For
this release MDG have chosen the Collegium Cartusianum, which
was formed in 1988 as the successor to the Cologne Baroque Orchestra.
All twenty-three players perform on original instruments or
period copies. The chorus are the Kölner Kammerchor (Cologne
Chamber Choir), formed by fellow-countryman Peter Neumann in
1970. For this recording a medium-sized complement of twenty-seven
is utilised.
Mozart’s
years in Salzburg produced some of his most memorable compositions.
When compared to the productivity of the preceding years, his
musical output for 1780 seems strangely meagre. The major works
written that year include only one Symphony, the Vesperae
solennes de confessore and the Missa solemnis. Mozart
was undoubtedly concentrating his musical energies on the composition
of the opera Idomeneo, K. 366. With Idomeneo Mozart
was being given the opportunity to work in his favourite genre,
the opera, on this occasion commissioned for use by the Munich
Court. The writing of the score also represented a real opportunity
to escape Salzburg and Count Hieronymus Colloredo, Prince Archbishop
of Salzburg, his much despised employer.
It
is the theme of this MDG Gold release that the three sacred
scores contained on this release may have been composed around
1780 for the same occasion, possibly the high feast day called
fetis palliis. On this feast day in Salzburg the Prince
Archbishop Hieronymus Colloredo would celebrate mass while wearing
the high status garment, the palliium, which was a white wool
stole that had been bestowed on him by the Pope.
The
Vesperae solennes de confessore although not as well
known as the Great C minor Mass, K.427 and the
D minor Requiem, K.626 is one of Mozart’s most important sacred compositions.
It is a six movement setting of Latin texts of the five psalms
Nos 110, 111, 112, 113 and 117 and the Hymn of the Virgin Mary
from the St. Luke Gospel. The opening movement: the imposing
Dixit Dominuus and the impressive Confitebor tibi
Domine under the practised direction of Peter Neumann are
treated robustly with an appropriate ceremonial character. A
lighter touch is given to the Beatus vir, however by
contrast the inspiring Laudate pueri is given an uplifting
interpretation. One fully understands the reasons for the justified
popularity of the magnificent Laudate Dominum, which
with its unsurpassed eloquence is often performed as a stand-alone
work. The Laudate Dominum is impressively sung here by
German soprano Cornelia
Samuelis with the utmost reverence and sincerity, avoiding any temptation toward unnecessary ostentation.
The final movement Magnificat is grandiose, here performed
with vitality and considerable splendour.
Of the alternative versions of the Vesperae solennes I admire the accounts, using original instruments, from Christopher Hogwood
and the Academy of Ancient Music with the Winchester Cathedral
Choir and Emma Kirkby (soprano) on L’Oiseau Lyre 436 585-2OH
and from Frans Brüggen and the Orchestra of the Eighteenth Century
with the Netherlands Chamber Choir and Marinella Pennicchi (soprano)
on Philips 434 799-2. On modern instruments the version from
Sir Colin Davis with the LSO and Chorus with Kiri Te Kanawa
(soprano) on Philips 412 873-2 has many admirers.
With
composition of the Missa solemnis Mozart followed the
strict rule of Count Hieronymus Colloredo to the letter as the
score is as brief as possible. Everything however was not as
it seemed, as the critic Alfred Einstein explained, “Mozart,
by writing the first three movements in forms that would please
the Archbishop, wished to lull him into a false sense of security
... For the Benedictus is the most striking and revolutionary
movement in all of Mozart’s Masses ... an extended piece
in the harsh key of A minor, in the strictest contrapuntal style
... in a certain sense a very ‘churchly’ piece indeed,
and yet a blasphemous one ... It is quite in line with
the rebellious character of Mozart in 1780 that he combined
the art of annoying Colloredo with the art of pursuing his own
ideals, for this Mass, too, is full of intimate and surprising
strokes, such as the symbolism at the Deum de Deo in the Credo,
and the soft close of the Dona, which is anything but festive.”
The
seven movement Missa solemnis provides a continuous flow
of charming and elegant musical ideas. Only in the Benedictus
does Mozart compose in the ‘learned’ fugal style, which
is an untypical form for this movement among Mass settings of
the classical era. The thoughtful and understated direction
of Peter Neumann achieves a sparkling and immensely satisfying
performance. Among the quartet of soloists the soprano role
of Cornelia Samuelis is memorable, particularly in the beautiful
Agnus Dei which Mozart set as an attractive florid solo
with organ obbligato. The chorus enter at the end of
the soprano solo with very expressive concluding bars. The Dona
Nobis Pacem, as typical in Classical masses, is set as a
nimble allegro. However, in the Benedictus Mozart
departs from traditional practice, in this instance assigning
the final four measures of the Mass to the soloists rather than
the choir.
The
Missa solemnis includes a performance of the Church
or Epistle Sonata for organ, KV 336, a device designed
to bridge the gap between the Gloria and the Credo
movements. The Epistle Sonata is performed here by organist
Christoph Anselm Noll together with some light orchestral accompaniment
to delightful effect.
A
version of the Missa solemnis from my collection that
I would not wish to be without is from Nikolaus Harnoncourt
and the Concentus Musicus Wien with the Arnold Schoenberg Choir
on Teldec 4509 90494-2.
The
autograph score to the single movement Regina coeli is
lost and the actual date of composition can only be estimated
at around 1779. It is a Marian antiphon, a type of liturgical
chant common in the Gregorian repertory, written specifically
to honour the Virgin Mary. It was sung at the end of Compline,
the final Office of the liturgical day, since the thirteenth
century. There are four Marian antiphons, one for each season
of the year. The Regina Coeli, Latin for ‘Rejoice
Queen of Heaven’, is sung from Easter Sunday through to
the Friday after Pentecost. The Regina coeli is the last
of three settings Mozart made of this antiphon in praise of
the Virgin.
The
four soloists and the Kölner Kammerchor provide outstanding
interpretations that capture every nuance without violating
the reverential essence of the scores. The expert direction
of Peter Neumann ensures that there is no overemphasis or any
of that preciousness that has corrupted many performances of
sacred music.
Much
care has been taken by the MDG engineers to replicate certain
elements of performance practise that could have been used in
the Salzburg Cathedral of Mozart’s day when these scores may
have been performed. We are not informed why Salzburg Cathedral
was not used for this recording, in which incidentally Mozart
was baptised. For the recording the various groups of performers
were strategically positioned three-dimensionally in the Trinity
Church.
The
only drawbacks with this release were with the booklet notes
which were fairly difficult to follow and disappointingly the
Latin texts have no English, only German translations. Furthermore,
the playing time of the CD at fifty-seven minutes seems rather
poor value these days. I played this SACD on my normal CD player
and I can report a most acceptable sound quality in what must
have been a challenging location.
These
impeccable performances have a strong sense of artistry and
sensitive musicianship. This is one of the finest releases of
sacred choral music that I have heard for some time. A most
impressive recording from MDG Gold that is highly recommended.
Michael
Cookson
