Nelson Nirenberg conducted the American Chamber Symphony and the UCLA A Cappella Choir in a genuine Mozart curio, the oratorio "Davidde Penitente," K. 469, in what was reported to be a local premiere Sunday in Gindi Auditorium at the University of Judaism.
Whereas Bach and Handel were inclined to reuse their earlier compositions in their later works, Mozart was sparing in this regard. But for the oratorio--set to an Italian text by an unknown author--Mozart reused eight parts of his great but incomplete Mass in C minor, K. 427.
He cut out the solo bass, composed two new arias and interpolated a solo trio in the "Cum sancto spiritu" fugue to end the work.
The results are not always happy: The new arias fall short of the creative level elsewhere and there are unwieldy stylistic shifts between them and the earlier work. This ill fit is particularly apparent in the interpolated trio.