Introduction
The Mass K257 falls in the stream of the so-called Credo-Masses.
The name is derived from the long setting of the Credo, a practice adopted on many occasions, including, among others, Mozart's own Kleine Credo Messe K192 and, later on, Beethoven's Missa Solemnis.
W.A.Mozart
Mozart - Mass K257, Credo - Analysis
Section A
Should you need a score you can find one here.
The movement is the third one of the mass, following the canonical division of Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei.
Split in an ABA structure, what immediately catches the attention is the motive on which the word "Credo" is built: two notes, which repeatedly come back throughout the first (and the last) part of this movement.
Mozart begins with a clear statement in a forte dynamic, followed by a repetition of the same two bars in piano.
The same word starts off the phrase on bar five with a powerful descending line, reinforced by the addition of trumpets and timpani in the orchestra
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Interestingly, Mozart moves toward G major, hinting a classical change of key to the dominant. But right after a dominant seventh harmony takes us back to C major. The piano dynamic on the words "et invisibilium" (referring to God, the creator of all the invisible things) not only balances the phrase but also whispers of something that men cannot see (or comprehend).
Notice that the trombones - generally doubling the voices - are silent in this passage.
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