Masses - Choral & Organ Music

On this CD:

1. Missa brevis St. Joannis de Deo, for soloists, chorus, organ & orchestra in B flat major ("Little Organ Mass"), H. 22/7
Composed by Franz Joseph Haydn
Performed by Lynton Atkinson, Mark Glanville, Ian Hare, Linda Kitchen
Conducted by Denis McCaldin

2. Offertorium III ("Salve Regina"), for soprano & orchestra in A major, D. 676 (Op. posth. 153)
Composed by Franz Schubert
Performed by Ian Hare, Linda Kitchen
Conducted by Denis McCaldin

3. Mass for soloists, chorus, strings & organ in G major, D. 167
Composed by Franz Schubert
Performed by Lynton Atkinson, Mark Glanville, Ian Hare, Linda Kitchen
Conducted by Denis McCaldin

4. Pieces (32) for flute-clock, H. 19/1-32 No. 15 in C
Composed by Franz Joseph Haydn
Performed by Ian Hare

5. Pieces (32) for flute-clock, H. 19/1-32 No. 20 in C (from Symphony No. 85)
Composed by Franz Joseph Haydn
Performed by Ian Hare

6. Pieces (32) for flute-clock, H. 19/1-32 No. 6 in F "Der Kaffeeklatsch" (from Baryton Trio No. 76)
Composed by Franz Joseph Haydn
Performed by Ian Hare

7. Pieces (32) for flute-clock, H. 19/1-32 No. 9 in C (from String Quartet Op. 54/2)
Composed by Franz Joseph Haydn
Performed by Ian Hare

8. Pieces (32) for flute-clock, H. 19/1-32 No. 32 in F (from Symphony No. 99)
Composed by Franz Joseph Haydn
Performed by Ian Hare

Masses - Choral & Organ Music, Music, Haydn, Schubert, Kitchen, Hare, Mccaldin, Chamber Music & Recitals, Classical, Classical Composers, Classical Music
Dunstable: Sweet Harmony - Masses and Motets
Average customer rating: 4.5 out of 5 stars
  • The harmonic building blocks of Renaissance music
  • THE GREAT LEAP FORWARD
 Dunstable: Sweet Harmony - Masses and Motets

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Leonin, Perotin: Sacred Music from Notre-Dame Cathedral
  2. John Dunstable: Motets / Hilliard Ensemble
  3. Nicolas Gombert: Missa Media Vita in Morte Sumus
  4. Dufay: Missa L'homme armé; Supremum est mortalibus bonum
  5. Das Gänsebuch (The Geese Book): German Medieval Chant

ASIN: B000B6N67M
Release Date: 2005-10-18

Tracks:

  1. Quam Pulchra Es
  2. Kyrie
  3. Gloria A 4
  4. Credo A 4
  5. Gloria: Jesu Christe Fili Dei
  6. Credo: Jesu Christe Fili Dei
  7. Sanctus
  8. Credo: Da Gaudiorum Premia
  9. Sanctus: Da Gaudiorum Premia
  10. Agnus Dei
  11. Veni Sancte Spiritus-Veni Creator
  12. Gloria In Canon

Customer Reviews:

4 out of 5 stars The harmonic building blocks of Renaissance music.......2006-06-07

Take a journey back to early 15th century Europe with Tonus Peregrinus' recording of the works of English composer John Dunstable (c. 1390-1453). Dunstable worked in English-occupied France during the early 1400s, and his sweet English harmonies influenced French composers such as Dufay and Binchois. The incorporation of English harmonic technique into the Continental style was a major factor in the development of Renaissance counterpoint.

Dunstable was a master of isorhythm, a technique that involved repetition of lengthy melodic and harmonic figures (sometimes in sync and sometimes in overlapping fashion). While isorhythm contributes to the compositional integrity of Dunstable's music, it's not readily discernible by modern ears. What's most apparent in the music of John Dunstable is the forceful delivery of a new style: the sweet harmony resulting from the use of parallel 3rd and 6th intervals. Dunstable's harmonic writing is not particularly disciplined: unprepared dissonances occur, sometimes in jarring fashion. But overall, a spirit of jubilation pervades Dunstable's work, which should impress modern listeners just as it did the European composers who heard it nearly six centuries ago.

Tonus Peregrinus, a vocal consort named for an ancient chant that Christ might have sung at the Last Supper, delivers an evocative performance of Dunstable's works. The group performs Dunstable's motets "Quam pulchra es" and "Veni Sancte Spiritus - Veni Creator", sandwiched around a collection of Mass movements. "Quam pulchra es" exhibits a stately, graceful quality later found in the works of Binchois, while the first "Sanctus" achieves an otherworldly beauty that may have influenced the motets of Dufay. The acoustics of this recording, captured in an echo-filled French abbey, create a sense of time and place that enhances the authenticity of the performance.

In 1476, music theorist Johannes Tinctoris remarked, "There is no composition written over forty years ago which is thought by the learned as worth of performance." Tinctoris' dismissal presumably included the works of Dunstable. Fortunately, Dunstable's music has survived Tinctoris' sentiment, and now awaits your discovery, courtesy of this fine recording.

5 out of 5 stars THE GREAT LEAP FORWARD.......2005-11-29

Goodness me, how many superlative groups of ancient music specialists can there be? Here is yet another, predictably brought to us by Naxos. There are 8 singers directed by Anthony Pitts, and the group photograph also shows us Jeremy Summerly himself in a daft-looking hat as producer, and also, most properly, the engineer Geoff Miles whose work I would call absolutely outstanding.

England was not always `the land without music'. In particular, it seems that a sudden and spectacular leap in musical development occurred precisely there in the early 15th century, and, if we are to believe the musical historian of the time Tinctoris (cited by Pitts in his liner-note), the main driving-force behind this revolution was John Dunstable, whose innovations were picked up promptly by his contemporary Dufay and thereafter by Europe in general. My own knowledge of this period is deplorably patchy, but it is quite clear that by the 12th century the ecclesiastical tradition of monodic plainsong, believed to date from the 8th century, had not changed much, even at the hands of the frumious Hildegard of Bingen. There was a parallel secular tradition, probably more than one, but if the music of the troubadours during this same period is anything to go by it had primitive instrumental accompaniment for the voices, but nothing by way of genuine `harmony' much less polyphony or counterpoint.

Enter the English, Dunstable in the lead. Not a lot seems to be known about him except that he appears to have been associated with St Albans in Hertfordshire, where his name survives in the name of a town not far away, as does that of the author of Dunstable's epitaph and Abbot of St Albans Abbey John Wheathampstead. All this information is conveyed with admirable brevity in Pitts's notes, and I take it on faith entirely. Faith of another kind shows through his phraseology here and there, as in his dedication of the recording to `a God-fearing man' (not the kind of terminology one encounters much in England these days) and in his sniffy comment in his resume that he left the BBC in protest over its screening of `a blasphemous musical'. I would only remark that the BBC never actually broadcast anything by such a description, nor did the public in general realise that they were listening to such. At the musical level by and large the liner-note is awesomely learned but slightly heavy going. It is worth absorbing slowly, but the most significant thing it says is really its naïve proclamation of how marvellous the music is. This is the dawn of the elaborate harmonisation that makes European music, so far as I know, unique, and the thrill and sense of awe that go with that are enormous for one kind of listener at least.

