Schubert: Complete Masses (D. 105,
167, 324, 452, 678 and 950); Deutsche Messe, D. 872; Salve Regina, D. 676;
Magnificat, D. 486. Virtuosi Di Praga and Prague Chamber Orchestra
conducted by Andreas Weiser, Romano Gandolfi, Jack Martin Händler and Ulrich Backofen; Spandauer
Kantorei Berlin, Cappella Vocale Hamburg and Bach Collegium Berlin conducted by
Martin Behrmann; Wiener Kammerchor and Wiener Symphoniker conducted by Hans
Gillesberger; Kammerchor Stuttgart and Deutsche Kammerphilharmonie Bremen
conducted by Frieder Bernius. Brilliant Classics. $25.99 (4 CDs).
Renowned for his songs and
symphonies, celebrated for his chamber music, Schubert is very rarely thought
of as a composer of Masses – despite the fact that he composed six full Latin
mass settings, as well as a Deutsche
Messe and other liturgical works. The neglect of this music is in some ways
understandable: Schubert himself was not particularly religious, and although
there is much in the Masses that is songful and beautiful, there is little in
them that explores the expressive glories of the human voice to the extent that
Schubert does in his songs. On the other hand, the Masses reflect Schubert’s
personal, if not always well-defined, spiritual sentiments, which glow through
in the music despite the composer’s impatience with formal, traditional
religious practice. The personal affirmation of a single holy Catholic church
is conspicuously absent in all these Mass settings, yet there is a
straightforward and sincere religiosity that comes through in them again and
again.
Although the basic texts
that Schubert set were the same in these works (except in the Deutsche Messe), the performance
difficulties and overall quality of the Masses vary considerably. The fifth and
sixth Mass settings (in A-flat, D. 678, and in E-flat, D. 950) are the longest,
the most complex, the most musically interesting and all in all the most
effective. No. 5 took the composer an exceptionally long time to create, by his
standards: three years. It uses a full-scale symphonic orchestra plus organ,
but Schubert carefully calls on instruments when they are needed for particular
points of emphasis rather than to produce overall sonic splendor. No. 6 is
harmonically rich and instrumentally colorful, despite the omission of the
flute that is used in No. 5; and this final Mass, unlike all its predecessors,
gives less prominence to the soloists and more to the chorus.
Masses Nos. 5 and 6 stand
above Schubert’s other works in this form, but those works are by no means
unworthy of being heard. The Deutsche
Messe is a late work (1826, which places it between Mass No. 5 and Mass No.
6); but it is a brief Mass that was written specifically for amateur
performance – each section is short and largely homophonic, and the piece as a
whole is effective in its intended purpose as a popularization of church music.
Each of the four earlier Latin Masses has its own character. No. 1 in F,
written when Schubert was 17, calls for a very large complement of performers
and features a highly expressive Kyrie
and some particularly engaging writing for the soprano soloist. No. 2 in G is
shorter, less substantive and less complex, with an especially moving Agnus Dei. No. 3 in B-flat is longer
than No. 2 but somewhat more pedestrian in its setting, lacking some of the
deeper feelings brought out in the earlier Masses – although still very well
constructed and tuneful. No. 4 in C has a different musical hue from the
others, being written only for strings and organ – and with violas omitted. In
addition to the Masses, the new Brilliant Classics release includes two shorter
liturgical pieces by Schubert, Salve
Regina and Magnificat.
This single-box release of
all this music, even without any texts (easy to find for the Latin Mass, but
not for the Deutsche Messe), is most
welcome, doubly so because it is exceptionally well-priced. The performances,
though, are not at a uniformly high level – although they are always adequate.
This four-CD set is actually a compilation re-release of several recordings
that originally appeared on other labels. The Deutsche Messe, conducted by Hans Gillesberger, is an analog
recording from 1962; Mass No. 5, impressively and sensitively directed by
Martin Behrmann, is another analog recording, in this case from 1978. The other
music was recorded digitally, but in several venues and with varying soloists,
choruses and instrumental players. The recording date was 1996 not only for
Mass No. 1, Salve Regina and Magnificat (all conducted by Andreas
Weiser), but also for Masses No. 2 (led by Romano Gandolfi), No. 3 (directed by
Jack Martin Händler), and No. 4
(conducted by Ulrich Backofen). Mass No. 6, recorded in 1995, is led by the
best of the conductors represented here, Frieder Bernius: his sure-handedness
and careful sculpting of Schubert’s musical lines give this work a songfulness
and forthright expressiveness that are altogether winning and that confirm the
high quality of this final Schubert Mass. None of the other performances is unworthy,
by any means, but all tend to be somewhat foursquare: they are diligent and
well-paced, but generally a touch too formulaic to allow the music to reach its
full expressive potential. Listeners interested in the differences of
performance style among ensembles from Austria, the Czech Republic and Germany
will find some intriguing distinctions of approach here, but nothing is taken
to extremes: all these readings are suitably solemn, well-proportioned and
nicely played, although none except that led by Bernius seems really to try to
get past the words of the Mass to Schubert’s personal approach to the beliefs
underlying those words. Still, this set of Schubert’s Masses shows again and
again, in section after section, how Schubert’s melodiousness and fine handling
of vocal lines create warmly involving music that makes the straightforward
liturgical sentiments of the Latin Mass into something lovely, eloquent and often
poignant.
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