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Schubert - Mass in A-flat / York · Bruce Payne · Archer · George · Gardiner

Franz Schubert , John Eliot Gardiner , Deborah York , Sally Bruce Payne , Orchestre Révolutionaire et Romantique , Monteverdi Choir , Neill Archer , Michael George , Mhairi Lawson , Lynette Alcantara , Robert McDonald , Colin Campbell , Robert Burt Audio CD
2.0 out of 5 stars  See all reviews (1 customer review)


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Product Details

  • Performer: Franz Schubert, John Eliot Gardiner, Deborah York, Sally Bruce Payne, Orchestre Révolutionaire et Romantique, et al.
  • Audio CD (May 11, 1999)
  • Number of Discs: 1
  • Label: Philips
  • ASIN: B00000IX74
  • Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #426,005 in Music (See Top 100 in Music)

1. Mass In A Flat (Missa Solemnis), D. 678: Kyrie
2. Mass In A Flat (Missa Solemnis), D. 678: Gloria: Gloria In Excelsis Deo
3. Mass In A Flat (Missa Solemnis), D. 678: Gloria: Gratias agimus tibi
4. Mass In A Flat (Missa Solemnis), D. 678: Gloria: Domine Deus
5. Mass In A Flat (Missa Solemnis), D. 678: Gloria: Quoniam tu solus - Cum Sancto Spiritu (First Version)
6. Mass In A Flat (Missa Solemnis), D. 678: Credo: Credo in unum Deum
7. Mass In A Flat (Missa Solemnis), D. 678: Credo: Et incarnatus est
8. Mass In A Flat (Missa Solemnis), D. 678: Credo: Et resurrexit tertia die
9. Mass In A Flat (Missa Solemnis), D. 678: Sanctus
10. Mass In A Flat (Missa Solemnis), D. 678: Benedictus
11. Mass In A Flat (Missa Solemnis), D. 678: Agnus Dei
12. Mass In A Flat (Missa Solemnis), D. 678: Hymnus An Den Heiligen Geist, D. 948
13. Mass In A Flat (Missa Solemnis), D. 678: Psalm 92, D. 953: Lied fuer den Sabbath
14. Mass In A Flat (Missa Solemnis), D. 678: Stabat mater, D. 175
15. Mass In A Flat (Missa Solemnis), D. 678: Mass In A Flat (appendix): Credo in unum Deum (Repeat)
16. Mass In A Flat (Missa Solemnis), D. 678: Mass In A Flat (appendix): Et incarnatus est (Earliest Version)
17. Mass In A Flat (Missa Solemnis), D. 678: Mass In A Flat (appendix): Et resurrexit (Repeat)

Editorial Reviews

Amazon.com

This record illustrates that during his tragically short life, Schubert's style and technique changed and developed dramatically. The Stabat Mater, composed when he was 18, is incredibly beautiful: mournful, deeply expressive, a spontaneous outpouring of lyrical inspiration. The Hymnus and the Psalm, written during his last year, certainly belong among his late masterpieces. Melding devout lyricism with almost operatic drama, Schubert, as he does so often, turns literary dross into musical gold. The Psalm was written for a famous cantor in Vienna and pays homage to his baritone with splendid solos. The Mass dates from Schubert's 20s; it must have been important to him, for he set several movements twice. (Gardiner adds the first version of one at the very end.) The music is somewhat uneven; sections that betray a struggle for technical mastery alternate with magical pages of intimate, devout pleading, ominous drama, and radiant triumph. The opening is simply heavenly: lyrical, serene, and touchingly innocent. The performance is excellent, but the instruments seem overly subdued (in the name of authenticity?) and the dynamic contrasts are extreme. --Edith Eisler

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1 of 5 people found the following review helpful
2.0 out of 5 stars Of Schubert and Sausages October 20, 2011
Format:Audio CD
Back in 1990, I played the A Flat Mass to my old friend CMML. His response was forthright: "so Schubert did not believe in God, then?"

The tentativeness he detected, I suggest, originates less from the ambiguities of Schubert's faith and more from the challenge of writing a Missa Solemnis of his own that he hoped to dedicate to the Emperor. The mature Schubert had multiple cracks at this work. Much like Bruckner in his Second and Third Symphonies, one suspects that it was never quite finalised in the composer's mind. The fugue that closes the Gloria is academically correct and dry as dust (and the same comment applies to the earlier drafts which JEG includes). One only has to listen to Die Taubenpost to understand where Schubert's real genius lay. In compensation, the Kyrie and the Incarnatus Est are luminous indeed.

This recording, which has befallen obscurity, typifies the JEG sausage-machine: it offers clarity, bouncy rhythms and clipped phrasing but nothing beyond that. The offcuts from the A Flat Mass or the smaller works are immaterial (D 953 is a bratwurst from Schubert's own sausage-machine). None of the soloists make any great impression. As with so many JEG recordings, I found it to be endothermic rather than exothermic: it leaves one ennervated, emotionally repressed and in a state of temporary nihilism.

One wonders why a dying Philips commissioned this recording in the first place. They already had the landmark 1971 Sawallisch on their books Schubert: Great Masses in A flat, D.678, & E flat, D950.
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