Johann von HERBECK (1831-1877)
Große Messe in E minor for chorus, organ and
orchestra (1866) [47.33]
Philharmonischer Chor München
Philharmonie Festiva/Gerd Schaller
Wieland Hofmann (organ)
rec. 2014, Max-Littmann-Saal, Regentenbau Bad Kissingen, Germany
HÄNSSLER PROFIL PH15003 [47:33]
Acknowledged by Berlioz as an excellent conductor Johann von Herbeck gave
the première of Schubert’s
Unfinished Symphony in Vienna
in 1865. Two years later he conducted the first three movements of Brahms’s
Requiem and also directed the Vienna première of Wagner’s
Die
Meistersinger von Nürnberg. Almost forgotten is von Herbeck’s
compositional life with the exception of his Christmas motet
Pueri
Concinite of which there are numerous recordings and incidentally
several YouTube clips. The only other von Herbeck recording I know is his
Symphony No. 4 and
Symphonic Variations on the label New
Classical Adventure.
Pivotal to this recording is Bamberg-born conductor Gerd Schaller who
formed the Philharmonie Festiva in 2008 with its core membership taken from
the Münchner Bachsolisten augmented by musicians mainly from other Munich
orchestras. Known for unearthing unknown and forgotten works Schaller
discovered von Herbeck’s
Grosse Messe at the Österreichische
Nationalbibliothek in Vienna. It received its première in Vienna under the
composer’s baton in 1867. As the founder and artistic director of the Ebrach
Summer Music Festival, Schaller in September 2014 presented the
Große
Messe, at the Max-Littmann-Saal, Regentenbau Bad Kissingen, almost one
hundred and fifty years after its première.
It was fascinating having the opportunity of hearing this work. Although
well crafted the score has its longueurs mainly being rather deficient in
memorable ideas. It fails to hold the attention unlike the three
contemporaneous Masses of spiritual journey that Bruckner wrote in the
1860s. Nevertheless there are some impressive episodes. Solidly wrought, the
opening
Kyrie boasts a gloriously passionate climax and I admire
the lovely orchestral passage in the celebratory
Gloria in
adoration of God the Father and Christ. Beautifully intoned, the
Sanctus praising the Holy Trinity is an effectively consoling
movement and the
Benedictus is reflective and rather melancholic.
Opening darkly with a sense of mystery the
Agnus Dei offers some
especially moving singing. Gerd Schaller brings everything together
steadfastly, maintaining effective tempi and dynamics. Successfully schooled
by Andreas Herrmann the well unified and reverential Philharmonischer Chor
München bring gratifying commitment to their singing. As I have come to
expect from hearing its Bruckner cycle, the Philharmonie Festiva plays with
dedication yet can find only a moderate degree of dramatic intensity in this
score.
Recorded in the Bavarian spa town of Bad Kissingen the engineering team
has provided satisfactory sound quality. My only caveat is that the organ
played by Wieland Hofmann is slightly recessed in the sound-picture. With
regard to presentation the cover of this Profil release uses an unusual
photograph of a young woman model. The essay is by Dr. Rainer Boss and is
certainly adequate but the booklet fails to include text and
translations.
Michael Cookson
Previous review: Ralph Moore
