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These nice Karajan (BPO & WPO) performances of famous Beethoven?s and Mozart?s masterpieces have been recorded in Basilica of St. Peter, Rome, Italy 1985 (The "Coronation" mass ? in the presence of Pope John Paul II) and newly remastered for this later release. -------------------------------------------------------- 1. Missa solemnis in D major, Op. 123 (80:05) Ludwig van Beethoven (1770 - 1827), Written - 1823 Conductor: Herbert von Karajan Performers: Lella Cuberli (Soprano), Jose Van Dam (Bass), Vinson Cole (Tenor), Trudeliese Schmidt (Alto), David Bell (Organ), Leon Spierer (Violin), Vienna Singverein, Berliner Philharmoniker Recording Date 9/1985, Basilica of St. Peter, Rome, Italy 2. Mass in C major, K 317 "Coronation" (28:13) Wolfgang Amadeus Mozart (1756 - 1791) Written - 1779 Conductor: Herbert von Karajan Performers: Kathleen Battle (Soprano), Trudeliese Schmidt (Mezzo Soprano), Gosta Winbergh (Tenor), Ferruccio Furlanetto (Bass), Rudolf Scholz (Organ), Vienna Singverein, Wiener Philharmoniker Recording Date 6/1985, Basilica of St. Peter, Rome, Italy MOZART - The Mass in C major, K.317 Mozart's sacred music is mainly vocal, and the many works cover a range of styles: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency can be seen in all the sacred music works. The sacred compositions include 19 masses, mainly written in Salzburg, of which the Sp?tzenmesse K220, the Kr?nungsmesse K317, and the Great Mass in C minor K427 are the best known, alongside his last unfinished Requiem mass K626. There are other compositions for a sacred context as the Laudate Dominum and Ave Verum Corpus in this concert. The Kr?nungsmesse or Coronation Mass K317, in C major, was originally composed for the Easter Day service on 4 April 1779. It is known it was performed at the coronation of Francis I in Prague, in 1792, a year after Mozart's early death, and probably also at the coronation of Leopold II in 1791. It is from the latter occasions that the name Kr?nungsmesse seems to have come. In 1779 Mozart returned from a disastrous trip to Paris and, partly from necessity and partly to please his father, he took up a position in the service of the Archbishop of Salzburg. His task was "unbegrudgingly and with great diligence to discharge his duties both in the cathedral and at court and in the chapel house, and as occasion presents, to provide the court and church with new compositions of his own creation". The first opportunity came with the Easter Day service in April 1779. The six movements are the Kyrie, Gloria, Credo, Sanctus, Benedictus and the Agnus Dei. The musical style of the piece corresponds to the hybrid form that was preferred by the Archbishop: its use of wind instruments suggests a "Solemn Mass", and its length suggests a "Missa brevis". Mozart himself described his task in a letter: "Our church music is very different to that of Italy, all the more so since a mass with all its movements, even for the most solemn occasions when the sovereign himself reads the mass [as on Easter Day], must not last more than 3 quarters of an hour. One needs a special training for this kind type of composition, and it must also be a mass with all instruments - war trumpets, timpani etc." Thus the mass had to have a grand ceremonial setting, but also needed to have a compact structure. Mozart therefore omits formal closing fugues for the Gloria and Credo. The Credo with its problematic, vast text is in a tight rondo form, and the Dona nobis pacem recalls the music of the Kyrie. The soloists are continually employed either as a quartet, in pairs or in solo lines that contrast with the larger forces of the choir. The most stunning examples are the central hushed section of the Credo. Later when the Hosanna section of the Benedictus is well under way, the quartet begins the piece again. Perhaps the most obvious reason for the popularity of this mass in Prague in 1791 and 1792 was the uncanny similarity between the soprano solo Agnus Dei and the Countess's aria Dove sono from Figaro which had been so successfully performed there in the 1780s. Beethoven - Missa Solemnis, Op. 123 Ludwig van Beethoven was a deeply religious man, yet he hardly ever attended mass. Born a Catholic, he practiced little of its formalities. Beethoven's philosophy was more modern, akin to Eastern pantheism, a concept that there is an all-powerful being or purpose to the universe. His beliefs stemmed more from his inner personal struggles and also from his respect of the beauty of the natural world. With this in mind, we can see that much of his music is a reflection of his philosophy, tormented and triumphant. He wrote just two overtly religious works, the Mass in C and the Missa Solemnis, both based on the traditional Catholic Mass. The earlier Mass in C is from 1807. Beethoven is a young man, successful, celebrated in Vienna and soon all of Europe. This is a happy time of his life which also produced the Sixth Symphony and the Piano Concerto no.3. Each year to celebrate the nameday his wife, Prince Nikolaus Esterh?zy II would commission a new mass. In the previous 6 years, the task had been fulfilled by Haydn (once Beethoven's teacher), but in 1807 the commission fell to Beethoven and the Mass in C was the result. Daunted by stepping into such famous shoes, Beethoven was nevertheless pleased with