Composer: Johann Simon MAYR (1763-1845)
Works: Mass in C Minor; Wolfgang Amadeus MOZART (1756-1791) – Salve Regina; Quis te comprehendat; In te Domine speravi
Performers: Marina Ulewicz (soprano), Christa Mayer (alto), Thomas Cooley (tenor), Thomas Gropper (bass), Vokalensemble Ingolstadt, Georgian Chamber Orchestra, Ingolstadt
Conductor: Franz Hauk
Recorded: Asam Kirche, Ingolstadt, April 2001
Label: GUILD GMCD 7231
Duration: 65:48
In the realm of sacred music, Johann Simon Mayr’s Mass in C Minor emerges as an extraordinary artifact of the early 19th century, reflecting the cultural interplay between the German and Italian musical traditions. Commissioned for the monastery of Einsiedeln in 1826, this Mass languished in obscurity until this recent recording, which breathes new life into a work that is both sophisticated and deeply expressive.
Mayr’s compositional style reveals his formative years spent in Italy, where he studied under the esteemed Bertoni and wrote operas that established his reputation. The Mass is a compelling synthesis of his Germanic influences—echoing the structural clarity of Haydn and the lyrical grace of Mozart—intertwined with the operatic flair characteristic of his Italian training. This duality provides a rich backdrop for the choral and orchestral writing, which is particularly notable in the Gloria. The concluding allegro spiritoso is a tour de force, marked by buoyant violin passages and vibrant woodwind lines that dance around a choral crescendo, showcasing Mayr’s gift for dramatic flair.
The Et incarnatus est stands out as an operatic highlight, showcasing the dramatic potential of the text through its expressive solo violin and the intricate interplay between the soloists and the chorus. Notably, while only a portion of this section is original to Mayr, the borrowing from Donizetti’s Credo serves as a fascinating homage, illustrating the pedagogical bonds in the world of music that transcended mere teacher-student dynamics.
The fugal Hosanna in excelsis encapsulates Mayr’s technical prowess, presenting a concise yet powerful exploration of counterpoint that is both engaging and efficiently constructed. This quality of brevity is characteristic of the Mass as a whole, which, despite its multi-movement structure, maintains an invigorating momentum that prevents any sagging of interest. The duet in the Agnus Dei highlights Mayr’s lyrical sensibility, complemented by imaginative orchestration that breathes vitality into the work.
The performances here are commendable, with the vocalists—particularly Ulewicz—delivering expressive interpretations that marry technical precision with emotional depth. Ulewicz’s ability to navigate the scoring’s demands, particularly against the formidable organ, showcases her artistry. The Vokalensemble Ingolstadt, under the direction of Franz Hauk, demonstrates a cohesive understanding of the work’s stylistic nuances, with the woodwinds of the Georgian Chamber Orchestra providing a vibrant palette that enhances the overall soundscape.
In juxtaposition with the three Mozart pieces included as a pendant, we witness a contrasting aesthetic. The Salve Regina, an adaptation of the Benedictus from Mozart’s Mass in C major, retains a serene elegance, while Quis te comprehendat, derived from the Serenade for Brass, transforms into a choral arrangement that, while lacking Mozart’s own hand, still resonates with his melodic grace. Ulewicz’s handling of In te Domine speravi, a revision featuring a robust organ part, is executed with commendable expressiveness, although it occasionally risks being overshadowed by the accompaniment.
The recording quality is commendable, with a clear and balanced presentation that allows the intricacies of Mayr’s orchestration and choral writing to emerge without distraction. The booklet accompanying the recording is notably informative, providing context that enhances the listener’s appreciation of Mayr’s historical significance and the performance choices made.
In conclusion, this recording not only revives a significant work from a composer who deserves greater recognition but also showcases the interplay of stylistic elements that define early Romantic sacred music. Mayr’s Mass in C Minor stands as a testament to a vibrant musical dialogue, and through this performance, it is poised to find its rightful place within the canon of choral repertoire. This is indeed a worthwhile discovery for both the casual listener and the aficionado, revealing a composer whose work merits further exploration.
