Mozart: Mass in C minor

Paul McCreesh and his forces provide a fine blend of vigour and sensitivity, revealing the music's power and constant ingenuity… The soloists are a well-chosen quartet, with particularly notable... — BBC Music Magazine, December 2005, More…

Release Date: 14th Nov 2005
Catalogue No: 4775744
Label: DG Archiv
Length: 73 minutes

Gramophone Magazine

January 2006

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Mozart: Mass in C minor, K427 'Great'

48:58

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Gabrieli Consort
Paul McCreesh
Sarah Connolly (soprano), Camilla Tilling (soprano), Neal Davies (tenor), Timothy Robinson (tenor)
Recorded: 2004-10-25
Recording Venue: Walthamstow Town Hall, London

Kyrie

6:57

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Gloria

2:04

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Laudamus Te

4:41

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Show 10 remaining tracks for Mozart: Mass in C minor, K427 'Great'

Gratias

1:01

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Domine

2:46

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Qui tollis

4:02

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Quonium

3:50

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Jesu Christe

0:33

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Cum sancto spiritu

3:39

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Credo

3:16

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Et incarnatus est

7:47

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Sanctus

3:20

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Benedictus

5:02

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Haydn: Berenice, che fai? (Scena di Berenice), Hob XXIVa:10

12:18

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Gabrieli Consort
Paul McCreesh
Sarah Connolly (soprano)
Recorded: 2004-10-25
Recording Venue: Walthamstow Town Hall, London

Beethoven: Ah! Perfido, Op. 65

12:29

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Gabrieli Consort
Paul McCreesh
Camilla Tilling (soprano)
Recorded: 2004-10-25
Recording Venue: Walthamstow Town Hall, London

Reviews
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Reviews

December 2005

Paul McCreesh and his forces provide a fine blend of vigour and sensitivity, revealing the music's power and constant ingenuity… The soloists are a well-chosen quartet, with particularly notable contributions from Camilla Tilling's free and easy soprano and from Sarah Connolly, who demonstrates her technical command over a wide range.

May 2008

McCreesh and his forces provide a fine blend of vigour and sensitivity, revealing the music's power and constant ingenuity.

2010

Discussing the C minor Mass in a booklet interview, Paul McCreesh remarks that 'any attempt to complete it runs the risk of negating the qual- ity of what survives'. Most editors and performers agree, confining themselves to the sections Mozart actually composed, and filling out the missing parts in the Credo, 'Et incarnatus est' and Sanctus-Osanna.
Paul McCreesh gives us the familiar torso in a reading that combines a smallish chorus numbering around 30 with a period-instrument band. At a fairly urgent tempo, McCreesh's soloists, the radiant Camilla Tilling and the rich-toned Sarah Connolly, are excellent, with Connolly unfazed by her flights into high soprano territory. Elsewhere, Tilling perfectly catches the wondering pastoral innocence of the 'Et incarnatus est', taken at a gently lilting two-in-a-bar. In the choral numbers McCreesh is on top form.
There have been excellent period-instrument recordings from Hogwood and Gardiner (see below), but McCreesh, sharply responsive both to the Mass's neo-Baroque monumentality and its Italianate sensuousness, is at least their match in drama and colour; and DG's recording is exemplary. The Gabrieli Consort sing with precision, fresh, firm tone and marvellous dynamic control, while the strings play with notable grace and refinement in the solo numbers. The Kyrie unfolds with an inexorable tread (McCreesh is specially good at creating and maintaining rhythmic tension), and the 'Cum Sancto Spiritu' fugue, taken at the swiftest possible tempo, combines dancing agility with a thrilling cumulative sweep.
McCreesh's claims as a top recommendation are enhanced by the additional items, two magnificent, quasi-operatic scenas by Haydn and Beethoven. Connolly, in the Haydn (again taking the high tessitura, complete with top Cs, in her stride), and Tilling are both superb, marrying a classical nobility of line with a profound identification with the plights of these suffering heroines in extremis.

Mozart: Mass in C minor

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