Exsultate, jubilate

From Wikipedia, the free encyclopedia
(Redirected from KV 158a)
Exsultate, jubilate
Motet by W. A. Mozart
Mozart in the 1770s
CatalogueK. 165
Composed1773 (1773): Milan
Performed17 January 1773 (1773-01-17)
  • soprano
  • orchestra

Exsultate, jubilate (Exult, rejoice), K. 165, is a 1773 motet by Wolfgang Amadeus Mozart.


This religious solo motet was composed when Mozart was staying in Milan[1]: 25 [2] during the production of his opera Lucio Silla which was being performed there in the Teatro Regio Ducale. It was written for the castrato Venanzio Rauzzini,[3][4] who had sung the part of the primo uomo Cecilio in Lucio Silla the previous year.[5] While waiting for the end of the run (from 26 December 1772 to 25 January 1773), Mozart composed the motet for his singer, whose technical excellence he admired. Its first performance took place at the Theatine Church on 17 January 1773, while Rauzzini was still singing in Mozart's opera at night.[6] Mozart made some revisions around 1780.[7] On 30 May 1779, a Trinity Sunday, a revised version was performed by Francesco Ceccarelli at the Holy Trinity Church, Salzburg. Another revised version was intended for Christmas. The manuscripts of the two Salzburg versions were discovered in 1978 in St. Jakob, Wasserburg am Inn.[2] In modern times, the motet is usually sung by a female soprano.


External audio
audio icon Performance by Kiri Te Kanawa, London Symphony Orchestra, Colin Davis conducting (1971); via Internet Archive

It has four sections:

  1. Exsultate jubilate – Allegro (F major)
  2. Fulget amica dies – Secco Recitative
  3. Tu virginum corona – Andante (A major)
  4. Alleluja – Molto allegro (F major)

Musicologist Stanley Sadie called the final section, "Alleluia", "a jewel of a piece with its high spirits and its wit ... like no other piece of Mozart's; its music speaks unmistakably of his relaxed high spirits at the time he wrote it and of the elation and confidence that his opera-house success at brought him".[8]

Although nominally for liturgical use, the motet has many features in common with Mozart's concert arias, such as those drawn from his operas.[9] Mozart also used elements of concerto form in this motet.[1]: 41 


The motet is scored for soprano solo, 2 oboes (or 2 flutes), bassoon, 2 horns in F, organ, 1st and 2nd violins and violas, cello, and double bass.

The occasionally divided viola section gives the orchestra a richer sound.[10] This is something Mozart did more often, for example in his Sinfonia Concertante KV 364 in E-flat major for violin, viola and orchestra.


Written in Latin, the author of the text is unknown but may have been Rauzzini.[11]

Exsultate, jubilate,
o vos animae beatae,
dulcia cantica canendo,
cantui vestro respondendo,
psallant aethera cum me.

Rejoice, resound with joy,
o you blessed souls,
singing sweet songs,
In response to your singing
let the heavens sing forth with me.

Fulget amica dies,
jam fugere et nubila et procellae;
exorta est justis
inexspectata quies.
Undique obscura regnabat nox,
surgite tandem laeti
qui timuistis adhuc,
et jucundi aurorae fortunatae
frondes dextera plena et lilia date.

The friendly day shines forth,
both clouds and storms have fled now;
for the righteous there has arisen
an unexpected calm.
Dark night reigned everywhere [before];
arise, happy at last,
you who feared till now,
and joyful for this lucky dawn,
give garlands and lilies with full right hand.

Tu virginum corona,
tu nobis pacem dona,
tu consolare affectus,
unde suspirat cor.

You, o crown of virgins,
grant us peace,
Console our feelings,
from which our hearts sigh.

Alleluja, alleluja![2]


The text of the first Salzburg version differs in the first and second section.[2]

Exsultate, jubilate,
o vos animae beatae,
Summa Trinitas revelatur
et ubique adoratur,
date illi gloriam.
Summa Trias adoratur,
date illi gloriam.

Rejoice, resound with joy,
o you blessed souls,
the Great Trinity is revealed
and everywhere adored;
give It glory.
The Great Triad is adored,
give It glory.

Tandem advenit hora,
qua Deum colimus in spiritu et veritate,
et nomen illius magnum in omni loco est.
Debitum jam illi sit sacrificium;
sed per Mariam accedamus
in fide ad fontem gratiae,
ad thronum misericordiae,
ut magis acceptabile sit obsequium.

At last the hour has come
when we worship God in spirit and in truth,
and His name is great in every place.
Now let the due sacrifice be made to Him;
but through Mary let us approach
in faith the source of Grace,
the throne of Mercy,
so that our obedience [or service] may be more acceptable.

The second Salzburg version differs from the previous only in the first section.[2]

Exsultate, jubilate,
o vos animae beatae,
Caro factus, factus homo ubique adoratur;
date illi gloriam.
Summa Trias adoratur,
date illi gloriam.

Rejoice, resound with joy,
o you blessed souls,
[He who was] made flesh, made man is everywhere adored;
give Him glory.
The Great Triad is adored,
give It glory.



  1. ^ a b Konrad Küster (1996). Mozart: A Musical Biography. Translated by Mary Whittall. Clarendon Press. ISBN 9780198163398 – via Internet Archive.
  2. ^ a b c d e Richard Hamilton; Paul F. Zweifel. "The Three Versions of Mozart's Exsultate, jubilate". pzweifel.com. Archived from the original on 15 July 2011. Retrieved 27 February 2008.
  3. ^ L. Schenbeck (1996). Joseph Haydn and the Classical Choral Tradition, Hinshaw Music, p. 235
  4. ^ P. Barbier (1989). The World of the Castrati: The History of an Extraordinary Operatic Phenomenon, transl. M. Crosland, Souvenir Press, p. 179
  5. ^ Feldman, Martha (2007). Opera and sovereignty: transforming myths in eighteenth-century Italy. New York: University of Chicago Press. p. 56 n. 36. ISBN 978-0-226-24113-5.
  6. ^ Hermann Abert, Mozart, (1909), transl. and revised by Cliff Eisen, Yale University Press, 2007, pp. 150–151
  7. ^ C. Eisen, S. Sadie. The New Grove Mozart Macmillan (2002), p. 11
  8. ^ Sadie, Stanley (2006). Mozart: The Early Years (reprint ed.). Oxford University Press. p. 292. ISBN 9780198165293.
  9. ^ Paul Corneilson (2006). "Arias, Concert", The Cambridge Mozart Encyclopedia, Cliff Eisen, Simon P. Keefe (eds.), Cambridge University Press, p. 21
  10. ^ "Review (Judith Raskin, Cleveland Orchestra, George Szell)". Hi-Fi/Stereo Review. Vol. 19. 1967. p. 80.
  11. ^ K-165, Britannica.com

External links[edit]