If I understand Pitts aright, the various sections of the mass here - including 2 glorias, 3 credos and 2 settings of the sanctus - don't incorporate one specific `mass' although they approximately follow the order of the parts normally set to music: indeed if there were a single coherent mass in it what would be the point of such duplications? The way they have sequenced it all is appropriate to isolated settings, sensibly programmed so as to avoid having the same text in successive tracks. The recital starts with one motet and ends with another, followed by a gloria that `we' have completed from the restored but deficient MS. `We' have done just brilliantly if I may say so - this is what music-making is all about, but it needs the right level of talent. The performing artists consist of 2 sopranos, 1 female and 1 male alto, 3 tenors and a single bass. I have to take the historical authenticity of this, just as I have to take the tempi adopted, on faith once again. I believe the phrase is `It works for me'. What is beyond much question is the sheer quality of the singing, and what I want to sing my own praises of is the recording, which has a perfect sense of spaciousness together with perfect clarity.

I hope I will be believed when I say that I have no link of any kind with Naxos. I collect their discs because of what these are and because of what my tastes and standards in good music are. This particular disc is from this very year 2005, and the recording was done in Chancelade Abbey in the Dordogne. Over and above the learned inputs of Mr Pitts we are given brief resumes of all the performers, and all texts are provided with English translations. These latter are a great deal better than many I have seen in the last year or two. My suspicions having relaxed, I have been less hawk-eyed than sometimes, and I don't believe that there are any serious misrenderings. In the Veni Creator if the text is right at lines 11-12 the meaning must be `Thou duly enriching our mouths with the promised utterance of the Father'; 4 lines later `perpetim' is a simple misprint for `perpeti', but as usual the translator thinks `perpeti' is some kind of adjective. It is a prolative infinitive, and lines 15-16 therefore mean `Strengthening what in our bodies is weak so as to be steadfast through virtue'.

Go forth in droves at the Christmas season and acquire this disc.
Schubert: The 6 Latin Masses
Average customer rating: 4.5 out of 5 stars
  • great price but there are some drawbacks
  • Possibly Schubert's most intimate work!
  • Franz Schubert's "Deutsche Messe"
 Schubert: The 6 Latin Masses

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Mozart: Masses (5)
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  5. Schubert: 24 Lieder

ASIN: B000001K6Y
Release Date: 1997-02-04

Tracks:

  1. German Mass D. 872: Zum Eingang
  2. German Mass D. 872: Zum Gloria
  3. German Mass D. 872: Zum Evangelium und Credo
  4. German Mass D. 872: Zum Offertorium
  5. German Mass D. 872: Zum Sanctus
  6. German Mass D. 872: Nach der Wandlung
  7. German Mass D. 872: Anhang: Das Gebet des Herrn
  8. German Mass D. 872: Zum Agnus Dei
  9. German Mass D. 872: Schlussgesang
  10. Mass No.1 In F major, D 105: Kyrie
  11. Mass No.1 In F major, D 105: Gloria
  12. Mass No.1 In F major, D 105: Credo
  13. Mass No.1 In F major, D 105: Sanctus
  14. Mass No.1 In F major, D 105: Benedictus
  15. Mass No.1 In F major, D 105: Agnus Dei
  16. Mass No.1 In F major, D 105: Dona Nobis Pacem
  17. Mass No.2 In G Major. D. 167: Kyrie
  18. Mass No.2 In G Major. D. 167: Gloria
  19. Mass No.2 In G Major. D. 167: Credo
  20. Mass No.2 In G Major. D. 167: Sanctus
  21. Mass No.2 In G Major. D. 167: Benedictus
  22. Mass No.2 In G Major. D. 167: Agnus Dei

Tracks:

  1. Mass No.3 In B Flat Major. D 324: Kyrie
  2. Mass No.3 In B Flat Major. D 324: Gloria
  3. Mass No.3 In B Flat Major. D 324: Credo
  4. Mass No.3 In B Flat Major. D 324: Sanctus
  5. Mass No.3 In B Flat Major. D 324: Benedictus
  6. Mass No.3 In B Flat Major. D 324: Agnus Dei
  7. Mass No.5 In A-flat Major D. 678: Kyrie
  8. Mass No.5 In A-flat Major D. 678: Gloria
  9. Mass No.5 In A-flat Major D. 678: Credo
  10. Mass No.5 In A-flat Major D. 678: Sanctus
  11. Mass No.5 In A-flat Major D. 678: Benedictus
  12. Mass No.5 In A-flat Major D. 678: Agnus Dei

Tracks:

  1. Mass No.4 In C. Major D.452: Kyrie
  2. Mass No.4 In C. Major D.452: Gloria
  3. Mass No.4 In C. Major D.452: Credo
  4. Mass No.4 In C. Major D.452: Sanctus
  5. Mass No.4 In C. Major D.452: Benedictus
  6. Mass No.4 In C. Major D.452: Agnus Dei
  7. Mass No.6 In E Flat Major, D 950: Kyrie
  8. Mass No.6 In E Flat Major, D 950: Gloria
  9. Mass No.6 In E Flat Major, D 950: Sanctus
  10. Mass No.6 In E Flat Major, D 950: Benedictus
  11. Mass No.6 In E Flat Major, D 950: Agnus Dei
  12. Agnus Dei

Customer Reviews:

3 out of 5 stars great price but there are some drawbacks.......2006-08-30

This is good but be aware that the German mass on this recording was recorded in 1962 and the rest of the masses in 1978. The sound quality isn't the best in the world but I'm sure to most people it will be tolerable. It's just that after hearing such good quality new recordings it's kind of hard to stomach an old analog recording.

The performance is good, probably not the best though. The singers seem to really over power the instruments. some times the instruments just seem a little small. There is some background noise just like on most recordings but it's nothing terrible.

I actually recommend the Brilliant Classics Schubert Masses. The sound quality is much better in that box set and it only costs a couple of dollars more.

5 out of 5 stars Possibly Schubert's most intimate work!.......2005-10-07

These masses are Schubert's hymn-like works with an enormous melodic charm. He composed part of them to texts of Johann Philip Neumann, who was a professor at the Vienna Polytechnical Institute, and they were intended for use by the students congregation at that Institute. He finished the first mass when he was only 17 and the last one just a few months before he died, so his masses, the latin as well as his german ones, really span over a relatively long time of the creative part of his career.

Technically speaking these masses seem easy, but they surely rank among Franz Schubert's best works. They certainly constitute a very mature body of work, most part of which written by the great composer towards the end of his short but very prolific life. The choral part is not overly complex, and so is the orchestral one. To me the beauty of these works is in the interaction between choral, solos and orchestral sections. Sometimes a simple work can be magnificent.

I'm not a regular churchgoer, but just like another reviewer here at Amazon.com, I happened to attend a few masses in Stuttgart and Ludwigsburg, Germany, more than a decade ago. Masses in german and english, the softly spoken magic spell accompanied by Schubert's masses. What a blissful atmosphere! When I think about it, it's very difficult to describe that feeling now, but I guess "intimate" would be the word that comes closest to it.

