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Mozart: Coronation Mass; Exsultate jubilate; Vesperae solennes /Pinnock

James MacDougall, Barbara Bonney Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: £10.93 & FREE Delivery in the UK. Details
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Mozart: Coronation Mass; Exsultate jubilate; Vesperae solennes /Pinnock + Mozart: Choral Works
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Product details

  • Audio CD (10 Aug 2010)
  • Number of Discs: 1
  • Label: Import Music Services
  • ASIN: B0000057EQ
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 7,571 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
Listen  1. Mozart: Mass in C, K.317 "Coronation" - 1. KyrieTrevor Pinnock 3:19£0.79  Buy MP3 
Listen  2. Mozart: Mass In C, K.317 "Coronation" - 2. GloriaCatherine Wyn Rogers 4:29£0.79  Buy MP3 
Listen  3. Mozart: Mass in C, K.317 "Coronation" - 3. CredoCatherine Wyn Rogers 6:24£0.79  Buy MP3 
Listen  4. Mozart: Mass in C, K.317 "Coronation" - 4. SanctusTrevor Pinnock 1:52£0.79  Buy MP3 
Listen  5. Mozart: Mass in C, K.317 "Coronation" - 5. BenedictusCatherine Wyn Rogers 3:21£0.79  Buy MP3 
Listen  6. Mozart: Mass in C, K.317 "Coronation" - 6. Agnus DeiCatherine Wyn Rogers 6:55£0.79  Buy MP3 
Listen  7. Mozart: Exsultate, jubilate, K.165 - 1. Exsultate, jubilateRoger Hamilton 5:06£0.79  Buy MP3 
Listen  8. Mozart: Exsultate, jubilate, K.165 - 2. Fulget amica diesRoger Hamilton0:52£0.39  Buy MP3 
Listen  9. Mozart: Exsultate, jubilate, K.165 - 3. Tu virginum coronaRoger Hamilton 7:55£0.79  Buy MP3 
Listen10. Mozart: Exsultate, jubilate, K.165 - 4. AlleluiaRoger Hamilton 2:34£0.79  Buy MP3 
Listen11. Mozart: Vesperae solennes de confessore in C, K.339 - 1. Dixit Dominus Domino meo (Ps. 109/110)Catherine Wyn Rogers 4:08£0.79  Buy MP3 
Listen12. Mozart: Vesperae solennes de confessore in C, K.339 - 2. Confitebor tibi, Domine (Ps. 110/111)Catherine Wyn Rogers 3:58£0.79  Buy MP3 
Listen13. Mozart: Vesperae solennes de confessore in C, K.339 - 3. Beatus vir qui timet Dominum (PS. 111/112)Catherine Wyn Rogers 4:32£0.79  Buy MP3 
Listen14. Mozart: Vesperae solennes de confessore in C, K.339 - 4. Laudate pueri Dominum (Ps. 112/113)Trevor Pinnock 3:15£0.79  Buy MP3 
Listen15. Mozart: Vesperae Solennes De Confessore In C, K.339 - 5. Laudate Dominum omnes gentes (Ps. 116/117)Trevor Pinnock 4:56£0.79  Buy MP3 
Listen16. Mozart: Vesperae solennes de confessore in C, K.339 - 6. Magnificat anima mea (Luc. 1:46-55)Catherine Wyn Rogers 4:09£0.79  Buy MP3 

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Customer Reviews

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Most Helpful Customer Reviews
4 of 8 people found the following review helpful
5.0 out of 5 stars Mozart: Coronation Mass 25 Feb 2011
Format:MP3 Download
I joined a local choir about two years ago and I'm thoroughly enjoying learning and performing new music (new to me, anyway). Mozart's Coronation Mass is pure Joy.
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Amazon.com: 4.7 out of 5 stars  14 reviews
46 of 48 people found the following review helpful
5.0 out of 5 stars A great disc 17 Dec 1999
By J. Buxton - Published on Amazon.com
Format:Audio CD
Barbara Bonney is the star of this disc. Her "Exsultate Jubilate" is the most beautiful, unprententious version I've heard. What I've always admired about her is her pure tone, and this recording is no exception. Even though she sings gloriously, she doesn't show off at the expense of Mozart's music. The English Concert's playing is intelligent and stylish as we've come to expect from them. Also, if you're unfamiliar with the Solemn Vespers of the Confessor, this piece is a real treat for choral music lovers. It is done very well here too.
12 of 12 people found the following review helpful
5.0 out of 5 stars A Mozart Mass with a Difference. Buy It. 19 Aug 2006
By B. Marold - Published on Amazon.com
Format:Audio CD
The 'Coronation Mass' or 'Mass in C major K. 317' by Wolfgang Amadeus Mozart is just a bit different from the half dozen of Mozart's other masses I've been listening to lately. It is certainly at the other end of the spectrum from the great and famous 'Requiem' or 'unfinished' Mass, so famous from the end of the movie 'Amadeus'. This stands to reason, as the Coronation Mass is a celebration, while the Requiem is a funeral.

The CD is rounded out with two pieces of liturgical music Mozart did for the Archbishop of Salzburg, who happened to like his Masses and other church music to be short. That's why Mozart's masses finish up within 45 minutes while Bach's grand masses run for close to two hours or more.

If you aren't necessarily set on owning a performance of every single Mozart mass, this is a good bookend to your copy (probably more than one) of the 'Requiem'.

While the period instruments used in this performance are nice, I feel no big difference between it and Mozart done with a 20th century ensemble.
10 of 11 people found the following review helpful
5.0 out of 5 stars a voice teacher and early music fan 3 Mar 2007
By George Peabody - Published on Amazon.com
Format:Audio CD
Franz Joseph Haydn said of W.A. Mozart(1756-1791) to Leopold Mozart (his father):"I tell you before God and as an honest man, your son is the greatest composer I know in person or by name, he has taste, and in addition to that, the greatest knowledge of composition."

