Beethoven - Missa Solemnis

Here we have another fine 'Missa Solemnis' from, I first thought, an unlikely source: Kenneth Schermerhorn, the Nashville Symphony and Chorus, and a group of soloists who are virtually unknown. We must remember, however, that Schermerhorn is no neophyte and was, indeed, a protégé of Bernstein's early in his career. Further, I have been increasingly impressed by the work turned in by the Nashville Symphony. Nashville is a growing community with a large commitment to the arts and a lively music school at Vanderbilt University, in whose Ingram Hall this performance was recorded. So, perhaps my biggest surprise is the level of artistry from the four soloists. They are Lori Phillips, a soprano who includes the title rôle of 'Turandot' in her fach; Robynne Redmon, a rich-voiced contralto-ish mezzo; James Taylor, one of the sweetest-voiced tenors around--he has been a stalwart of Helmut Rilling's Oregon Bach Festival for a number of years; and Jay Baylon, who has sung the Dutchman at the San Francisco Opera. They are equally matched and equally outstanding. The only slightly weak link in this chain is the Nashville Symphony Chorus which can sound a bit raw, particularly in the fortissimo sections. On the other hand, they sing exquisitely at softer points in the score like the 'Qui propter nos homines' section of the 'Credo' or in the stirring fugue of the 'Agnus Dei.' Although they are singing in a Italian-inflected Latin, their diction would never be mistaken for anything but middle American. Finally, a word of praise for the orchestra's concertmaster, Mary Kathryn Van Osdale, who plays the luscious violin obbligato in the 'Benedictus' with sweet mastery.

I've sat through a number of really boring performances of the 'Missa Solemnis.' There seems to be something about it that inspires musicians to be either soggy or pompous, or both. This performance is neither. The 'Agnus Dei' with its final 'Dona nobis pacem' contains rich divided strings, stirringly martial, almost Mahlerian, brass and chorus, and finally utter calm. Beethoven's is, in my opinion, the most effective ending for a concert Mass ever written. It is given its due here, with sumptuous singing from chorus and soloists and restrained but rich instrumental support.

If you're looking for a 'Missa Solemnis' with traditional forces you won't go wrong getting this one. And, of course, Naxos's budget price is an additional enticement.

Recommended.

TT=77:11

Scott Morrison

After a Kyrie that moves with the gait of an overweight alligator (over ten minuets, Klemperer takes less than nine and a half, Zinman less than eight) it was predictable that the Gloria would burst from the traps with the eagerness of a rodeo mustang. It does. But it's not only some ill-judged pacing that is the problem with this disappointing recording, it's also the unsympathetic dynamic balance and an unremitting impression that as this is a great work it must go with great volume and great insistence. But they are no substitute for the depths of insight and vision that inform the very different approaches of the equally inexpensive performances of David Zinmann (Arte Nova), Michael Gielen (Point Classics) and Eugene Ormandy (Sony) or, for a few pounds more, Klemperer's (EMI) magisterial recording.