5 out of 5 stars Franz Schubert's "Deutsche Messe".......2000-06-16

I have listened to the "Deutsche Messe" over and over again. I also had the rare opportunity to be at a mass in a church in Germany where an orchestra played Franz Schubert's "Deutsche Messe". Wow! What an experience! The music pieces have so much depths and devotion in them. You can close your eyes and feel what Franz Schubert must have felt.
Mozart: Masses (5)
Average customer rating: 4.5 out of 5 stars
  • a voice teacher and early music fan
  • I needed this for K139
  • Young, bright voices effectively sing Mozart
  • Explicitly Wonderful!
 Mozart: Masses (5)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041ME
Release Date: 1997-08-26

Tracks:

  1. Missa In C, K317 'Kronungsmesse': Kyrie
  2. Missa In C, K317 'Kronungsmesse': Gloria
  3. Missa In C, K317 'Kronungsmesse': Credo
  4. Missa In C, K317 'Kronungsmesse': Sanctus
  5. Missa In C, K317 'Kronungsmesse': Benedictus
  6. Missa In C, K317 'Kronungsmesse': Agnus Dei
  7. Missa solemnis In C, K337: Kyrie
  8. Missa solemnis In C, K337: Gloria
  9. Missa solemnis In C, K337: Credo
  10. Missa solemnis In C, K337: Sanctus - Benedictus
  11. Missa solemnis In C, K337: Agnus Dei
  12. Missa In C, K257 'Credo-Messe': Kyrie
  13. Missa In C, K257 'Credo-Messe': Gloria
  14. Missa In C, K257 'Credo-Messe': Credo
  15. Missa In C, K257 'Credo-Messe': Sanctus
  16. Missa In C, K257 'Credo-Messe': Benedictus
  17. Missa In C, K257 'Credo-Messe': Agnus Dei

Tracks:

  1. Missa In C Minor, K139 'Waisenhaus-Messe': Kyrie
  2. Missa In C Minor, K139 'Waisenhaus-Messe': Gloria
  3. Missa In C Minor, K139 'Waisenhaus-Messe': Credo
  4. Missa In C Minor, K139 'Waisenhaus-Messe': Sanctus
  5. Missa In C Minor, K139 'Waisenhaus-Messe': Benedictus
  6. Missa In C Minor, K139 'Waisenhaus-Messe': Agnus Dei
  7. Missa In C, K167 'Trinitatis-Messe': Kyrie
  8. Missa In C, K167 'Trinitatis-Messe': Gloria
  9. Missa In C, K167 'Trinitatis-Messe': Credo
  10. Missa In C, K167 'Trinitatis-Messe': Sanctus
  11. Missa In C, K167 'Trinitatis-Messe': Benedictus
  12. Missa In C, K167 'Trinitatis-Messe': Agnus Dei

Customer Reviews:

5 out of 5 stars a voice teacher and early music fan.......2007-02-04

Every piece that Wolfgang Amadeus Mozart (1756-1791)wrote bears the mark of the unique genius that caused Haydn to say to Leopold:"I delcare to you upon my honor that I consider your son the greatest composer I have ever heard."
Mozart's sixteen completed Mass settings all date from before 1781, the year in which he quit his native Salzburg to try his luck as a freelance composer in Vienna. While it is true that little sacred music dates from the time of Mozart's greatest maturity, the best work of his teens and early twenties show him deploying his easy skills in counterpoint and fluid vocal melody to produce music of elegance and charm,which, while not greatly radical, nevertheless married his strengths successfully to the accepted Austrian church idiom of the day.
Since the city of Salzburg had a long tradition of church music, generally with a brass-heavy orchestral accompaniment, Mozart retained this sound in his Masses, with their trumpets and trombones, and in the case of the 'Coronation' Mass,horns as well.
Mozart's earliest Mass, the so-called 'Waisenhaus-Messe', was not in fact composed for Salzburg but for Vienna intended for the dedication of a new orphanage church.
The 'Missa Trinitas' was composed five years later in Salzburg for the Feast of the Holy Trinity in June 1773.
When Mozart wrote the C major 'Credo' Mass in November, 1776, it was in a lively and cheerful vein and quickly became very popular thruout the Salzburg region.
The two Masses K317 and K337, both again in C major,were written for the Easter celebrations of 1779 and 1790, respectively, and they show a rising maturity. The K317 'Coronation' Mass was performed in Vienna during the celebrations for the coronation of Emperor Leopold in 1790.

Whenever I see the name Stephen Cleobury and the Choir of KIng's College, I know I've got a quality production!..And this is no exception. The wonderful tuneful voices of the boy sopranos and male altos add so much to the sound of Mozart as well as any other early composer, The soloists, however, were brought in for this disc, and are not members of the choir. They are: Margaret Marshal(soprano)-Ann Murray (contralto)-Rogers Covey-Crump (tenor)-David Wilson-Johnson (bass)-Suzanne Mentzer (soprano)-Bernadette di Nissa (contralto)-Neil Mackie (tenor) and Stephen Roberts (bass). THERE WERE NO COUNTERTENORS SINGING SOLO PARTS.
Two very finely performed recordings.

4 out of 5 stars I needed this for K139.......2006-11-10

I needed this recording for K139 only as our chorus was preparing for a performance and solo auditions were pending. I was interested in the alto solos and was a bit dismayed that the first few were done by a countertenor.
However, it was a good quality recording for the price and was helpful in learning my part for the choral sections as well.

5 out of 5 stars Young, bright voices effectively sing Mozart.......2006-02-24

The King's College choir is composed of mostly young, brightly toned voices, which make for a crisp, clean sound on this recording. Therefore, it is excellent for use as either a rehearsal aid when performing any of these Masses, or purely for listening enjoyment. Good, clean recording.

4 out of 5 stars Explicitly Wonderful!.......2004-07-14

I have had the great privelage of writing several other Mozart related reviews, and I was absolutely belated with this wonderful CD. This CD will offer a very detailed and clear performance of the 5 masses presented. It has been said that Mozart wrote the bulk of his sacred music with "a deep, childlike and unquestioning faith." His masses are astounding in practically every aspect. This was an overall satisfying CD.
Lassus: Masses for Five Voices; Infelix ego
Average customer rating: 4 out of 5 stars
  • It's unfortunate..
  • text problem
  • Two masses of great sensual beauty
  • Natural eloquence
  • Lush and Rich
 Lassus: Masses for Five Voices; Infelix ego

Manufacturer: Naxos
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  5. Tallis: Mass for Four Voices; Motets /Oxford Camerata * Summerly

ASIN: B0000013Z6
Release Date: 1994-06-28

Tracks:

  1. Missa Entre Vous Filles: Kyrie
  2. Missa Entre Vous Filles: Gloria
  3. Missa Entre Vous Filles: Credo
  4. Missa Entre Vous Filles: Sanctus
  5. Missa Entre Vous Filles: Agnus Dei
  6. Infelix Ego
  7. Missa Susanne un jour: Kyrie
  8. Missa Susanne un jour: Gloria
  9. Missa Susanne un jour: Credo
  10. Missa Susanne un jour: Sanctus
  11. Missa Susanne un jour: Agnus Dei

Customer Reviews:

3 out of 5 stars It's unfortunate.........2007-04-15

Lassus is certianly one of my favriote composers, I have loved every thing I have ever heard from him. This CD consists of wonderful literature. However, im disappointed with the performance. The Oxfor Camerata, much like the Tallis Scholars, seem... very "vanilla," I suppose. In comparison to groups like, my personal favriote, the Hilliard Ensemble, or even compared to Anthony Rooley and the Consort of Musike, or the Hueglas Ensemble, Oxford comes off rather uninspired. They sing well, they have a pleasant (although very obviously British) sound. Yet they lack the emotion, and the individuality of the top early music ensembles. They fail to convey what would have been the style of the Rennaissance.

Overall, it is a fine CD. It still is sung beautifully, it's a wonderful selection, and above all, it is cheap. However, there are much better ensembles out there.

2 out of 5 stars text problem.......2007-02-18

Sorry, but I am a little disapointed.Only one part Infelix ego has translated text. It is not easy to understand polyphonic latin!

