Composer: Wolfgang Amadeus Mozart
Works: Missa Solemnis in C major, KV Anhang C1.20 (attrib. Mozart)
Performers: Inessa Galante (soprano), Signe Asmussen (mezzo-soprano), Pavol Brslik (tenor), Mads Thiemann (bass-baritone), Antonio Piricone (organ), Czech Chamber Philharmonic & Chorus, conducted by Douglas Bostock
Recording: September 7th & 8th, 2001, St. Wenceslas Church, Lanskroun, East Bohemia
Label: CLASSICO CLASSCD 396
The recent premiere recording of the Missa Solemnis in C major attributed to Wolfgang Amadeus Mozart invites listeners to explore a work that resides on the fringes of his established oeuvre. While the authenticity of this mass remains under scrutiny, its melodic charm and structural integrity reflect the stylistic hallmarks of Mozart’s sacred compositions. This new addition to the catalog is particularly compelling considering the context of its creation; it encapsulates the transition from the Baroque to Classical traditions, interspersing operatic flair with liturgical formality.
The performance, under Douglas Bostock’s direction, showcases a large choir of approximately fifty voices, whose lush sonority imbues the music with a vibrancy that is both engaging and evocative. The opening Kyrie is strikingly operatic, marked by energetic motifs that suggest a departure from the solemnity typically associated with the mass setting. This choice of interpretation invites an exploration of the work as more than a mere liturgical piece, instead framing it as a dramatic narrative that unfolds across its movements. The choir’s rich harmonies resonate beautifully in the compact acoustic of St. Wenceslas Church, striking a balance that enhances clarity while preserving warmth—qualities that are essential for the choral textures that Mozart so expertly wove.
Inessa Galante’s contributions deserve particular attention, as her interpretations of the “Qui Tollis” and “Quoniam” solos reveal both technical prowess and expressive depth. Her voice, characterized by a crystalline clarity and expressive range, elevates the work’s emotional impact. The solos are constructed as lyrical arias, seamlessly integrating with the choral fabric, and Galante’s phrasing captures the essence of Mozart’s lyrical language. The balance between soloist and choir is deftly managed, ensuring that neither element overshadows the other, a testament to Bostock’s careful conducting.
The inclusion of “Exultate, jubilate” and “Ergo interest” further enriches the recording, showcasing the breadth of Mozart’s sacred music. “Exultate, jubilate,” a staple of the soprano repertoire, is delivered with buoyancy and finesse. Galante navigates the virtuosic passages with ease, her coloratura sparkling in the lively orchestral accompaniment. Conversely, “Ergo interest” presents a more introspective moment, where the simplicity of the recitative leads into a straightforward yet poignant aria, demonstrating Mozart’s ability to convey profound emotion with economy.
Technical aspects of the recording are commendable; the engineering captures the vibrancy of the performance without overwhelming the listener with excessive reverberation. This clarity allows for an intimate experience of the ensemble’s sound, while the church’s acoustics lend a natural resonance that enhances the overall listening experience.
While this Missa Solemnis may not possess the dramatic tension of Mozart’s Requiem or the intricate counterpoint of his earlier liturgical works, it stands as a noteworthy addition to the discussion of his sacral output. The mix of lightness and intensity throughout the mass is reflective of his ability to balance the sacred and the operatic—a theme that resonates throughout his career. This recording should certainly be of interest to devotees of Mozart’s sacred music, as it provides an opportunity to engage with a lesser-known work that is rich in melodic invention and emotional nuance, affirming its place in the choral canon. The excellent performance and sound quality make this a compelling listen, inviting both critical examination and pure enjoyment.
