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REVALUING POLITICAL CHORAL MUSIC FOR MODERN PERFORMANCE

female voices from Act 1, Scene 1, of Mozart’s Magic The text, Stadler’s sensitive playing for which he was
Flute and demonstrates the craftsmanship and charm of widely admired, and the tenor’s warm middle range
4
which Süßmayr was clearly capable. The voices are of- (the highest note is B« , but the bulk of the piece rests a
ten paired, supporting a third solo line within the ensem- fourth lower) doubtlessly conspired to melt the hearts of
ble, a feature that also bears likeness to the Magic Flute the distraught Viennese in what is arguably the tenderest
trio (Figure 1 on page 34). portion of the work. Landon reports that the following
The following Recitative and Aria (Nos. 10 & 11) year, Christmas 1797, the Tonkünstler-Gesellschaft program
sung by the tenor, are also worthy of mention. The included “The favorite aria from the Cantata ‘Der Ret-
tenor soloist plays the role of a young man preparing ter in Gefahr’, by Süssmayer, sung by [Friedrich] Schulz
to leave behind his wife and two young children to go and accompanied on the clarinet by Stadler.”
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and defend the Fatherland because he “does not love
his country less.” The virtuosic solo clarinet part written
for Anton Stadler figures large in both the recitative and The Chorus

aria. In fact, the recitative dedicates over 60% of its con- Der Retter in Gefahr calls for a substantial chorus that
tent to providing the famed clarinetist an opportunity to appears in three diff erent voicings: double choir (SATB/
demonstrate his remarkable technique. SATB), TB, and SATB. Predominantly homophonic in
The aria text is a continuation of the emotive poetry texture, the choral writing is well within reach of high
begun in the recitative: school, collegiate, or community choirs. For the pre-
miere the chorus was composed of forty-eight singers
Vainly you stretch out your little hands after me; from the opera companies in the city. Each chorus is la-
In vain is your crying; beled in the libretto according to its dramatic function.
I should – I must – be on my way. In the opening movement, which flows directly from the

Beloved of my soul! contiguous overture, a mixed double choir is a “Chorus
You my children, farewell! of Oppressed People,” crying out for deliverance from
their burdensome role as Europe’s perpetual savior, rag-

Table 2.Assemblage of Der Retter in Gefahr

No. 15
1794 Schlusschor

Nos. 8 & 9
Nos. 2 & 3 Nos. 6 & 7 Recit & Trio Nos. 12 & 13
1795 Recit & Aria Recit & Aria Genius, D. Frau Recit & Aria
Genius Deutsche Frau Landmädchen
Landmädchen

No. 1 Nos. 4 & 5 Nos. 10 & 11 No. 14
Recit & Aria
1796 Overture & with Male Chorus Recit & Aria Recit
Chorus
Jünger Mann 2nd Junge Mann Jünger Mann

CHORAL JOURNAL April 2021 Volume 61 Number 9 33