the result. Unfortunately Prince Esterh?zy was not. He was expecting more traditional Haydn from the newcomer, and got unmistakable Beethoven. His description of the Mass as ?unbearably ridiculous and detestable? led to a falling out between Beethoven and himself. While the melodies and structure of the Mass in C are rooted deeply in the classical, even easily mistaken for Mozart or Haydn, Beethoven's originality must have shocked audiences (especially church audiences). The work opens not with an orchestral introduction, but the Kyrie is announced by unaccompanied basses. Later parts of the Sanctus are scored for voice and tympani alone. The Gloria is almost shouted in ecstacy and then descends into the most profound Miserere. The Mass in C has survived Prince Esterh?zy to become a great choral work. And while extremely fine, it is in fact surpassed by the Missa Solemnis, Beethoven's most personal affirmation of faith. The Missa Solemnis comes from later in Beethoven's life, a much more difficult time which also brought forth the Ninth Symphony and the final String Quartets. By 1819, Beethoven was almost completely deaf. Love had eluded him. He plagued by illness and would die a few years after its completion. Yet Beethoven still wrote in its score ?To my God, who has never abandoned me?. The Missa Solemnis too had humble origins. Beethoven's patron was Archduke Rudolph, the brother of the reigning Emperor of Austria. In 1819, Archduke Rudolf was promoted to Cardinal and then Archbishop. To express his appreciation of his patron's benevolence, Beethoven commenced writing a Mass. Beethoven immersed himself in the composition, studying church music history for a year, and putting his heart and soul into the new work. The date of Archduke Rudolf's installation came and went with no signs of the Mass being finished. It became clear to all, including the Archduke, that Beethoven's purpose had gone far beyond a simple celebratory Mass. Beethoven's good friend Schindler (who wrote the text of the Ninth Symphony) described Beethoven during this time as a man possessed, in a state of Erdenentrucktheit, or oblivious of all earthly things. ?In the living room, behind a locked door, we heard the master singing parts of the fugue in the Credo ? singing, howling, stamping?. the door opened and Beethoven stood before us with distorted features, calculated to excite fear. He looked as if he had been in mortal combat with the whole host of contrapuntists, his everlasting enemies? - Schindler The result, in 1823, was one of Beethoven's greatest compositions. It encapsulated his deepest thoughts, his profound humility in the face of adversity, his triumph over fate, the dignity of humanity as a part of God's design. The Missa Solemnis is based very faithfully on the traditional Catholic Mass, the five main sections Kyrie, Gloria, Credo, Sanctus and Agnus Dei subdivided into smaller sections. Audiences by now had probably warmed to Beethoven's unconventional style and the Missa Solemnis was and is seen as one of Beethoven's greatest works. More personal and grander than the Ninth Symphony, this is Beethoven's final testament.
CD1/01 - Mozart - Kr?nungsmesse K. 317 - Kyrie.flac
CD1/02 - Mozart - Kr?nungsmesse K. 317 - Gloria.flac
CD1/03 - Mozart - Kr?nungsmesse K. 317 - Credo.flac
CD1/04 - Mozart - Kr?nungsmesse K. 317 - Sanctus.flac
CD1/05 - Mozart - Kr?nungsmesse K. 317 - Benedictus.flac
CD1/06 - Mozart - Kr?nungsmesse K. 317 - Agnus Dei.flac
CD1/07 - Beethoven - Missa Solemnis op. 123 - Kyrie eleison.flac
CD1/08 - Beethoven - Missa Solemnis op. 123 - Christe eleison.flac
CD1/09 - Beethoven - Missa Solemnis op. 123 - Kyrie eleison.flac
CD1/10 - Beethoven - Missa Solemnis op. 123 - Gloria in excelsis Deo.flac
CD1/11 - Beethoven - Missa Solemnis op. 123 - Qui tollis peccata mundi, miserere nobis.flac
CD1/12 - Beethoven - Missa Solemnis op. 123 - Quoniam tu solus Sanctus.flac
CD1/13 - Beethoven - Missa Solemnis op. 123 - In gloria Dei Patris. Amen.flac
CD1/14 - Beethoven - Missa Solemnis op. 123 - Amen, Amen, in gloria Dei Patris Quoniam tu solus Sanctus.flac
CD2/01 - Beethoven - Missa Solemnis op. 123 - Credo in unum Deum.flac
CD2/02 - Beethoven - Missa Solemnis op. 123 - Et incarnatus est.flac
CD2/03 - Beethoven - Missa Solemnis op. 123 - Et ascendit in coelum.flac
CD2/04 - Beethoven - Missa Solemnis op. 123 - Et vitam venturi saeculi.flac
CD2/05 - Beethoven - Missa Solemnis op. 123 - Amen et vitam venturi saeculi. Amen.flac
CD2/06 - Beethoven - Missa Solemnis op. 123 - Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth.flac
CD2/07 - Beethoven - Missa Solemnis op. 123 - Pleni sunt coeli et terra.flac
CD2/08 - Beethoven - Missa Solemnis op. 123 - Praeludium.flac
CD2/09 - Beethoven - Missa Solemnis op. 123 - Benedictus, qui venit in nomine Domini.flac
CD2/10 - Beethoven - Missa Solemnis op. 123 - Agnus Dei, qui tollis peccata mundi.flac
CD2/11 - Beethoven - Missa Solemnis op. 123 - Dona nobis pacem.flac
CD2/12 - Beethoven - Missa Solemnis op. 123 - Agnus Dei, qui tollis peccata mundi.flac
CD2/13 - Beethoven - Missa Solemnis op. 123 - Presto.flac
Beethoven & Mozart_back.jpg
Beethoven & Mozart_booklet.pdf
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Всего записей: 3920 | Зарегистр. 31-03-2002 | Отправлено: 11:17 16-10-2006 | Исправлено: dneprcomp, 11:26 16-10-2006 |
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