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Mozart: Great Mass in C minor; Exultate, Jubilate
     

Mozart: Great Mass in C minor; Exultate, Jubilate

by Masaaki Suzuki
 
As he reached the end of his magisterial cycle of Bach cantatas, one might have been forgiven for asking, "Well, what's next?" for conductor Masaaki Suzuki and his Bach Collegium Japan. With the release of a recording of Mozart's "Requiem in D minor, K. 626," and now the "Mass in C minor, K. 427," the answer appears to be the application of historical-performance

Overview

As he reached the end of his magisterial cycle of Bach cantatas, one might have been forgiven for asking, "Well, what's next?" for conductor Masaaki Suzuki and his Bach Collegium Japan. With the release of a recording of Mozart's "Requiem in D minor, K. 626," and now the "Mass in C minor, K. 427," the answer appears to be the application of historical-performance techniques to Mozart and perhaps to other later music. Suzuki, with so much Bach on his plate, is a bit late to this game, and there are places here where his smooth, sensuous yet sober choral style from the Bach recordings makes this sound a bit like Bach. Several things make it work, however. First is the fact that much of the mass is written in the old polyphonic style and was influenced by Mozart's first serious engagement with Bach's music at the home of the aristocrat Baron van Swieten, and all the virtues of the Collegium's performances apply in the big choruses. Sample the Wall of Sound effect in the double-choir "Qui tollis peccata mundi," and note throughout the way the levels of size in the mass are handled intelligently. Second, Suzuki has always chosen effective soloists, and he scores in a big way here with soprano Carolyn Sampson, who delivers a thrilling "Exsultate, Jubilate, K. 165," to bring down the curtain, throwing in a rarely heard alternate version to boot. Finally, Suzuki performs a 1989 partial completion of the mass by German scholar Franz Beyer. This version fills out the sections that Mozart partially completed, including the "Incarnatus "(gorgeous here under Sampson's control), without making grand new statements, and it's probably the most preferable approach, available up to now with historical instruments only in an unorthodox version by Nikolaus Harnoncourt. The unusual tempos that appeared in Suzuki's "Requiem" are absent here, and the bottom line is that if you're OK with Mozart that sounds a bit like Bach at times, you'll find this a satisfying rendition of the "Great C minor mass."

Product Details

Release Date:
12/09/2016
Label:
Bis
UPC:
7318599921716
catalogNumber:
2171
Rank:
4647

Related Subjects

Tracks

  1. Mass No. 17 for soloists, chorus & orchestra in C minor (fragment, "Great Mass"), K. 427 (K. 417a)

    1. Kyrie: Kyrie eleison - Christe eleison  (07:36)
    2. Gloria: Gloria in excelsis Deo  (02:22)
    3. Gloria: Laudamus te  (04:35)
    4. Gloria: Gratias agimus tibi  (01:20)
    5. Gloria: Domine Deus  (02:38)
    6. Gloria: Qui tollis peccata mundi  (05:36)
    7. Gloria: Quoniam tu solus sanctus  (03:32)
    8. Gloria: Jesu Christe  (00:40)
    9. Gloria: Cum Sancto Spiritu  (03:36)
    10. Credo: Credo in unum Deum  (03:27)
    11. Credo: Et incarnatus est  (08:14)
    12. Sanctus: Sanctus - Hosanna  (03:35)
    13. Sanctus: Benedictus - Hosanna  (05:11)
  2. Exsultate, jubilate, motet for soprano & orchestra, K. 165 (K. 158a)

    1. I. Exsultate, jubilate. Allegro  (04:21)
    2. II. Fulget amica dies  (00:45)
    3. III. Tu virginum corona. Andante  (06:15)
    4. IV. Alleluja. Molto allegro  (02:32)
  3. Exsultate, jubilate, motet for soprano & orchestra, K. 165 (K. 158a): Aria: Exsultate, Jubilate

    1. Aria: Exsultate, Jubilate  (04:54)

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