Wolfgang Amadeus Mozart (1756-1791)
Mass in C minor, K. 427 ‘Great’ (1782), ed. Franz Beyer (1989)
Missa brevis in C major, K. 258 ‘Spaur’ (c. 1775-1777)
Katharina Konradi (soprano)
Sarah Romberger (mezzo-soprano)
Martin Mitterrutzner (tenor)
Mikhail Timoschenko (bass)
Cologne Radio Choir
Cologne Chamber Orchestra / Christoph Poppen
rec. 2021, Deutschlandfunk Kammermusiksaal, Cologne, Germany
Sung texts with English and German translations included
Complete Masses, Volume 2
Naxos 8.574417 [69]
Christoph Poppen leads a fine team of soloists, as well as the Cologne Radio Choir and the Cologne Chamber Orchestra in performances of Wolfgang Amadeus Mozart’s Missa brevis in C major, K. 258, and the ‘Great’ Mass in C minor, K. 427. Poppen conveys a degree of religious devotion, which contrasts with interpretations that treat masses as concert music. Lively tempi, light textures, and reserve characterise these small-scale, modern-instrument performances.
This release, the second in what promises to be a series of all Mozart’s masses, makes the Missa brevis in C major, K. 258, (often called the ‘Spaur’ or ‘Piccolomini’ Mass) accessible outside of a boxed set (e.g., The Complete Mozart Edition or Mozart 225. The New Complete Edition). This 17-minute mass shows that modest forces (SATB soloists, choir, two oboes, two trumpets, three colla parte trombones, timpani, two violins, and continuo) do not preclude melodic invention. Its concision affords the soloists few opportunities to express themselves individually because they are mostly heard in unison with the choir and each other. Poppen elicits florid playing from the orchestra and mellifluousness from the choir.
Mozart never finished the ‘Great’ Mass in C minor, K. 427, and there has been dispute over whether the Kyrie, Gloria, Sanctus, and Benedictus sections were performed at St. Peter’s in Salzburg on 26 October 1783. Mozart might have put this work aside because no prospect of having it performed was imminent (N.B.: This is my speculation, not a documented fact). Mozart adapted the Kyrie and Gloria to Italian translations of the Psalms and the First Book of Samuel by Saverio Mattei in the cantata Davide Penitente, K. 469, which received its premiere performance on 13 March 1785 at the Burgtheater in Vienna.
Poppen’s reading of the C minor Mass differs from the large-scale, extroverted interpretations by Ferenc Fricsay (1960) and Leonard Bernstein (1990) and the stately readings from Neville Marriner (1979 and 1994). Poppen’s subtlety sounds reminiscent of Philippe Herreweghe (1991). In the opening Kyrie, Katharina Konradi distinguishes herself with a radiant soprano solo that underlines the stylistic resemblance between Mozart’s sacred and operatic writing (Konstanze’s coloratura in Die Entführung aus dem Serail comes to mind). Although Mozart composed this mass for two sopranos, it has become common for the second soprano part to be sung by a mezzo, as is the case here. The two voice types provide overt differentiation between the two singers. Sarah Romberger gives a moving rendition of Laudamus te in which her rich, dark tone lends added profundity to this section of the mass.
If Mozart had finished the C minor Mass, he might have allocated more music to the tenor (Martin Mitterrutzner) and bass (Mikhail Timoshenko) voices. As it stands, the tenor first enters in the Quoniam along with the sopranos; the bass makes his first contribution in the Benedictus. The Cologne Radio Choir sings with clarity and restrained passion that sounds humble in the face of divine power. The Cologne Chamber Orchestra, the oldest chamber orchestra in Germany, plays with precision and minimal vibrato, albeit without sounding dry or disengaged, but rather like a modern-instrument ensemble emulating the timbre of eighteenth-century instruments.
Naxos has provided the full sung texts with translations into English and German, as well as an introductory essay in the booklet. The intimate studio acoustic captures a detailed sound spectrum that makes for rewarding home listening. This package is a safe introduction to these works and a valuable addition to a music library.
Daniel Floyd
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