Customer Reviews

Beethoven: Missa Solemnis & Mass in C Major

5 star:		(5)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Possibly the greatest recording of what may be the greatest musical work ever composed. Of course, there can be no one winner in either category. But the "Missa Solemnis" fuses deep spirituality with Beethoven's exploratory temperament and thus redefines faith itself as openness to novelty. Among recordings, Giulini's belongs for me beside Karajan's different but equally magnificent interpretation. If Karajan conveys Beethoven's rhythmic energy, Giulini makes time and space for cosmic vastness, mysterious quiet, and urgently human suffering and compassion. The soloists, in particular Janet Baker, give these unforgettable voice

You might expect Beethoven masses to ring with monumental sublimity, and there are some tremendously exciting and violent movements in both these masses, when the soul contained by the everyday grind seems to exult in its unexpected release. The real joy of the Messa Solemnis, however, lies in the detail, the delicate clarity of certain passages; the extraordinary 'Sanctus', for instance, where a long violin of intricate beauty, quietly accompanied by slow orchestra gives on to the rapt singing; or the audacity of the closing 'Dona Nobis Pacim', where a startlingly secular fugue clashes with triumphal brass and rejoicing singing to create a Charles Ives effect of singular modernity.

The Mass in C is more conventional in its effects, playing like a brooding 'Messiah', but there is still plenty of exhilirating invention.

In the hands of a Karajan, this could have been a blodge of 'sublime' noise, but Guilini patiently picks out every note, unveiling a detailed tapestry of sound. If his playing is perhaps more worldly than we might expect from sacred music, than this astonishing cast of singers - Baker, Harper, Tear - are more than capable of spiritually transporting us.

Maestro Giulini knocks it out of the park with the Philharmonia. I have recordings of this piece with Jochum, Bernstein, Klemperer and Jochum. None come close, why EMI hasn't reissued this is a mystery. I was very happy to see it available at a reasonable price.

Surprisingly could not find this recording listed in any of my guides...not sure why it's missing.

I did find it in a used record store and decided to take a chance...I find the sound and performances wonderful, although admittedly I can't say that I can compare and contrast between other renditions. No need to worry about sound quality or quality of performances.

I do find the Mass in C especially compelling and a worthy accompanient to the Missa Solemnis.

Although, ultimately, such a claim is futile (what categories do we have to assess these questions?) it has been frequently argued that Bach's B minor Mass and Beethoven's Missa Solemnis are the two supreme peaks of all music. That is, in itself, of considerable interest. I mean that these two works, settings of the essence of the Christian faith, are prime contenders for this (specious) honour. Is not that fact alone some sort of palpable proof that `the kingdoms of this world shall become the kingdom of... Christ'?

If the proposition, that these two works are supreme, is accepted (for all its pointlessness - I mean, who are we likely to convince not already convinced?) then I believe Beethoven's Missa to be is the greater. The simple fact that Bach's B minor Mass is, to a very large degree, a utilisation of previously composed music, music composed to texts other than the Mass, carries an implication that Beethoven's work is the greater. Greater, that is, being a more direct, subtle, psychologically, spiritually and theologically sensitive exposition of the text. The miracle, and miracle it undoubtedly is, is that Bach's B minor Mass is such a prodigy of musical and spiritual integrity.

Until recently I would have suggested that Klemperer's performance with the New Philharmonia was the supreme recorded version of the Missa Solemnis. I have known, loved and lived with that version since it was released and it has claimed my attention beyond all others - an account that possesses an innate truthfulness that few, if any, in my experience, rival let alone surpass.

Then, very recently (and far too late) I have been privileged to listen to Giulini's recording (with the London Philiharmonic, Heather Harper, Janet Baker, Robert Tear, Hans Sotin and the New Philharmonia Chorus). Giulini directs a performance that is magnificent and sublime.

From the opening orchestral phrases the performance is informed by a profound sense of understanding and commitment. The Missa Solemnis contains (you might almost say, consists of) a secession of seemingly desperate, inchoate ideas. The connecting thread is the text and the inchoate nature of the piece is itself an acknowledgement of the reality the text expresses, the incomprehensible transcendence of the the truths in the text. The particular genius of Giulini's performance is that it is a thoroughly integrated whole. Not by imposing an 'order' on the work but by a profound insight into both the musical and the theological texts. The whole work flows like liquid gold; the most testing transitions are woven with exquisite sensitivity into a seamless robe. Climactic moments are realised with overpowering majesty or terror, as the case requires. Passages of hushed awe conveyed with intense reverence, where all is suspended in a stasis of breathless devotion. The entire work is illuminated by Giulini's consummate comprehension of and identification with the score in its depths and breadth. If ever it was true that `our end is in our beginnings' it is true here.

The ideally focused recording permits the precise articulation of soloists and choir to carry the text with clarity and precision. Equally, the orchestra is presented with a naturally warm tone and balance. The dynamic range is impressive: from the mere whisperings of the Et Incarnatus...' and Sanctus, to the blazing affirmations of the Gloria and `Et resurrexit..'. The recorded balance, dynamic range and tonal truthfulness are aspects where, as a recording (as opposed to a performance) Giulini's version is far superior to Klemperer's.

As a performance I would suggest that Guilini's more `finished' manner is possibly closer to the score than Klemperer's `rough hewn' style. What I mean here is that Guilini's polished granite seems to follow better the contours of Beethoven's blueprint, Beethoven's meticulously composed score; whereas Klemperer's rugged chisel-etched sculpture, mightily impressive as it is, represents a style not wholly congruent with Beethoven's astute, immeasurably painstaking and minute attention to even the smallest detail in his score.

Be that as it may, listening to Guilini's version, after some fifty years of listening to a succession of magnificent recordings of the Missa, has opened up to me previously unrecognised psychological, emotional and, above all, theological aspects of this peerless composition.

I know that I will offend some of you with this review but I will make up for it with a recommendation at the end...

This is one of the WORST recordings of Beethoven's Missa Solemnis i've ever heard in my entire life! Why?? No Structure, No Grandeur, No Breadth, No Religiosity, NO Solemnity, No Epic Vision...you can't even sense a musical line! He's just got some beauty and lyricism, but you can't just have that...Just compare this attempt to KLEMPERER'S, WALTER'S, HORENSTEIN'S, TOSCANINNI'S, LATE KARAJAN'S or even BERNSTEIN'S and you'll understand what I'm talking about!!!

The orchestra and chorus sound nice and basic, but you wouldn't believe they were the same orchestra and chorus after listening to Klemperer who uses the same forces!

Now let me get me started about the sonics on this recording...Coming from EMI it's absolutely pitiful! Someone screwed up big time, and I tell you it's not me! I spend most of my time studying recordings. Whoever was engineering these sessions should have been fired! It's almost as bad as Karajan's EMI Mozart symphonies! Dim, Low, Distant, Unfocused, Undetailed. I couldn't believe my ears! (And again, just compare it to say Klemperer's or Bernstein's). That's why I give 2 stars.

However I give Giulini's Mass in C, 5 STARS. Best I've heard alongside Gardiner's version!

-I do appreciate Giulini's art because he is a very special conductor, who's art happened not to come accross in his studio Missa Solemnis...

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BUT...his live recording of it on BBC Legends is utterly transcendant!

It is so profound and so moving, with so much mystery and magic spontaneity that I can't believe it is the same Giulini! (With exceptional stereo sound!) He actually takes Beethoven's words seriously "From the heart - may it return to the heart"! Best Missa Solemnis for me alongside Klemperer's.

Forget Giulini's studio recording and go straight to his live one, where you can finally understand Giulini and Beethoven!