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NA 4158
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NA 4158
Mozart: Solemn Vespers

MOZART: Solemn Vespers

The Classical Shop
release date: August 2008

Originally recorded in 2008

Artists:

Patrick Peire


Jan van der Crabben

bass

Marijke van Arnhem

mezzo-soprano

Greta de Reyghere

soprano

Renaat Deckers

tenor

Capella Brugensis



Record Label
Naxos

Genre:

Classical




Total Time - 60:36
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Mozart: Solemn Vespers

 

WOLFGANG AMADEUS MOZART

Select Complete Single Disc for
     
 

Dixit and Magnificat, K. 193

 
1 I. Dixit 4:31
     
2 

Dixit and Magnificat, K. 193

5:22
     
 

Vesperae solennes de Dominica, K. 321

 
3 I. Dixit 3:20
4 II. Confitebor 5:23
5 III. Beatus vir 4:09
6 IV. Laudate pueri 3:59
7 V. Laudate Dominum 4:40
8 VI. Magnificat 4:41
     
 

Verspere solennes de confessore, K. 339

 
9 I. Dixit 3:51
10 II. Confitebor 4:14
11 III. Beatus vir 4:24
12 IV. Laudate pueri 3:32
13 V. Laudate Dominum 4:16
14 VII. Magnificat 4:14
     
 Greta de Reyghere soprano
 Marijke van Arnhem mezzo-soprano
 Renaat Deckers tenor
  Jan van der Crabben bass
 Patrick Peire


The greater part of Mozart’s church music, including his two settings of Vespers and his setting of the Vespers Dixit Dominus and Magnificat, was written for the Cathedral in Salzburg, where he, like his father, served in the musical establishment of the ruling Prince-­Archbishop, from 1772 Hieronymus von Colloredo. Mozart had been born into a musical family in Salzburg in 1756 and was soon established as a child prodigy, his precocious talents perceived and fostered by his father. The fact that Mozart died at the relatively early age of 35 makes his achievement even more amazing, only leaving regret at what might have followed.  Mozart’s early years brought a series of more or less extended concert tours, including performances at Versailles and at the English court. After 1772 leave of absence for his father, Leopold Mozart, Deputy Kapellmeister to the Archbishop of Salzburg, was only granted with considerable reluctance and the composer, now in paid employment to the court, suffered similar restrictions. In 1777 he resigned his position in search of greater opportunities that might be on offer in Mannheim or in Paris. After his mother’s death in the latter city in 1778, he returned to Salzburg once more, now to be employed from 1779 as court organist. A visit to Munich in 1781 for the performance of the opera Idomeneo, commissioned by the Elector of Bavaria, was followed by a summons to join his patron in Vienna, where disagreement led to his dismissal. He now took up residence there, marrying imprudently, winning early success but existing in increasingly precarious independence until his death in 1791.  Mozart’s first liturgical composition is a setting of the Kyrie, written in Paris in 1766. His first Masses and sacred music for Salzburg began in 1769. The office of Vespers was often allowed relatively elaborate settings for performance on the eve of a feast day and on the evening of the day itself. The liturgical form includes a series of psalms and the canticle, the Magnificat. The present release opens with settings of the opening Vespers psalm, Dixit Dominus and of the final Magnificat, completed in July 1774. These are scored for trumpets and drums, three trombones, strings and organ, with soloists and choir. Much of the first is homophonic, with occasional antiphonal writing. The final Gloria introduces a moment of solemnity, before the lively pace resumes in a contrapuntal final verse and Amen. The Magnificat is generally more contrapuntal in texture, offering graphic illustration of the words and ending in a fugal et in saecula saeculorum. The two settings of Solemn Vespers that Mozart composed for Salzburg a year apart from each other in 1779 and 1780 reflect the reformist tendencies of Archbishop Colloredo, who had decreed that the settings of the words should be concise and not structured operatically as arias and ensembles, as was the style in Neapolitan church music of the day. In a letter to Padre Martini in 1777 Mozart had complained about the musical limitations on church music in Salzburg, coupled with the continuing demand for trumpets and drums and so on. Both these settings are relatively brief and rely little on repetition.  The earlier setting, the Vesperae solennes de Dominica, K321, (Solemn Vespers for Sunday), was written in the same year as the well-known Coronation Mass. Scored for soloists, choir, trumpets, drums, three trombones, strings and organ, it includes five psalms and a final Magnificat. Mozart is here breaking away from convention in his choice of keys, with a beginning and ending in C major, but otherwise four separate keys – E minor for the Confitebor, B flat major for the Beatus vir, F major for the Laudate pueri and A major for the Laudate Daminum. There is contrast between the settings, with the Laudate pueri, for example, a choral setting beginning in canon and proceeding with a sure command of counterpoint, to be followed by a coloratura aria with strings and organ for the Laudate Dominum. Remarkable too is the final Magnificat where Mozart combines majestic choral writing with contrasting passages for solo voices and an orchestral symphonic texture.  The Vesperae solennes de Confessore, K339, (‘Solemn Vespers for a Confessor’), was written shortly before the great opera seria for Munich, Idomeneo. It is scored as before and the Laudate Dominum is again set for soprano solo, this time one of Mozart’s most serene melodies. The six movements cover a wide range of keys with the opening and closing sections in C major, passing through the keys of E flat, G, D minor and F. The writing is mainly energetic with alternations between soloists and choir and a conventional fugue for the Laudate pueri. It is with the conciseness and imagination of these two settings that Mozart, far from being servant to church music conventions, is already forging a new language for sacred music.