5 out of 5 stars Two masses of great sensual beauty.......2005-07-13

Orlando Lassus or Roland di Lasso (c.1532 - 1594) stands as one of the most fascinating composers of the Seconda Prattica - a group of composers who stand apart from their predecessors in that their music reflects the social and political upheavels of the Reformation and Counter Reformation. The complex polyphony of the Prima Prattica came under attack as being mere artifice that obscured the meaning of the texts of sacred works and with it came a push towards an increasing dismantling of the extraordinary complexity that the previous generations had endowed music. Palestrina definitely shows such tendencies along with the refined pious delicacy of his music. Palestrina also begged humble forgiveness for writing the typically blatently erotic chansons in his youth, that were typical throughout much of the Renaissance - even the greatest composers wrote them. This seems to reflect an increasingly puritanical prudishness that was a characteristic of the Reformation and which the Counter Reformationists tried to outdo. Thereafter this sexual openess and innocence of expression was banished from composition - I can scarcely think of a single genuinely explicitly erotic text set to music by a major Western composer thereafter.

In stark constrast to Palestrina, Lassus tenaciously refused to succumb to this new spirit of prudery. The Humanist spirit in him silently rebelled against this wave of oppression. This reflects in his refusal to systematically disinherit himself of the polyphonic riches of the Prima Prattica that had been handed down to him and continued to happily write for five or six voices as it suited him. However, even more remarkable was the brazen refusal to give up writing parody masses based on explicitly erotic chansons - in blatant violation of the decrees of the Council of Trent. Of this tendency there is no better example than the Missa Entre Vous Filles. The original chanson comes from none other than the great Clemens non Papa (can you imagine Schubert or Brahms writing a Lied like this!):


Entre vous filles de quinze ans,
Ne venez plus à la fontaine,
Car trop aves les yeulx frians
Tetin poingnant bouche riant connin mouflant
Le cueur plus gay qu'une mistaine
Entre vous filles de quinze ans,
Ne venez plus à la fontaine!

[You girls, fifteen years old,
Don't come to get water at the fountain,
Because you have darling eyes,
Pert breasts, laughing mouths, warm little cunny
Hearts gayer than a dream
You girls, fifteen years old,
Don't come to get water at the fountain!]

Even where the choir sings 'Kyrie eleison' the listeners of Lassus' time must have known perfectly well where the melody came from. Whatever the original chanson parodied here, the crucial things is how truly remarkable the final work really is. For it is a mass of refined sensuality, as well as of an exquisite and deeply felt beauty.

The second mass here is Susanne un jour.

Susanne un jour d'amour solicitée
Par deux viellardz, convoitans sa beauté,
Fust en son coeur triste et desconfortée,
Voyant l'effort fait à sa chasteté.
Elle leur dict, Si par desloyauté
De ce corps mien vous avez jouissance,
C'est fait de moy. Si ie fay resistance,
Vous me ferez mourir en deshonneur.
Mais j'aime mieux périr en innocence,
Que d'offenser par peché le Seigneur.

[Susanna faire, sometimes of love requested
By two old men whome her sweet looks allur'd
Was in her heart full sad & sore molested
Seeing the force her chastitie endur'd.
To them she said, if I by craft procur'd
Doe yield to you my body to abuse it,
I kill my soule, & if I do refuse it,
You will mee judge to death reproachfully.
But better tis in innocence to choose it,
Than by my fault t'offend my God on high.]
Translation by Nicholas Yonge from the Musica Transalpina, 1588

Renaissance paintings of the theme of Susanna take great pleasure in showing her in the nude while two dirty old men leered on and clearly Lassus is using a Biblical theme to endulge in a similar pleasure in the sensual aspects of the figure of Susanne. Yet this work too is ultimately remarkable first and foremost as a richly conceived polyphonic masterpiece. Both this and the other mass here help to explode the myth that Lassus' best music is to be found in his motets.

By way of stark contrast the one motet on this is set to the text by the demongogue preacher Savonarola. Savonarola is infamous for the 1497 Bonfire of the Vanities. They burnt items supposedly associated with moral depravity such as mirrors, cosmetics, jewelry, non-sacred books, gaming tables, fine dresses on a large fire at the Piazza della Signoria in Florence. Even Sandro Botticelli threw his own works on the pyres. A backlash against the puritanical oppression forced upon the city of Florence soon followed and during Savonarloa's Ascension Day sermon on May 4, 1497, bands of youths revolted so that taverns were soon reopened, and men gambled openly in public. Savonarola's fall from grace was completed when he was accused of falsely claiming to see visions and uttering prophecies. With Machiavelli amongst the onlookers he was hung and burnt publically. The text of this motet 'infelix ego' (misfortunate I) was written on the eve of his public execution. One only wonders what motivated Lassus to set it to music.

The only real oddity in this CD are the notes by Jeremy Summerly which contains too little information to be of any help whatsoever. Most amusingly the text of the Savonarola is included but any direct quotation from the original chansons that Lassus based his masses is strictly avoided. There is only the one fleeting and blushing reference to Susanne en jour 'celebrating in galloping rhyme the wonders of the female anatomy' - a case of 'no sex please we're British' perhaps?

Nonetheless the performances here all do Lassus great justice. The sound of the Oxford Camerata has luminosity and sensual lyricism to fully convey the warmth of the writing. Summerly seems to have a genuine feel for the music of Lassus - something you can also sense with their recording of the Missa Bell' Amfitrit' altera.

Definitely worth hearing!

5 out of 5 stars Natural eloquence.......2002-03-31

Reviewers do not seem to have paid special attention to this CD, but I find it one of the most convincing recordings of late sixteenth-century polyphony. The Missa Susanne un jour and the setting of Infelix ego are among Lassus's best works, and receive here performances that are models of unforced phrasing and natural eloquence. The recorded sound (which sounds a little dull in some of the other recordings from this choir and location) is fully adequate to convey the warmth and fullness of Lassus's choral writing. It is a recording that I have listened to repeatedly for years with always renewed enjoyment.

5 out of 5 stars Lush and Rich.......2000-12-30

The music here is "lush" (as the liner tells us) and rich. The voices of the Oxford Camerata never disappoint on this beautiful recording, made in the Chapel of Hertford College, Oxford. I was struck by the full harmonies of these pieces and by the Oxford Camerata's sensitive dynamics.
Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes
Average customer rating: 3.5 out of 5 stars
  • poco refinado
  • Poor Tuning in the Mass in E minor
  • not to be missed
  • Magnificent
 Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra
  2. Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
  3. Symphonies 1-9
  4. Bruckner Motets
  5. Bruckner: Symphony No. 4 / Karl Böhm

ASIN: B000001GQ6
Release Date: 1996-01-23

Tracks:

  1. Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: I. Kyrie (Alla breve)
  2. Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Meno mosso - Tempo I - Etwas langsamer)
  3. Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: III. Credo (Moderato - Langsam - Allegro - Tempo des 1. Satzes)
  4. Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Maestoso - Allegro moderato)
  5. Mass no. 1 in D minor for solists, chorus and orchestra: V. Benedictus (Moderato - Allegro moderato)
  6. Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante quasi Allegro - Allegro moderato)
  7. Mass no. 2 in E minor for 8-part choir and wind orchestra: I. Kyrie (Feierlich)
  8. Mass no. 2 in E minor for 8-part choir and wind orchestra: II. Gloria (Allegro - Andante - Tempo I)
  9. Mass no. 2 in E minor for 8-part choir and wind orchestra: III. Credo (Allegro moderato - Adagio - Allegro - Tempo I)

Tracks:

  1. Mass no. 2 in E minor for 8-part choir and wind orchestra: IV. Sanctus (Ruhig; mehr langsam)
  2. Mass no. 2 in E minor for 8-part choir and wind orchestra: V. Benedictus (Moderato)
  3. Mass no. 2 in E minor for 8-part choir and wind orchestra: VI. Agnus Dei (Andante)
  4. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: I. Kyrie (Moderato)
  5. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Andante, mehr Adagio - Tempo I - Ziemlich langsam)
  6. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo (Allegro - Moderato misterioso - Langsam - Largo)
  7. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo [Forts - Cont.] (Allegro - Tempo I - Moderato - Allegro - Etwas langsamer als anfangs - Allegro
  8. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Moderato - Allegro)
  9. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: V. Benedictus (Allegro moderato - Allegro)
  10. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante - Moderato)

Customer Reviews:

2 out of 5 stars poco refinado.......2005-09-27

Una versión poco refinada de las misas de Bruckner. El coro no se entiende bien, es un poco sucio y con un vibrato que ensucia más la grabación. Además, toma tempos muuuuuy lentos en algunos pasajes, lo que termina por aburrir.

