Giacomo Puccini (1858-1924)
Messa di Gloria
Preludio sinfonico
Crisantemi (arr. string orchestra Lucas Drew)
Tomislav Mužek (tenor); George Petean (baritone)
Chor des Bayerischen Rundfunk
Münchner Rundfunkorchester/Ivan Repušić
rec. live, 26-27 June 2024, Herz-Jesu-Kirche, Munich (Messa di Gloria); 2023, Studio 1, Bayerischer Rundfunk, Munich
BR Klassik 900354 [60]
The year 2024 marks the centenary year of Puccini’s death and several new and reissued recordings of his works have been released. Puccini is largely defined by his operas, viewed by many as the peak of late-Romantic opera tradition, but he did write a moderate number of non-operatic works: songs, a requiem mass and orchestral and chamber music.
This release of the Messa a quattro voci con orchestra (1878-80) was written by Puccini when a young man of twenty-two. Scored for tenor and baritone soloists with four-part choir and orchestra, the mass was a graduation work following Puccini’s studies at the Instituto Musicale Giovanni Pacini, Lucca, now known as the Conservatorio di Musica Luigi Boccherini. Although first performed in Lucca in 1880, it wasn’t published until 1951 under the title Messa di Gloria, the name by which it has become known. It is a traditional Roman Catholic funeral (Requiem) mass, and not an authentic Messa di Gloria, which consists of only a Kyrie and Gloria.
It is hard to imagine the student Puccini not being inspired by the success of Verdi’s operas and Messa da Requiem. After joining the Instituto Musicale in 1874, Puccini played Verdi opera scores on the piano. Keen to hear many Verdi works, in 1876 Puccini even walked to Pisa and back to attend a performance of Aida. By the time of his completing the mass in 1880 Puccini would have been familiar with many of the works of Verdi’s works. His Messa da Requiem was premiered in 1874 and gained immediate success. Some disparaged it as being too operatic for the serious nature of a requiem mass; prominent conductor and pianist Hans von Bülow called it “an opera in ecclesiastical vestments.”
Being influenced by opera possessing a genius for sung drama, it is hardly surprising that the Messa di Gloria has been described as operatic. Yes; some listeners might be concerned by a lack of the traditional sacred style and sound. When I first heard it, I was taken aback by at its operatic qualities, especially the wealth of themes, melodies and motifs; now I have come to view it more as a celebration of life.
Puccini’s distinctive sound is evident in this live recording, as is the spirit of Verdi. In the splendid Gloria movement, the section with the text Gloria in excelsis is suggestive of a jolly chorus in a comic opera. Next, in the Gratias agimus tibi, tenor soloist Tomislav Mužek adeptly handles the expression of gratitude to God. There is strong, purposeful singing from the chorus in the section Qui tollis peccata mundi a plea for mercy with an overall sound that recalls an opera chorus. Very short, taking just over a minute the pronouncement Quoniam tu solus Sanctus with its brass fanfares is agreeable and melodic. The concluding Cum Sancto Spíritu makes quite an impact, featuring upbeat, resolute choral singing that delights in the glory of God.
The dramatic opening section of the Credo movement Credo in unum Deum is followed by the sorrowful and affecting Et incarnatus est, expressively sung by Tomislav Mužek and chorus. Here, the male chorus imbues the Crucifixus with a solemn intensity. In the passage from Et resurrexit to Et vitam venturi saeculi and the short Sanctus, there is palpable sense of conviction from the chorus, which is on quite magnificent form. Baritone George Petean seems to connect closely with the text in the Benedictus movement, delivering an impressive performance high on sincerity and reverence. Concluding the score is the Agnus Dei with contributions from both Mužek and Petean plus chorus collectively providing beautiful and expressive singing. The final words of the text Donna nobis pacem are sung with devotion as the music rather fades away without any significant drama. Sounding well-rehearsed, the Chor des Bayerischen Rundfunk has thrived under chorus master Hyunju Kwon and the versatile Münchner Rundfunkorchester is on outstanding form.
After his studies at Lucca, virtually all of Puccini’s orchestral music and chamber works are products of his student years at the Conservatorio di Milano, where he experienced the impact of Wagner’s music. Furthermore, he would certainly have been influenced by his teacher Ponchielli, his student friend Mascagni, and other contemporaries . Nevertheless, in the 1880s Puccini’s own voice was progressively emerging in his writing and the Preludio sinfonico and Crisantemi are two such works, that make valuable fill-ups.
In 1882, Puccini’s final examination work for the Conservatorio di Milano, the Preludio sinfonico, was performed to a mixed reception by the Milanese music circles. Not surprisingly, comparisons have been made to the Vorspiel of Wagner’s Lohengrin (1850) and the music of Ponchielli. Under Repušić, the Münchner Rundfunkorchester clearly relishes this attractively colourful and firmly woven Puccini score.
Written rapidly in 1890, Crisantemi (Chrysanthemums) is a glorious Andante maestoso movement that Puccini originally wrote for string quartet. Here, it is performed using Lucas Drew’s arrangement for string orchestra. Puccini wrote this profound lament as a memorial in response to the sudden death in Turin of his friend the Duke of Aosta, the former King Amadeo I of Spain. The title Crisantemi refers to the flowers associated with mourning in Italy, often accompanying funerals. There is a strong sense of yearning in this performance; it is delightfully played.
This live concert recording of the mass is from the Herz-Jesu-Kirche, Munich, a remarkable cuboid design with a steel framework and large expanses of blue glass, maple wood slats and seating. Satisfying acoustics have been captured by the broadcaster Bayerischer Rundfunk with virtually no distracting audience noise and no applause. A different location is used for the Preludio sinfonico and Crisantemi, both well recorded at the Studio 1 of Bayerischer Rundfunk, Munich. The CD booklet contains a helpful essay titled ‘From the Church to the Stage’ by Florian Heurich.
I’m surprised that Puccini’s Capriccio sinfonico for large orchestra, written in 1883 and performed to considerable acclaim at Puccini’s graduation ceremony at the Conservatorio di Milano was not included on this album, as it takes around thirteen to fourteen minutes to perform and there is space for it.
Repušić and his Munich orchestral and choral forces play alertly here, with well-chosen textures, tempi and dynamics all combining to create a distinct sense of occasion.
Michael Cookson
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