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Beethoven - Missa Solemnis
 
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Beethoven - Missa Solemnis

~ Ludwig van Beethoven (Composer), Kenneth Schermerhorn (Conductor), Robynne Redmon (Mezzo Soprano), Nashville Symphony (Orchestra), Lori Phillips (Soprano), et al.
3.5 out of 5 stars See all reviews (2 customer reviews)
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Product details

  • Orchestra: Nashville Symphony
  • Conductor: Kenneth Schermerhorn
  • Composer: Ludwig van Beethoven
  • Audio CD (2 Feb 2004)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B00019P6P4
  • Other Editions: MP3 Download
  • Average Customer Review: 3.5 out of 5 stars See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 132,256 in Music (See Bestsellers 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.

Extraits
Song TitleArtist Time Price
Listen  1. Mass in D major, Op. 123, "Missa Solemnis": Kyrie eleisonKenneth Schermerhorn10:33£0.69
Listen  2. Mass in D major, Op. 123, "Missa Solemnis": Gloria - Gloria in excelsis DeoJay Baylon 4:44£0.69
Listen  3. Mass in D major, Op. 123, "Missa Solemnis": Gloria - Qui tollis peccata mundiKenneth Schermerhorn 5:16£0.69
Listen  4. Mass in D major, Op. 123, "Missa Solemnis": Gloria - Quoniam tu solus sanctusJay Baylon 6:54£0.69
Listen  5. Mass in D major, Op. 123, "Missa Solemnis": Credo - Credo in unum DeumKenneth Schermerhorn 4:00£0.69
Listen  6. Mass in D major, Op. 123, "Missa Solemnis": Credo - Et incarnatus estMary Kathryn Van Osdale 5:05£0.69
Listen  7. Mass in D major, Op. 123, "Missa Solemnis": Credo - Et resurrexit tertia dieKenneth Schermerhorn 9:17Album Only
Listen  8. Mass in D major, Op. 123, "Missa Solemnis": SanctusJay Baylon 5:32£0.69
Listen  9. Mass in D major, Op. 123, "Missa Solemnis": Sanctus - BenedictusKenneth Schermerhorn10:28Album Only
Listen10. Mass in D major, Op. 123, "Missa Solemnis": Agnus DeiJay Baylon 5:46£0.69
Listen11. Mass in D major, Op. 123, "Missa Solemnis": Agnus Dei - Dona nobis pacemKenneth Schermerhorn 9:26Album Only



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Customer Reviews

2 Reviews
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 (1)
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Average Customer Review
3.5 out of 5 stars (2 customer reviews)
 
 
 
 
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9 of 9 people found the following review helpful:
5.0 out of 5 stars An Outstanding Budget 'Missa Solemnis', 10 Jul 2004
By J Scott Morrison (Middlebury VT, USA) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)   
My personal benchmarks for the 'Missa Solemnis' are those by Bernstein and John Eliot Gardiner. Bernstein recorded it several times (including once with Eileen Farrell, Kim Borg and Richard Lewis, but hard to find and in less than wonderful sound), but my favorite is the one with the Vienna Philharmonic with soloists René Kollo, Gwyneth Jones, Hanna Schwarz and Kurt Moll. Gardiner's version, of course, is recommendable because it uses original instruments and historically-informed performance practice. It also happens to be lighter on its feet than most traditional recordings, a real plus in my book. I love the 'Missa Solemnis' but I get a little weary with bombastic performances of the 'Gloria.' Neither Gardiner nor Bernstein makes that mistake, but additionally Gardiner's clear textures bring out the incredible part-writing while not diluting the sense of exultation and praise.

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

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3 of 4 people found the following review helpful:
2.0 out of 5 stars Missing the Point?, 10 Feb 2004
By A Customer
Big, brash and blowsy may suit Sousa but it sure does Beethoven no favours. The impression from listening to this recording is more Missa Violentus than Missa Solemnis. The recording matches the performance, starkly aggressive, very much 'in your face' - the listener feels within a couple of steps of the choir and at an arm's length from the soloists. With a choir and soloists as abrasive as these can be that is not a comfortable place to be. The orchestra is set some distance behind all this. But sadly the extra distance doesn't bring any greater subtlety. Judging by this performance Kenneth Schermerhorn doesn't 'do' subtlety or sensitivity. The approach is blatant, hectoring, hieratic. Even in the sublime 'Et incarnatus est' the manner is hasty and hollow. The whole approach radiates the ethos of neon lights, shiny chrome and the Broadway musical.

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.

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