2 out of 5 stars Poor Tuning in the Mass in E minor.......2004-01-12

I think that Jochum's interpretation is excellent in this recording but I take issue with the performance of the chorus in the E minor Mass. The sopranos often reach for the high notes and come out under the pitch...regularly. Anything above a C# is a bit of an adventure for them. The chorus, as a whole loses pitch in unaccompanied sections. It is difficult to listen to this disc. I wish I had purchased the recording on the Hyperion label.

5 out of 5 stars not to be missed.......2001-01-31

I tend to echo the sentiments of the prior reviewer. The Masses are some of Bruckner's greatest compositions and deserve the same level of respect as do his symphonies. When I was listening to the Mass No. 3 in E minor I could have sworn there was a rolling orchestral crescendo that was also used at least in part in the great adagio of his Symphony No. 7 (also in E). The texts of the Roman Catholic liturgy are delivered entirely in Latin and the choral and soloist contributions are impeccable in phrasing, diction and beauty of tone. The Benedictus passages have some extremely beautiful parts for the voice and the string sections, and nothwithstanding the lack of a violin solo can be mentioned in the same breath as that of the Beethoven Missa Solemnis. The Et Resurrexit sections of the Credos have thundering power and majesty. In some respects the Masses are a bit more closely argued in terms of musical structure and cohere better than the earlier symphonies. Eugen Jochum conducts with selfless dedication, letting this powerful music speak for itself. The playing of the Bavarian Radio Symphony Orchestra is superb, and the highly individual sound of the Mass No. 2, written solely for brass and wind instruments, almost (as the documentation implies) feels like Palestrina brought into the Romantic era. The remastering from the original issues, from 1962 to 1971, is very successful and there is a wonderful bloom on the choral sound. The spacious acoustics of the Herkules-Saal, which was also one of the venues for Jochum's first survey of Bruckner's symphonies with the same orchestra (and the Berlin Philharmonic), are heard to very good effect. Full translations of the Liturgy are printed in German, English and French.

This issue is a classic and its release as part of Deutsche Grammophon's Originals series cannot be too strongly welcomed.

5 out of 5 stars Magnificent.......2000-03-23

Being long under the impression that Bruckner's major achievement lay in his symphonies, the motets and the Te Deum, this CD-set came as quite a revelation to me.

Being a very devout Catholic, Bruckner left us with sublimely beautiful music in these Masses. Although al three masses were composed in his forties, the music strongly bears his signature: elements of mystery, striking thematic material, and deep spiritual devotion.

Jochum has a powerful vision, the singing of the choir is ethereal, and the recording after all these years retains a vivid presence.

The music has a strong emotional effect on me; listening to it is a spiritual experience.

Someone once said that God gave us music so that we could pray without words. This is the music I would expect to hear upon arrival in Heaven.
Haydn Masses - Nelsonmesse ~ Harmoniemesse ~ Paukenmesse ~ Kleine Orgelmesse
Average customer rating: 4.5 out of 5 stars
  • A generous choice
  • Good Choice
  • Glorious masterpieces, glorious recordings...
 Haydn Masses - Nelsonmesse ~ Harmoniemesse ~ Paukenmesse ~ Kleine Orgelmesse

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Mozart: Masses (5)
  2. Schubert: The 6 Latin Masses
  3. Mozart: Masses
  4. Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort
  5. Haydn: Symphonies Nos. 40-54

ASIN: B0000041MA
Release Date: 1997-08-12

Tracks:

  1. Missa In Angustiis: Nelson Mass, H XXII 11: Kyrie - Various Artists
  2. Missa In Angustiis: Nelson Mass, H XXII 11: Gloria: Gloria in excelsis Deo - Various Artists
  3. Missa In Angustiis: Nelson Mass, H XXII 11: Gloria: Qui tollis peccata mundi - Various Artists
  4. Missa In Angustiis: Nelson Mass, H XXII 11: Gloria: Quoniam tu solus Sanctus - Various Artists
  5. Missa In Angustiis: Nelson Mass, H XXII 11: Credo: Credo in unum Deum - Various Artists
  6. Missa In Angustiis: Nelson Mass, H XXII 11: Credo: Et incarnatus est - Various Artists
  7. Missa In Angustiis: Nelson Mass, H XXII 11: Credo: Et resurrexit - Various Artists
  8. Missa In Angustiis: Nelson Mass, H XXII 11: Sanctus - Various Artists
  9. Missa In Angustiis: Nelson Mass, H XXII 11: Benedictus - Various Artists
  10. Missa In Angustiis: Nelson Mass, H XXII 11: Agnus Dei: Agnus Dei - Various Artists
  11. Missa In Angustiis: Nelson Mass, H XXII 11: Agnus Dei: Dona nobis pacem - Various Artists
  12. Missa In Tempore Belli: Paukenmesse, H XXII 9: Kyrie - Various Artists
  13. Missa In Tempore Belli: Paukenmesse, H XXII 9: Gloria - Various Artists
  14. Missa In Tempore Belli: Paukenmesse, H XXII 9: Credo - Various Artists

Tracks:

  1. Paukenmesse, H XXII 9: Sanctus - J. Haydn
  2. Paukenmesse, H XXII 9: Benedictus - J. Haydn
  3. Paukenmesse, H XXII 9: Agnus Dei - J. Haydn
  4. Little Organ Mass, H XXII 7: Kyrie - J. Haydn
  5. Little Organ Mass, H XXII 7: Gloria - J. Haydn
  6. Little Organ Mass, H XXII 7: Credo - J. Haydn
  7. Little Organ Mass, H XXII 7: Sanctus - J. Haydn
  8. Little Organ Mass, H XXII 7: Benedictus - J. Haydn
  9. Little Organ Mass, H XXII 7: Agnus Dei - J. Haydn
  10. Harmoniemesse, H XXII 14: Kyrie - J. Haydn
  11. Harmoniemesse, H XXII 14: Gloria - J. Haydn
  12. Harmoniemesse, H XXII 14: Credo - J. Haydn
  13. Harmoniemesse, H XXII 14: Sanctus - J. Haydn
  14. Harmoniemesse, H XXII 14: Benedictus - J. Haydn
  15. Harmoniemesse, H XXII 14: Agnus Dei - J. Haydn

Customer Reviews:

5 out of 5 stars A generous choice.......2007-04-06

This inexpensive twofer mixes perhaps the best work from London's 10-CD box of Haydn's complete masses recorded during the 1960s. With sparkling solo and choral singing and playing that was among hte best of its era, this set will provide insight into Haydn performance for collectors that only know his music through modern period practice performers such as Gardiner and Hickox.

Old Haydn style is clearly on display in David Willcocks' 1962 Missa in tempori belli, or mass in time of war or "Nelson" mass celebrating Admiral Nelson's victory over Napoleon at the Nile. Four and one-hald decades later this is still among the best versions of this music ever recorded. Aside from "The Creation", Haydn hardly penned a better piece of vocal music. Willcocks probably does not have a better recording to his name.