Between 1770 and 1773, Mozart made several visits to Italy which influenced him greatly in his writing of Church Music, for he encountered the music of Palestrina and Allegri et al , a tradition which extended back to those composers, but also included concerted church music in the modern or 'rococo' style. This style with its instrumental 'sinfonias' and florid vocal writing alternating with sober, seemingly archaic movements in the strict style was a mixture of austere and decorative settings and is very much alive in Mozart's Salzburg church music, notably the Vesper Psalms.

Mozart completed the Mass in C major,K317, in January, 1779. Many long-standing but probably erroneous explanations of the nickname 'Coronation Mass' have been put forth, but in fact, there is no real evidence for any of these ideas, so we don't know why, but it doesn't matter at all to us who love his music.

In his last two years at Salzburg Mozart wrote his 2 Vesper Cycles, one of which is 'Vesperae solennes de confessore' K339, in 1780; the liturgical texts are Psalms 109 to 112, Psalm 116 and the Magnificat canticle, each of these 6 parts ending with the doxology.

The Italian operatic tradition held mostly at bay in the Salzburg Masses and vespers had earliler poured forth at its most undiluted in the solo motet 'Exsultate, jubilate', K165. It was composed in 1773, and must surely rank as the most popular of Mozart's vocal work.

What an incredible genius this man was, and will forever be in the eyes of history; I always wonder what else would have come forth from this 'marvel'!?

For the most part, I do like the singing on this disc; especially the Choir, but Trevor Pinnock is a reliable name in the field of music, so one can trust what he puts together. His tempos suit me as does the overall interpretation of Mozart. The soloists are good; my preference is for the Soprano (Barbara Bonney); her rendition of 'Laudate Dominum' is superb. in fact , memorable. It's all enjoyable and well-done!
9 of 11 people found the following review helpful
5.0 out of 5 stars Beautiful Mozart Choral Compositions 27 Oct 2005
By Ruth Harvey - Published on Amazon.com
Format:Audio CD
This is a beautiful recording. Very clear, an excellent choir and wonderful Mozart compositions. I would recommend this CD to any lover of classical choral music.
1 of 1 people found the following review helpful
2.0 out of 5 stars The Gospel according to St Trevor of the Penguin Guide 22 April 2012
By Bernard Michael O'Hanlon - Published on Amazon.com
Format:Audio CD
The Coronation Mass is a masterpiece and it is so much more pungent than the later Missa Solemnis K 337 (Einstein was surely correct in his theory that Mozart wrote the latter mainly to annoy the `Archbooby' - to wit, the drawn out `Amen' to the Gloria et al). The Exsultate Jubilate could be acclaimed likewise. The Vespers are second-drawer Mozart. Thankfully they have been all well-served by discography.

I've had this CD in my collection since 1994 and it has signally failed to worm its way into my affections. True, the 20-bit recording is spectacular (not least in the Credo of K 317). I suspect that Pinnock is playing at 430HZ as he does not sandpaper the ears unlike that Hogwood performance which has sunk into obscurity (the booklet is silent on this matter). Even so, for all the surface vivacity I fail to detect any sort of connection with the liturgy beyond a mere recitation of the text. Pinnock's Kyrie is actually slower than Karajan's analogue performance (Beethoven: Missa Solemnis / Mozart: Coronation Mass) and it lacks the `innerness' of the latter - and exactly the same charge could be levelled at its Benedictus and the Agnus Dei when compared with the stellar version by Levine (and Big Jim has the better soprano Mozart: Kronungsmesse Mass in C Major; Haydn: Missa in Tempore Belli). The Credo is a Gospel-in-miniature but one would be hard-pressed to make this connection on the basis of this performance: it sounds like another choral work. Perhaps there is a very fine line between animation and fervour but I cannot hear much of the latter in this performance and not once am I tempted to pull out my tattered membership card of the Old Firm. To my ears, the old Kubelik version on Galleria is more successful in capturing the spirit of this work (Mozart: Kronungmesse / Spatzenmesse / Ave Verum Corpus / Exsultate, Jubilate) and much the same could be said of the underrated Neumann (Mozart: Coronation Mass; Missa Solemnis).

Nor am I convinced that Barbara Bonney is successful in K 165 to the point where she eclipses rivals such as Ameling (Mozart: Exsultate Jubilate) and the young Edith Mathis Mozart: Kronungmesse / Spatzenmesse / Ave Verum Corpus / Exsultate, Jubilate (and note, BB also recorded this work with Harnoncourt and she's in better form here). To my ears, there is too much happening with the voice; homogeneity is a pejorative word singing-wise but I find it hard to connect the various tinctures of her voice into the one integrated instrument. Her very first phrase is droopy. It would be unfair to say that Bonney wobbles but she does whoop on occasions. She hits the B note well enough in the finale but not with the ease and command of her two rivals above.

In the Vespers, Pinnocks fails to convince me at least that they're greater than what they actually are. The peformance is cut from the same clothe as the Mass: it's brightly vacuous. Again, Davis is more visionary in his classic performance from 1971 Mozart: Exsultate, Jubilate, K. 165; Vesperae solennes de confessore, K. 339; Kyrie in D minor, K. 341; Ave verum corpus, K. 618,

All in all, this is a highly subjective review (and even more so than usual from yours truly), and if others find merit in this disc I am not going to demure stridently. However much it may appeal to the Penguin Guide, to my ears this disc is the triumph of pizzazz over substance - and Real Presence is tellingly absent.
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