Composer: Ludwig Van Beethoven
Works: Missa Solemnis (Mass in D) op. 123; Symphony No. 4 in C minor (“Tragic”)
Performers: New Philharmonia Orchestra; Philharmonia Chorus; Teresa Zylis-Gara, soprano; Marga Höffgen, contralto; Robert Tear, tenor; Raffaele Arié, bass
Recording: St. Paul’s Cathedral, London, 16th July 1968; Usher Hall, Edinburgh, 31st August 1968
Label: BBC Legends BBCL 4093-2 [2CDs: 66:06 + 43:26]
Beethoven’s Missa Solemnis, composed between 1819 and 1823, stands as a monumental testament to the composer’s spiritual and artistic aspirations, marking a pivotal moment in the evolution of sacred music. Unlike the more straightforward liturgical works of his predecessors, this mass is imbued with personal reflection and grand philosophical scope. The work’s dedication to the Archduke Rudolph speaks volumes about its intention; it is not merely a mass but a profound exploration of faith and humanity. Carlo Maria Giulini’s interpretation, recorded during a time when the New Philharmonia Orchestra was in formidable form, captures the essence of this complexity, offering a performance that is both faithful to the text and deeply expressive.
Giulini’s approach to the Missa Solemnis is notable for its dramatic sensibility, a quality likely honed through his extensive experience in Italian opera. This is evident in the way he navigates the work’s intricate emotional landscapes, deftly balancing the moments of profound introspection with the exuberant, almost ecstatic passages. His interpretation shines particularly in the Sanctus, where the transition into the Benedictus is executed with a remarkable sense of drama. Here, the chorus’s jubilant exclamations give way to a delicate and mysterious Praeludium. The ethereal entrance of the solo violin, accompanied only by flutes, evokes a celestial quality that is masterfully realized under Giulini’s baton. This moment encapsulates the transcendental nature of Beethoven’s vision, and Giulini’s ability to sustain such sublime beauty speaks to his interpretive prowess.
The performance is further enhanced by the exceptional contributions of the Philharmonia Chorus, whose rendition of the challenging choral writing is executed with apparent ease and sonorous richness. The chorus, under the guidance of Wilhelm Pitz—though regrettably uncredited—demonstrates a remarkable unity of sound and clarity in the intricate counterpoint. The textural contrasts that Beethoven employs are handled with skill, though the recording’s acoustics, impacted by the cavernous St. Paul’s Cathedral, sometimes obscure finer details, particularly the woodwind passages that are so vital to the orchestral color. The sound engineers have done commendable work considering the venue’s challenging acoustics, yet the resultant sound can occasionally feel muddled, particularly for the lower voices of the ensemble.
Adding to the allure of this release is the coupling of Schubert’s Fourth Symphony, often dubbed the “Tragic.” While this work does not reach the heights of Schubert’s later symphonies, it is replete with his characteristic lyricism and harmonic inventiveness. Giulini leads the New Philharmonia with a warmth and affection that makes the performance engaging, albeit lacking the dramatic urgency that the subtitle suggests. The symphony’s melodic beauty and orchestral color are evident, yet the performance does not fully capitalize on the potential for emotional depth that Schubert’s score offers.
The recording of the Missa Solemnis, despite its occasional sonic limitations, ultimately serves as a powerful reminder of Beethoven’s genius and the interpretive depth that Giulini brings to the work. The combined forces of the New Philharmonia Orchestra and the Philharmonia Chorus create a tapestry of sound that is both rich and intricate, capturing the essence of Beethoven’s spiritual journey. Giulini’s interpretation, marked by humility and a deep connection to the music, allows the listener to engage with the profound messages embedded within the score. This performance stands as a worthy addition to the canon of Beethoven recordings, reaffirming the Missa Solemnis as one of the summits of Western choral literature.