"These are good, perfectly respectable performances of some of Mozart’s finest sacred music. The chorus is well trained and sings beautifully and sensitively in all the pieces; they do Mozart gently and musically, not aggressively."

Paul L Althouse - American Record Guide - October 2000


"It’s tempting to relegate much of Mozart’s Salzburg church music to the "nice to know it’s there" category, and then never really explore any of it beyond the "Coronation" Mass. Fortunately, ensembles and labels such as the ones represented here believe that we should actually hear--and enjoy hearing--some of these works. And if these are not the ideal or even the most technically assured performances of Mozart’s three vesper settings, they certainly are highly recommendable for their infectious spirit and irresistible enthusiasm--besides which, these are first rate performers who obviously believe that church music doesn’t have to be boring or stodgy or even solemn. You may be surprised that some of the best music--at least as this excellent chorus, orchestra, and conductor present it--is the two-movement K. 193, written when Mozart was 18 years old. (How many times have you, as a listener, felt energized by recorded vesper service music?) The other two works, which are complete vesper settings, are more mature and fully developed works with foreshadowings of the Requiem. K. 339 features the famous Laudate Dominum, which soprano Greta De Reyghere finds much more suitable for her voice and technique than the florid, operatic style of the same movement in K. 321. …with performances this fun and exciting—it really is 18th-century church music!—we can imagine Mozart giving a thumbs-up, saying, ’Yes, they do get it!’ And so will you. "

David Vernier - ClassicsToday.com

 

"’Solemn’ Vespers by name only, as there is little that is solemn or mournful about Mozart’s settings. Contemplative and often moving, certainly, but newcomers shouldn’t be put off by the title of this disc. There is some quite extraordinary music here, written for Salzburg Cathedral with which both Mozart and his father were closely associated.Patrick Peire directs beautifully scaled, intimate performances. Capella Brugensis is ideal in this music offering pure tone and a lovely blend of voices. Naxos have a special knack for producing fine choral discs, and I’d rate this as one of their best. It makes ideal late night listening. As a taster, try track 6, ’Laudate pueri’, from K339. Irresistible, I’d say. Sound quality is spacious but clear. Yet again we are in Naxos’s debt for offering first class performance and recording at a (thankfully) ridiculous price."

Terry Williams - Classic CD - August 2000


"The Vesperae solennes de confessore is best known, of course, for the quasi-operatic soprano aria ’Laudate Dominum’, which soloist Greta De Reyghere delivers here with assurance and taste. ...The remaining settings are highly varied, with a relatively small proportion of solo interjections freshening up the choral and orchestral textures. Mozart shows his increasing mastery in producing a sequence of inventive, often brilliant movements whose prime objective (at least as far as the Archbishop was concerned) was the clear exposition of the texts.All four soloists, choir and orchestra provide light and graceful music-making that is expertly balanced by conductor Patrick Peire, whose attention to momentum is constant but who never presses wilfully onwards. The period instrument players are notable for their skill (the brass are absolutely secure) and the choir for its crisp delivery."

Jan Smaczny - BBC Music Magazine - August 2000




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