Another magnificent departure from today's period performance practice is George Guest's "Paukenmesse" and the way he features the kettledrum, espcially in the closing pages. Compared to the Gardiner period version, where the big drum is used less often and to less advantage, this must be considered a full throated attack in keeping with the composer's wishes.

The one shortcoming of the set is it divides the Paukenmesse over two CDs. This aside, no one will be disappointed with this set unless they are so dogmatic they can't set aside modern practice to accept instrumental and choral work that set a standard for 30 years.

4 out of 5 stars Good Choice.......2006-08-14

I ordered this just to have Harmoniemesse but was happy to have the other pieces also. It's a nice variety of vocal arrangements. Recording is clear and chorus is good, sopranos sounding like boys choir. Ending of some phrases loses pitch sometimes but not enough to offend a sensetive ear.

5 out of 5 stars Glorious masterpieces, glorious recordings..........2000-12-26

Deeply moving recordings of Haydn's awesome choral masterpieces. The conducting and singing are both impeccable and powerful, and London's acoustics are great. The soprano in the Nelson mass sings like an angel, and the organ shines through well. It was one of the earliest recordings to use Haydn's actual orchestration. The Nelson mass is available on a 24 bit CD in the Decca Legends series along with a great Handel Coronation anthem with the "God Save the King" chorus. Now back to this set... I love the kettle drum "military" portion of the Agnus Dei in the Mass in Time of War. The organ is quite charming in the Little Organ Mass, and the Harmonienmasse is sublime. The Teresienmasse is not included though.

If you like Haydn's masses, don't miss the powerful The Seven Last Words of Christ(not to be confused with Haydn's string quartet set with the same title), its finale will carry you beyond this world. Haydn's TeDeum is also quite magnificent.
Schubert: Masses Nos. 2 & 6
Average customer rating: 5 out of 5 stars
  • Schubert Masses Nos. 2 & 6
  • a voice teacher and early music fan
  • YES!
  • This is a Must Have choral CD!
  • Schubert Mass in G Robert Shaw w/ Atlanta Symphony Orch.
 Schubert: Masses Nos. 2 & 6

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Vivaldi: Gloria; Bach: Magnificat
  2. Schubert: The 6 Latin Masses
  3. Gloria: Music of Praise & Inspiration
  4. Dvorak - Stabat Mater / Goerke · M. Simpson · Olsen · N. Berg · Atlanta SO · R. Shaw
  5. Fauré · Duruflé - Requiem / J. Blegen · J. Morris · Atlanta SO · Shaw

ASIN: B000003CVY
Release Date: 1990-05-07

Tracks:

  1. l. Kyrie - David Gordon
  2. ll. Gloria - David Gordon
  3. lll. Credo - David Gordon
  4. lV. Sanctus - David Gordon
  5. V. Benedictus - David Gordon
  6. Vl. Agnus Dei - David Gordon
  7. l. Kyrie - Glenn Siebert
  8. ll. Gloria - Glenn Siebert
  9. lll. Credo - Glenn Siebert
  10. lV. Sanctus - Glenn Siebert
  11. V. Benedictus - Glenn Siebert
  12. Vl. Agnus Dei - Glenn Siebert

Customer Reviews:

5 out of 5 stars Schubert Masses Nos. 2 & 6.......2007-03-11

This is an excellent recording and I am very pleased to have it.

5 out of 5 stars a voice teacher and early music fan.......2007-02-18

Franz Schubert (1797-1828) was raised a Roman Catholic in Vienna, and as a clear-voiced choir boy and violinist, he became acquainted with the works of Haydn, Mozart and Beethoven, who was his favorite composer.
Among Schubert's vocal works are many with religious texts, most intended for service use. The majority of these, including his first 5 Mass settings, were written for specific occasions and received performances soon after being completed, but this was not the case with his Sixth Mass, which lay unperformed until a year after his death.
In his settings of the mass, Schubert took Romantic liberties, omitting words, repeating words,or even entire paragraphs, thus treating the text not as unchangeable doctrine, but as a flexable libretto to be subservient to his artistic needs. His setting made significant omissions in the Gloria and Credo texts. Some sentences are omitted in all six of his masses, leading to speculation that he dissented from such teachings as the Church's divine authority.

The G major Mass was composed in 1815, and is simple and tuneful, direct and innocent in its idiom. He wrote it in 6 days; it is a small-scaled work accompanied by strings and organ.

The Mass in E-flat major is the product of that remarkable surge of new music that Schubert produced in his final year. Musically it has two aspects: it follows traditional practise in overall shape and construction. However, we encounter, in its harmonic language, Schubert, the Romantic ,using daring chromatic digressions and frankly pictorial writing with telling dramatic effect. This is basically a choral mass, and the soloists are used sparingly.

The performance of the soloists is excellent, and who but a Robert Shaw could bring out the best of the Chorus and Orchestra? Shaw was such a genius in the art of choral performance, but fortunately for us, he left much of his work behind on several recordings. While I enjoy both of these Masses, my preference still leans to the g major. probably because of its more traditional sound.

5 out of 5 stars YES!.......2003-04-17

This is THE recording of Mass # 2 to get!! # 6 is VERY nice as well. Over all a beautiful and unsurpassed recording.

5 out of 5 stars This is a Must Have choral CD!.......2002-04-22

I am ashamed to admit that I do not listen to this recording as often as it deserves to be heard. If the Lord has ears to hear with, then Schubert can be assured a place in the highest echelons of Heaven for having written such music. His Kyrie in Mass No. 2 drips with lyrical beauty. The Sanctus will take your breath away with its forceful simplicity. The Agnus Dei is a prayer on par with Faure's Pie Jesu for sheer, pure beauty. Highlights of the Mass No. 6 include the grandiose, Beethoven-esque Gloria and the gentle Benedictus. Shaw is absolutely in his element directing the Atlanta Chorus through their lush phrases and delicate melodies. The balance between chorus and orchestra is precise and the excellent sound quality can be best described as clear & present. A great selection of Masses for your collection.

5 out of 5 stars Schubert Mass in G Robert Shaw w/ Atlanta Symphony Orch........2001-11-04

I love this CD. It is an exquisite rendition of Schubert's wonderful music. I am performing this with my choir, and have been looking for a different presentation to hear the contrasts in interpretation.

I highly recommend this beautiful audio CD to anyone who loves good classical music.
Haydn: 6 Great Masses
Average customer rating: 4.5 out of 5 stars
  • the grand experience wears thin
  • In response to previous reviewer...
  • Haydn for the new millennium
 Haydn: 6 Great Masses

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Similar Items:
  1. Haydn: Die Schöpfung (The Creation) / Gardiner, The English Baroque Soloists
  2. Haydn: The Seasons
  3. Haydn: The "Sturm und Drang" Symphonies
  4. Haydn: Piano Trios (Complete) [Box Set]
  5. Beethoven - Missa Solemnis / Margiono * Robbin * Kendall * Miles * EBS * Gardiner

ASIN: B0000C41W5
Release Date: 2004-01-13

Customer Reviews:

3 out of 5 stars the grand experience wears thin.......2006-06-22

I've listened to these particular performances of Haydns masses many times, at first I loved it. The masses sound grand and while it's fun at first it gets old. Many of the masses just sound the same, grand with trumpets, drums, yelling and lots of energy. There is not very many beautiful moments that you hear in other masses by other composers. Also, there is just too many weird surprises and changes in the music, one moment it will sound beautiful then there is a sudden change and it sounds grand and you lose the beatiful melody forever. I don't think it's the performers fault but the composers. I have other performances of music by Gardiner and they're good. I guess you will enjoy this better if you just take it one mass at a time, too much will just wear you out.

