Mozart: Great Mass in C minor

Editorial Reviews

All Music Guide - James Leonard
On the evidence of this disc, Paul McCreesh's recordings are as fascinating and idiosyncratic as ever. From his glorious "Venetian Vespers" through his evocative "Epiphany Mass" and even his extravagant "Solomon," McCreesh has produced a body of work that remains completely interesting and consistently eccentric. In this disc combining three works by Mozart, Haydn, and Beethoven featuring the soprano voice, McCreesh not only explicitly compares and contrasts their ways of writing for soprano, not only implicitly creates a subliminal study of feminine psychology, but also showcases the extraordinary talent of Camilla Tilling. In his unfinished "C minor Mass" with two ...
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Editorial Reviews

All Music Guide - James Leonard
On the evidence of this disc, Paul McCreesh's recordings are as fascinating and idiosyncratic as ever. From his glorious "Venetian Vespers" through his evocative "Epiphany Mass" and even his extravagant "Solomon," McCreesh has produced a body of work that remains completely interesting and consistently eccentric. In this disc combining three works by Mozart, Haydn, and Beethoven featuring the soprano voice, McCreesh not only explicitly compares and contrasts their ways of writing for soprano, not only implicitly creates a subliminal study of feminine psychology, but also showcases the extraordinary talent of Camilla Tilling. In his unfinished "C minor Mass" with two soprano soloists, Mozart approached the soprano as a radiant creature of capricious virtuosity. In his "Scene" and "Aria Bernice, che fal?," Haydn approached the soprano as a fully human woman with tremendous emotionality. In his "Scene" and "Aria Ah! perfido," Beethoven approached the soprano as nearly superhuman heroine with unbelievable intensity. And in all three performances, McCreesh apprehends and articulates the idealized essence of femininity -- the sweetness, the strength, the sensitivity, and the occasional sheer cussedness. Soprano Camilla Tilling has already released a pure as milk Mahler "Fourth" and a powerful as straight whiskey "Dido and Aeneas," but this is by far her best recording yet. Her tone is chaste and her technique is impeccable but her passionate interpretations and the depth of her characterization makes McCreesh's portraits come to life. The other soloists in the mass are fine and second soprano Sarah Connolly is more than fine and nearly a match for Tilling. The Gabrieli Consort is in superb voice and the Gabrieli Players are light, tight, and always just right. Archiv's sound is crisp, clear, and centered. McCreesh's conducting is fascinating and idiosyncratic, yes, but it is also compelling.
Gramophone - Richard Wigmore
McCreesh [is] sharply responsive both to the Mass’s neo-Baroque monumentality and its Italianate sensuousness.... The Gabrieli Consort sing with precision, fresh, firm tone and marvellous dynamic control, while the strings play with notable grace and refinement in the solo numbers.
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Product Details

  • Release Date: 1/10/2006
  • Label: Archiv Produktion
  • UPC: 028947757443
  • Catalog Number: 000576202

Tracks

Disc 1
  1. 1–13 Mass No. 17 for soloists, chorus & orchestra in C minor (fragment, "Great Mass"), K. 427 (K. 417a) - Wolfgang Amadeus Mozart & Christopher Alder (49:06)
    Composed byWolfgang Amadeus Mozart
    Conducted byPaul McCreesh
    Performed byNeal Davies, Paul McCreesh, Timothy Robinson, Sarah Connolly, Camilla Tilling
    1. 1 Kyrie: Andante moderato
    2. 2 Gloria. Gloria in excelsis Deo: Allegro vivace
    3. 3 Gloria. Laudamus te: Allegro aperto
    4. 4 Gloria. Gratias agimus tibi: Adagio
    5. 5 Gloria. Domine Deus: Allegro moderato
    6. 6 Gloria. Qui tollis peccata mundi: Largo
    7. 7 Gloria. Quoniam tu solus Sanctus: Allegro
    8. 8 Gloria. Jesu Christe: Adagio
    9. 9 Gloria. Cum Sancto Spiritu: Alla breve
    10. 10 Credo. Credo in unum Deum: Allegro maestoso
    11. 11 Credo. Et incarnatus est: Andante
    12. 12 Sanctus: Largo - Allegro comodo
    13. 13 Benedictus: Allegro comodo
  2. 14 Bernice che fai, cantata, H. 24a/10 - Franz Joseph Haydn & Christopher Alder (12:27)
    Composed byFranz Joseph Haydn
    Conducted byPaul McCreesh
    Performed byPaul McCreesh, Sarah Connolly
  3. 15 Ah! perfido! . . . Per pieta, non dirmi addio, scena and aria for soprano & orchestra, Op. 65 - Ludwig van Beethoven & Christopher Alder (12:29)
    Composed byLudwig van Beethoven
    Conducted byPaul McCreesh
    Performed byPaul McCreesh, Camilla Tilling
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Album Credits

Performance Credits
Paul McCreesh Primary Artist
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