was reported to have had an austere view on music in worship: that it should be noted for its brevity!

Charles Villiers Stanford (1852-1924) was instrumental in the revival of British musical fortunes in the early years of the twentieth century, and although his sacred music is a relatively small part of his massive output, it is frequently performed. This simple setting of O for a closer walk with God takes William Cowper’s words setting them to a hymn-like lilting melody. The music captures the varied sentiments of the text, at times prayerful, at others fervent.

Text:

O for a closer walk with God,
A calm and heavenly frame;
A light to shine upon the road
That leads me to the Lamb!

Return, O holy Dove, return,
Sweet messenger of rest;
I hate the sins that made thee mourn,
And drove thee from my breast.

So shall my walk be close with God,
Calm and serene my frame;
So purer light shall mark the road
That leads me to the Lamb.

Jean Lhéritier (c.1480–after 1551) was a French composer who worked in Italy for a large part of his career.  His smooth, imitative style was important in establishing the techniques which Palestrina would later develop.  Surrexit pastor bonus is a radiant and serene work, which suitably depicts the glorious atmosphere of a now-redeemed world following Easter.