If you're just looking for lots of energy and a grand experiance you will like this. If you want something beautiful stay away, you're better off just buying a couple of the masses. Now you have another opinion.

5 out of 5 stars In response to previous reviewer..........2006-03-26

Your ideas concerning the pronunciation of the latin refer to the German pronunciation of the text. Gardiner chose to utilize the Italianate pronunciation, which is certainly not "incorrect." The Italianate pronunciation is typically used in the Roman Catholic Mass, and these are most certainly Masses. Just wanted to clear that up.
In terms of the recording, I too shared some reservations, as I've been enamoured with Gardiner's rendition of the Verdi Requiem (though I think Abbado, on EMI, is more intense, and his soloists are superb), and extremely disappointed with his "performance" of Bach's St. Matthew Passion (that one seemed like he really had to use the bathroom, and wanted to wrap things up ASAP). However, this is quite a fine recording. The soloists are excellent, tempi are nice and brisk (though not rushed, as has often been the case in other Gardiner recordings), and it's great to have these six wonderful Masses together in one set. Though Bach's B minor Mass is THE supreme liturgical work, these Haydn creations are nothing short of extraordinary.

5 out of 5 stars Haydn for the new millennium.......2004-11-18

I am not an unabashed supporter of John Gardiner and his period style with choral music from the Baroque, Classical and Romantic periods. I enjoyed his versions of the Beethoven "Missa Solemnis" and Verdi "Requiem Mass" but did not enjoy his traversal of the Bach cantatas or Haydn's "Creation". This split decision left me wondering if purchasing this set would be wise.

Turns out it was very wise, indeed, for these are startlingly good performances of Haydn's "Big Six" masses -- the Harmony, Helig, Nelson, Creation, Theresa and Pauken (or kettledrum) masses. In these three disks, Gardiner, a group of now well-known soloists, the Monteverdi Choir and English Baroque Soloists acquit themselves well across the board.

There is no mention in the notes or on the sleeve whether or not the soloists use period inmstruments. The strings sound good, not wiry as is often the case with period instruments. The singers consistently use vibrato.

The English notes to this set describe the history of creation of each mass and describe their musical progressions. There are no notes about the performers and arty pictures of Gardiner grace the front panel of cover of the booklet.

I think it is reasonable to call this a new millennium update of the famous Decca-London set from the 1960s by performers including Simon Preston and George Guest. Spiritually, the newer set is a natural upgrade informed by period style -- if not always performed in same -- and produced in 21st century DDD sound. The singers and orchestral members all perform wonderfully and Gardiner's direction is always appropriate with that little bit of reserve always apparent that separates the temperament of Haydn from that of Beethoven.

While there is no question this is a five star offering, I nevertheless have a few minor quibbles with it. The recordings are tastefully produced in modern natural style, which places the singers and chorus equidistant. I would have appreciated a bit more forward placement for the singers.

In addition, I would argue that the pronunciation of the Latin words suscipe and excelsis are incorrect. There are several ways to say suscipe and Gardiner apparently has chosen su-she-pay. I would argue su-see-pay is correct. The choristers and solosits regularly say eck-shell-sis instead of the correct eck-sell-sis, also. Finally, I would have appreciated a bit more embellishment of the timpani in the closing pages of the "kettledrum" mass. It is, after all, named after the instrument!

But these are minor reservations in a set that has all the qualities to be a classic for this age and hold steadfast in the top rung of Haydn masses for another quarter-century. Compared to the version I have heard by Richard Hickox, I would say this set is clearly superior in all ways. I heartily recommend this nicely-priced three disk set to anyone that wants to discover -- or rediscover -- the glories of Haydn's late masses.
Victoria: Masses
Average customer rating: 4.5 out of 5 stars
  • Beautiful music - Deo gratias!
  • Wonderful
  • Good, but a lot to be desired
  • Ignacio is Right, This is Excellent and a Good Buy
  • Excelente disco
 Victoria: Masses

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Similar Items:
  1. Lassus: Masses for Five Voices; Infelix ego
  2. Palestrina: Missa Papae Marcelli, Missa Aeterna
  3. Obrecht: Missa Caput; Salve Regina
  4. Dufay: Missa L'homme armé; Supremum est mortalibus bonum
  5. Tallis: Mass for Four Voices; Motets /Oxford Camerata * Summerly

ASIN: B0000013U9
Release Date: 1994-02-15

Tracks:

  1. Ave Maria
  2. Kyrie
  3. Gloria
  4. Credo
  5. Sanctus
  6. Agnus Dei
  7. O Magnam Mysterium
  8. Kyrie
  9. Gloria
  10. Credo
  11. Sanctus
  12. Agnus Dei
  13. O Quam Gloriosum
  14. Ardens Est Cor Meum
  15. Alonso Lobo: Versa Est In Luctum

Customer Reviews:

5 out of 5 stars Beautiful music - Deo gratias!.......2007-02-27

This is an excellent CD with the best Kyrie I have ever heard (track 2, the Kryrie for the Missa O magnum mysterium). Clear voices, good direction, beautiful music.

4 out of 5 stars Wonderful.......2005-10-23

I purchased this to use in training for a choir that I am in, and fell in love with it for it's own merits. The cantors are amazing, and the balance and production flawless. Enjoy.

3 out of 5 stars Good, but a lot to be desired.......2005-04-22

I love Victoria and his masses. Having done the Gloria, Sanctus, Kyrie, and Agnus Dei in my college choir from his parody mass ("Missa O Magnum Mysterium"), I found that, while the recording had perfect accuracy of notes and cut-offs, the overall shaping of vowels was somewhat that of a boychoir, which I'm guessing the director wanted. However, certain performance practices relevant to Victoria's time weren't employed, and this was a bit of a disappointment. That is, the messa di voce of notes over two beats, and half-notes in the middle of measures, or a quarter-note tied to another quater-note over a barline wasn't present, nor was the tapering of the quarter-and-a-half note before the eighth-note to show the bounce, nor the crescendo in rising lines and decrescendo in falling ones, nor the lilt in a part's half-step movement down, then up. These are all esoteric things to be noticed, but that's why I give it three stars instead of five. Still, it's a great recording for lovers of Victoria and his masses, but there's a lot of room for improvement.

5 out of 5 stars Ignacio is Right, This is Excellent and a Good Buy.......2003-04-21

This review has something of the gratuitously autobiographical about it.

The short of it is, on this disc you will find lovely repertory, and will find it sung both capably and sweetly by the Oxford Camerata.

It was in tenth grade, I think, that I first sang O magnum mysterium. Since seventh grade, I had been playing the clarinet in our school band; and the bits I had heard of the occasional school chorus concert did not give me the impression, either that the human voice is a musical instrument, or that the stuff written for lots of voices together was anything I should ever take any interest in. And yet, somehow, I allowed myself one afternoon to be dragged into the music room when there was a chorus rehearsal, and I found myself trying to sing.

One of the first things the director had us read, was this Victoria motet; and I was enthralled from the start.

Now, I will not hide from you that there is plenty of music which, back in school, I thought the most enduringly great literature imaginable, but of which now, after years of education and experience, I cannot in good conscience entertain anywhere near so exalted an opinion.

But the Victoria is one of a few pieces I met and loved back in school, which has worn marvelously well over the years.

