Franz SCHUBERT (1797-1828)
Mass No. 5 in A flat major, D.678 Missa Solemnis (1819-22, rev. 1825/26)
[40:01]
Magnificat in C major, D.486 (c. 1815/16) [8:50]
Trine Wilsberg Lund (soprano), Bettina Ranch (alto), Min Woo Lim (tenor),
Dominik Königer (bass)
Immortal Bach Ensemble,
Leipziger Kammerorchester/Morten Schuldt-Jensen
rec. 12-13 August 2009, Paul-Gerhardtkirche, Leipzig, Germany
NAXOS 8.572114 [48:51]
Schubert wrote a substantial quantity of sacred choral music, including six
numbered masses which are rarely played today. Overshadowed by the popularity
of works such as hisUnfinished, theGreat C major, his Lieder,
chamber music and solo piano works this inexplicably remains one of his most
overlooked genres.
The centrepiece here is the Mass No. 5 for four soloists, choir and
orchestra. It’s one of Schubert’s finest sacred choral works.
Schubert commenced the score in 1819 working on it over a productive three
year period that includes approximately the completion of the Trout
Quintet and the composition of the Unfinished. The composer
later revised the score considerably over the winter of 1825/26 using it in
support of an unsuccessful application for deputy Kapellmeister to the Emperor
at the Imperial Court Chapel. Schubert liked to refer to the Mass as
his ‘Missa Solemnis’. It was for Schubert a labour of love
on which he “spent more time, and more trouble, than over any other
single work.” (The Master Musicians: Schubert by John Reed, J.M.
Dent, London, 1987 pg.194)
The appealing Kyrie eleison is a generally tender movement with an
intense sense of reverence. There is glorious singing from the choir and the
woodwind is accorded considerable prominence. In the Gratias agimus tibi
I admired the reverential soft focus on the excellent soprano Trine Wilsberg
Lund. The movement is variegated with passages of weight and intensity. Alto
Bettina Ranch and tenor Min Woo Lim are expressive in the Domine Deus,
Agnus Dei with the striking woodwind allowed to shine.
The forward momentum in the Cum Sancto Spiritu ia impressive and contains
an eloquent part for the choir.Opened by a brass fanfare that is repeated
the Credo in unum Deum is a movement with wide dynamics and searing
melodies. The singing from the choir in the Et incarnatus est is gravely
affecting with the Et resurrexit exuberant and briskly taken by Schuldt-Jensen.
The brass-laden Confiteor has an intense outpouring for the choir.
The Sanctus, Sanctus, Sanctus is predominantly dramatic but I was struck
by the bucolic feel to the sprightly and very brief Osanna in excelsis.
The trio of soloists make a glorious impression in the Benedictus qui venit.
I was delighted at the opening with the soprano and alto being joined the
tenor accompanied by notable pizzicato strings. Featuring the quartet of soloists
the mood of the Agnus Dei, qui tollis peccata mundi is serious and
affecting, almost one of mystery. The final section of the Dona nobis pacem
was uneventful with rather a quiet mood established.
The splendid Magnificat, D.486 is just one of several precious gems
of modest duration to be found in Schubert’s substantial body of sacred
choral music. Cast in three movements it is scored for four soloists, choir
and orchestra. Schubert’s manuscript carries the date 1816 but it is
contended that it may have been composed the previous year. The Magnificat
is a canticle also known as the Song of the Virgin Mary using a text
taken from the St Luke Gospel. The opening section is exuberant and celebratory.
Schubert excels greatly with the serenity of the marvellous central movement
Deposuit potentes de sede, an Andante. There’s impressive
singing from the quartet especially from Lund the memorable soprano. The C
major Magnificat closes with a jubilant Gloria Patri.
Throughout the disc outstanding Oslo-born soprano Trine Wilsberg Lund rejoices
in an unforced tone that is ravishingly creamy and smooth, yet manages to
remain faithfully devout. The Berliner alto Bettina Ranch has a rich warm
timbre and is somewhat set back in the balance. A native of Seoul Min Woo
Lim is a pleasing and direct tenor. In the bass part I would have preferred
Heidelberg baritone Dominik Königer to have been placed slightly further
forward. A bass would have been ideal in the part, however, the famous Dietrich
Fischer-Dieskau, also a baritone, would often sing the bass part.
Formerly called the GewandhausKammerchor Leipzig the Immortal Bach Ensemble
were in impeccable voice throughout and can take many plaudits for their tone
and unity. Founded in 1971 the Leipziger Kammerorchester under the direction
of Morten Schuldt-Jensen has a clear transparent sound almost in the manner
of a period-instrument ensemble. The chamber orchestra use modern instruments
and provide the power as appropriate but never drown out the vocal forces.
It is no surprise that the orchestra use aspects of period performance practice.
The Leipzig woodwind and brass sections were stunning.
Turning to the presentation of the release it is maddening that the sung texts
are not printed in the Naxos booklet. I know the traditional Catholic mass
well but certainly cannot claim to know the Latin text and English translation
by heart. We are told that texts are available at the Naxos website although
I failed miserably to operate the printed link. Record companies seem to ignore
the fact that not all potential purchasers are on-line. In addition if you
can be bothered to print off the texts where do you store them? At forty-nine
minutes the playing time is rather meagre and other sacred scores could easily
have been accommodated.
What of the competition? A remarkable collection of Schubert’s Sacred
Choral Works is conducted by Wolfgang Sawallisch with the Bavarian Radio
Chorus and Orchestra for EMI. This outstandingly performed and recorded set
of 35 Schubert scores was recorded in 1977 and 1979/83 at the Munich Herkulessaal
and is contained in a 7 disc box set on EMI Classics 5 86011 2. Sawallisch’s
impressive list of performers includes: Peter Schreier (tenor); Robert Tear
(tenor); Dietrich Fischer-Dieskau (baritone); Helen Donath (soprano); Lucia
Popp (soprano) and Brigitte Fassbaender (mezzo).
I am familiar with another selection of Schubert Choral Music that
includes a single disc of sacred choral music as well as a disc each of secular
choral music and famous works for male chorus. The sacred scores are split
between two conductors: Dietrich Knothe directs the Rundfunkchor Berlin and
Rundfunk-Sinfonie-Orchestra, Berlin, and Marcus Creed directs the Rias-Kammerchor,
Berlin and the Radio-Symphonie-Orchester, Berlin. Using several conductors,
orchestras and choirs the set is on Phoenix Edition 408 (see
review).
A fine single disc of Schubert secular choral music worth considering is on
Capriccio SACD 71 050. The disc contains virtually the same programme with
identical performances as the sacred choral music disc on the set from Phoenix
Edition 408. As mentioned above the sacred scores are split between the two
conductors Dietrich Knothe and Marcus Creed (see
review).
Naxos and conductor Morten Schuldt-Jensen have released a stunningly performed
recording. Closely recorded, the sound quality is clear yet some may be put
off by the brightness in the forte passages. However if this disc is representative
of Naxos’s Schubert sacred choral music series then it certainly is
worth investigating.
Michael Cookson
Certainly worth investigating.