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Alma Dei creatoris, KV 272a (KV 277) (Wolfgang Amadeus Mozart)

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CPDL #4266: Finale 2002

Editor: David King (submitted 2002-12-03). Score information: A4, 14 pages, 632 kbytes Copyright: CPDL

Edition notes: Full score.

Possible error(s) identified. Error summary: regamus should be rogamus --Vaarky 22:57, 26 November 2008 (UTC) (See discussion page for full description)

CPDL #4267: Finale 2002

Editor: David King (submitted 2002-12-03). Score information: A4, 10 pages, 160 kbytes Copyright: CPDL

Edition notes: Orchestra separate parts.

CPDL #4265: Finale 2002

Editor: David King (submitted 2002-12-03). Score information: A4, 14 pages, 592 kbytes Copyright: CPDL

Edition notes: Vocal-keyboard score.

Possible error(s) identified. Error summary: regamus should be rogamus --Vaarky 22:57, 26 November 2008 (UTC) (See discussion page for full description)

General Information

Title: Alma Dei creatoris, KV 272a (KV 277)
Composer: Wolfgang Amadeus Mozart

Number of voices: 4vv Voicing: SATB
Genre: Sacred, Motet

Language: Latin
Instruments: 2 violins, cello, continuo
Published:

Description:

External websites:

Original text and translations

Latin text

Alma Dei creatoris
Sedet rei peccatoris
Mater clementissima.

Tu fac, clemens, quod rogamus,
Fortes ad certamina.

English translation
Translation supplied by Paul Pascal, Professor Emeritus of Classics, University of Washington

The caring mother of God the Creator
sits as the very merciful mother
of a guilty sinner.

May you, merciful one, bring to pass what we pray for
who are strong for the struggle.

Notes:
There seems to be no source or model for this text in Scripture. "Sedet" appears to be used as in "sits <in judgment>" (cf. Dies Irae: "Iudex ergo cum sedebit"). The point of the last words is not clear; other interpretations may apply (but alternative interpretations considered seemed equally awkward).

The metrical pattern is highly unusual. The first stanza is in the standard pattern of a Gregorian hymn (for example, the "Stabat Mater Dolorosa"): two trochaic lines that rhyme, followed by a third line that lacks the final unstressed syllable. The second stanza should be identical in form. But it is truncated; what should be a second rhyming line is omitted. This is unprecedented and appears unique.

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