The parody Mass based on the motet, is absolutely new to me (the term "parody" here possesses nothing of the, but means that the musical material for much of the Mass's polyphony comes from an outside source); and for anyone who is familiar with the motet, the aural hunt for the gestures and motifs which come from the motet is a most pleasant puzzle. The beginnings of both the Kyrie and the Sancus make use of the descending fifth of the motet's opening, though it is a little "masked" among other voices. The music both of this Mass, and the Missa O quam gloriosum, are a wonderful mixture of the serenely fluid vocal polyphony typical of (say) Palestrina, and episodes of dance-like rhythm which are more like Spanish madrigals.

5 out of 5 stars Excelente disco.......2002-08-29

Muy buena interpretacion de la misa O quam Gloriosum. El Ave Maria a 4 voces esta a un tempo un poco rapido a mi gusto, pero igualmente delicioso. Una muy buena compra.
Bach: Cantatas & Masses
Average customer rating: 5 out of 5 stars
  • Great music, great performances
  • Radiant!
 Bach: Cantatas & Masses

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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MassesMasses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:
  1. Bach: Cantatas
  2. Bach: Magnificat; Easter Oratorio
  3. J.S. Bach: Cantates BWV 2, 20 & 176
  4. Bach: Mass In B Minor
  5. Cantates pour alto

ASIN: B000090WC6
Release Date: 2004-02-10

Tracks:

  1. Aus Der Tiefen Rufe Ich, Herr, Zu Dir - Chorus Of Collegium Vocale, Ghent
  2. So Du Willst, Herr, Sunde Zurechnen - Barbara Schlick
  3. Ich Harre Des Herrn - Barbara Schlick
  4. Meine Seele Wartet Auf Den Herrn - Barbara Schlick
  5. Israel, Hoffe Auf Den Herrn - Barbara Schlick
  6. Herr, Wie Du Willt, So Schick's Mit Mir - Barbara Schlick
  7. Ach, Senke Doch Den Geist Der Freuden - Barbara Schlick
  8. Ach, Unser Wille Bleibt Verkehrt - Barbara Schlick
  9. Herr, So Du Willst - Barbara Schlick
  10. Das Ist Der Vaters - Barbara Schlick
  11. Herr, Gehe Nicht Ins Gericht Mit Deinem Knecht - Barbara Schlick
  12. Mein Gott, Verwirf Mich Nicht Alt - Barbara Schlick
  13. Wie Zittern Und Wanken - Barbara Schlick
  14. Wohl Aber Dem, Der Seinen Burgen - Barbara Schlick
  15. Kann Ich Nur Jesum Mir Zum Freunde Machen - Barbara Schlick
  16. Nun, Ich Weiss, Du Wirst Mir Stillen - Barbara Schlick

Tracks:

  1. Brich Dem Hungrigen Dein Brot - Charles Brett
  2. Der Reiche Gott Wirft Seinem Uberfluss - Charles Brett
  3. Seinem Schopfer Noch Auf Erden - Charles Brett
  4. Wohlzutun Und Mitzuteilen - Charles Brett
  5. Hochster, Was Ich Habe - Charles Brett
  6. Wie Soll Ich Dir, O Herr - Charles Brett
  7. Selig Sind, Die Aus - Charles Brett
  8. Wer Nur Den Lieben Gott Lasst Walten - Charles Brett
  9. Was Helfen Uns Die Schweren Sorgen? - Charles Brett
  10. Man Halte Nur Ein Wenig Stille - Charles Brett
  11. Er Kennt Die Rechen Freudenstunden - Charles Brett
  12. Denk Nicht In Deiner Drangsalshitze - Charles Brett
  13. Ich Will Auf Den Herren Schaun - Charles Brett
  14. Sing, Bet Und Geh Auf Gottes Wegen - Charles Brett
  15. Was Willst Du Dich Betruben - Charles Brett
  16. Denn Gott Verlasset Keinen - Charles Brett
  17. Auf Ihm Magst Du Es Wagen - Charles Brett
  18. Wenn Auch Gleich Aus Der Hollen - Charles Brett
  19. Er Richt's Zu Seinen Ehren - Charles Brett
  20. Drum Ich Mich Ihm Ergebe - Charles Brett
  21. Herr, Gib, Dass Ich In Dein' Ehre - Charles Brett

Tracks:

  1. Kyrie - Christoph Pregardien
  2. Gloria In Excelsis Deo - Christoph Pregardien
  3. Domine Deus - Christoph Pregardien
  4. Qui Tollis Peccata Mundi - Christoph Pregardien
  5. Quoniam Tu Solus Sanctus - Christoph Pregardien
  6. Cum Sancto Spiritu - Christoph Pregardien
  7. Kyrie - Christoph Pregardien
  8. Gloria Excelsis Deo - Christoph Pregardien
  9. Gratias Agimus Tibi - Christoph Pregardien
  10. Domine Deus - Christoph Pregardien
  11. Quoniam Tu Solus Sanctus - Christoph Pregardien
  12. Cum Sancto Spiritu - Christoph Pregardien

Tracks:

  1. Kyrie - Christoph Pregardien
  2. Gloria In Excelsis Deo - Christoph Pregardien
  3. Gratias Agiumus Tibi - Christoph Pregardien
  4. Domine Fili Unigenite - Christoph Pregardien
  5. Qui Tollis Peccata Mundi - Christoph Pregardien
  6. Cum Sancto Spiritu - Christoph Pregardien
  7. Kyrie - Christoph Pregardien
  8. Gloria In Excelsis Deo - Christoph Pregardien
  9. Domine Deus, Rex Coelestis - Christoph Pregardien
  10. Qui Tollis Peccata Mundi - Christoph Pregardien
  11. Quoniam Tu Solus Sanctus - Christoph Pregardien
  12. Cum Sancto Spiritu - Christoph Pregardien
  13. Sanctus - Christoph Pregardien

Customer Reviews:

5 out of 5 stars Great music, great performances.......2006-11-17

Herreweghe brings aspiration and joy to these "Lutheran" masses, rather than dour piety. They are musically moving even to a non-religious listener. These are first-rate performances. Be careful, however, if you have been buying Bach disks for many years; this box of 4 CDs includes re-releases of recordings as old as 1990. Thus you may find, as I did, that you are buying performances you already own, with different cover art.

5 out of 5 stars Radiant!.......2004-02-20

This is one of the finest quality budget deals I have come across in the Baroque music realm. A nice 4-CD sampling of Bach's cantatas (BWV 39, 73, 93, 105, 107 and 131) from his Leipzig period (1723-1726) and the four "Lutheran" masses from the 1730s. The latter follow hot on the heals of the B Minor mass (BMV 232) and are especially welcome.

Herreweghe is one of my favorite Baroque conductors, finding, as he does, a vitality and vibrancy in his period instrumentation. The musicians and soloists of the Ghent-based Collegium are of uniformly fine quality and the recording is up to Virgin's excellent standards.

If you own Herreweghe's stunning version of the Mass in B Minor, buy this. You won't be disappointed. I would've paid full price for a collection this sublime.

Music Review:

  1. Max Lorenz singt Wagner
  2. Mendelssohn Bartholdy: Ein Sommernachtstraum
  3. Mendelssohn: Violin Concerto; Bruch: Violin Concerto No. 1
  4. Michael Haydn: Symphonies Nos. 22, 23, 33, 1C
  5. Mozart: Flute Concertos; Concerto for Flute & Harp
  6. Mozart: Symphonies Nos. 38, 29 & 30
  7. Mussorgsky: Pictures at an Exhibition No1-10; Wagner: Meistersinger von Nürnberg WWV96
  8. My First Puccini
  9. My First Verdi
  10. Nan Jing

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