Anton Bruckner (1824-1896)
Mass No 3 in F minor, WAB 28 (Nowak Edition)
Sally Matthews (soprano), Karen Cargill (mezzo-soprano), Ilker Arcayürek (tenor), Stanislav Trofimov (bass)
Chor und Symphonieorchester des Bayerischen Rundfunks/Mariss Jansons
rec. live, January 2019, Herkulessaal, Munich
Sung Latin texts provided with English translations
BR Klassik 900017 [59]
To mark the 200th anniversary year of Bruckner’s birth, numerous new and reissued albums of his works have been released; predictably, his set of symphonies has taken centre stage. This is my third Bruckner review in a row, and I have enjoyed looking further than the symphonies, into his sacred choral works. Composed in 1867-68, No. 3 is his third great mass setting of the Roman Catholic mass ordinary. It is scored for four soloists, four-part mixed choir, orchestra and organ, preserving the six-movement tradition whereby the Sanctus is split into the Sanctus and Benedictus. There were several influences on Bruckner’s writing, from Bach, Haydn and Mozart to the Romantic masters Schubert, Liszt and Wagner.
It was written during an exceptionally troubling time in Bruckner’s life, both emotionally and professionally. In 1867, aged 43, Bruckner experienced mental health difficulties resulting in a stay at Bad Kreuzen sanatorium. In addition, he had been spurned his marriage proposals had been spurned, he had been unsuccessful in two important job applications and had been shaken by the death of his teacher Simon Sechter. Writing the F minor Mass probably gave Bruckner new purpose and was an expression of his gratitude to God for his return to health.
He completed it in 1868 just prior to his 44th birthday but had to wait four years before it was finally premiered in 1872 at the Augustinerkirche, Vienna. It seems the delay was due to performing difficulties. Bruckner subjected the score to several revisions up to 1893, and his pupil Joseph Schalk later made what were most likely unsanctioned alterations to the score.
Mariss Jansons, was chief conductor of the Bavarian Radio Symphony Orchestra for 17 years; he died on 1st December 2019 in St. Petersburg, aged 76, in the interim between conducting the performances from which this live recording has been derived and its release. He had for some twenty years been receiving treatment for a serious heart condition. He returned to the podium in October 2019 after taking a regenerative break on doctors’ orders. In November 2019, just three weeks before he died, I reported from the Herkulessaal, Munich for what proved to be one of Jansons’ final concerts, a programme of Richard Strauss and Brahms. I wrote that Jansons appeared ill and weak, and was surprised he was able to conduct so effectively. He was a vastly experienced Brucknerian, although this recording of the F minor Mass documents the only occasion when he performed a Bruckner mass during his tenure at Munich. I like to think that this live performance, released both as a download and a concert video, will serve as a tribute to him. It was contained in the 70-disc tribute box ‘Mariss Jansons: The Edition’ on BR Klassik 900200 in 2021; it is now released as a single CD.
The opening movement of the mass the Kyrie eleison (Lord, have mercy) marked Moderato communicates a sense of dark foreboding accentuated by the contribution from bass Stanislav Trofimov from Bashkortostan. Jansons gives to the lengthy Gloria, an Allegro, a pleasing level of ebullience while the fugue that closes the section is vital and lusty. Contrasting sections stand out in the Credo (I believe), also an Allegro, that ends with a grand and vigorous fugue.
Next the Sanctus (Holy), a hymn of adoration and praise to God, separated here into two movements. Marked Moderato in the Santus, although short at less than three minutes, Jansons and his forces smartly produce a wealth of drama. Next the Benedictus (Blessed) movement, a setting of just two sentences. First the section Benedictus qui venit in nomine Domini (Blessed is He who cometh in the name of the Lord) an Allegro moderato containing a sense of spirituality. With the chorus standing out here the voices of soprano Sally Matthews and mezzo-soprano Karen Cargill are in outstanding form too. At point 8.25-9:07 to conclude the Benedictus the writing quickly progresses to a short second section Osanna in excelsis (Hosana in the Highest) marked Allegro this is a well-judged, mighty choral declaration of joyous praise. In the sixth and concluding movement of the mass the Agnus Dei (Lamb of God) marked Andante makes a significant impact. With the glorious, short prayer Dona nobis pacem (Grant us peace) a moderato, Jansons brings the mass to a dignified and satisfying close.
The orchestral playing is unfailingly accomplished and stimulating, creating a strong sense of awe. The well-chosen soloists are in splendid form, and one senses that they have an affinity with the sacred text. The seventy-strong, mixed chorus under Howard Arman is in sterling form, displaying impressive levels of unity and intonation, demonstrating its resolve with a score that presents a challenge even for experienced choruses and, like the soloists, crucially giving the Latin text convincing expression.
My experience of attending a dozen or so concerts at the Herkulessaal, Munich has confirmed the high quality of the acoustics, realistically captured here by the broadcaster Bayerischer Rundfunk. There is virtually no distracting audience noise but applause at the conclusion has been retained. Full marks to the BR Klassik label for providing sung Latin texts with English translations in the accompanying booklet.
Of the existing recordings of the F minor Mass that I know, there is one on a Pentatone SACD from Geneva in 2012 with Marek Janowski conducting the Rundfunkchor Berlin and the Orchestre de la Suisse Romande. It is high on vitality and reverence, and I wrote in my review that ‘Bruckner is well served by the impressive recording’. Another praiseworthy competing is Eugen Jochum’s ‘classic’ 1962 Herkulessaal, Munich account. Jochum has the advantage of a marvellous roster of soloists, and the Chor und Symphonieorchester des Bayerischen Rundfunks. For my money, the digital remastering has improved the sound and Jochum’s outstanding account has stood the test of time. It has been reissued on Deutsche Grammophon ‘The Originals’ with Bruckner’s Masses No’s 1 and although I esteem Jansons account of the F minor Mass I will continue to play Jochum’s recording.
Michael Cookson
Buying this recording via a link below generates revenue for MWI, which helps the site remain free
