Carl Maria von WEBER (1786-1826)
Missa Solemnis No. 1 in E flat major Op 75 J224 [40:26]
Offertorium “In die solemnitatis vestrae” [3:39]
Maria Taborsky (soprano); Gerda Kink (alto); Hermann Pöllman (tenor);
Hans Huber (bass); Gisela Schindler (organ)
Chorus and Orchestra of St Michael of Munich/Ernest Ehret
rec. Fürstenfeldbruck, Bavaria, 1964 (?)
no text included
EDITIONS ANDRÉ CHARLIN AMS43 [44:25]
I should start by explaining that there is some confusion in my mind as to
what is on this disc. The cover states that it contains the “Messe du
Freischütz” and that this is Weber’s Missa Solemnis No 2
in E flat major. Grove however lists Weber’s Freischütz Mass as
being No. 1, giving it the Opus and J numbers shown above. I assume that this
is the work we have here although I have been unable to obtain a score (Faber
publish a scholarly edition) and the notes with the disc are meagre in the
extreme. Listening to it with a more innocent ear than I would have preferred
I quickly concluded that whatever its real title this is a magnificent work
deserving more frequent performance and recordings.
I know nothing about any of the performers or of the circumstances of the
recording. It is clearly not recent in date (1964 is given as the date of
copyright) and it is very far from perfect in execution. Nonetheless all concerned
clearly know the work and have a coherent and musical approach to it. All
of the soloists have voices that can at times be uncomfortable to listen,
but more importantly all are nonetheless able to give an adequate idea of
“how it goes”. The chorus and orchestra are adequate if not much
more, but even if one can imagine a better performance and certainly a better
recording there is nothing here that should prevent the listener’s enjoyment
of the music provided that a certain amount of creative listening is undertaken.
The work itself was a revelation to me. There are obvious echoes of the composer’s
best known opera and even more of the Masses of Haydn and Beethoven. It is
an exact contemporary of the latter’s Missa Solemnis and there
are some interesting similarities between the Credo in the two works.
The Sanctus starts with some remarkable instrumental effects, and the
two alternative versions of the Offertory both set the soprano formidable
tests. My overwhelming reaction on listening to the work as a whole was of
amazement that it is such a rarity. It is a dramatic, beautiful and fascinating
work. For all the defects of this disc, which include a very short playing
time, this is an honest and essentially musical performance which does at
least provide a valuable opportunity to get to know some very remarkable and
enjoyable music.
John Sheppard
An honest and essentially musical performance which does at least provide
a valuable opportunity to get to know some very remarkable and enjoyable music.