Mozart: Mass in C minor, K427 'Great'

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Mozart left unfinished the work that ought to have been the choral masterpiece of his early Viennese years but there's enough of it to make up nearly an hour's music – music that's sometimes... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 4255282
Label: Decca
Length: 51 minutes

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Mozart: Mass in C minor, K427 'Great'

Work length51:21

$13.20

$18.00

Lynne Dawson (soprano), John Mark Ainsley (tenor), Arleen Auger (soprano), David Thomas (bass)
Academy of Ancient Music, Winchester College Quiristers, Winchester Cathedral Choir
Christopher Hogwood
Recorded: 1988-11-09
Recording Venue: St. Jude-On-The-Hill, London

Kyrie

Track length6:59

$1.10

$1.50

Gloria

Track length2:21

$1.10

$1.50

Laudamus Te

Track length4:39

$1.10

$1.50

Gratias

Track length1:13

$1.10

$1.50

Domine

Track length2:42

$1.10

$1.50

Qui tollis

Track length4:50

$1.10

$1.50

Quonium

Track length3:48

$1.10

$1.50

Jesu Christe-Cum Sancto

Track length4:26

$1.10

$1.50

Credo

Track length3:05

$1.10

$1.50

Et incarnatus est

Track length7:44

$1.10

$1.50

Sanctus

Track length3:43

$1.10

$1.50

Benedictus

Track length5:51

$1.10

$1.50

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Reviews

2010

Mozart left unfinished the work that ought to have been the choral masterpiece of his early Viennese years but there's enough of it to make up nearly an hour's music – music that's sometimes sombre, sometimes florid, sometimes jubilant. Hogwood avoids any charge of emotional detachment in his steady and powerful opening Kyrie, monumental in feeling, dark in tone; and he brings ample energy to the big, bustling choruses of the Gloria – and its long closing fugue is finely sustained. The clarity and ring of the boys' voices serve him well in these numbers. There's a strong solo team, headed by the late Arleen Auger in radiant, glowing voice and, as usual, singing with refined taste; Lynne Dawson joins her in the duets, John Mark Ainsley too in the trio. But this is essentially a 'soprano mass' – Mozart wrote it, after all, with the voice of his new wife (and perhaps thoughts of the much superior one of her sister Aloysia) in his mind – and Auger, her voice happily stealing in for the first time in the lovely 'Christe', excels in the florid and expressive music of the 'Et incarnatus' (where Richard Maunder has supplied fuller string parts than usual, perhaps fuller than Mozart would have done had he finished the work). Hogwood directs with his usual spirit and clarity.

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