SCHUMANN Missa Sacra, Op. 147; Four Double Choruses, Op. 141 • Geoffrey Jourdain, cond; Marianne Crebassa (mez); Les Cris de Paris • APARTE 044 (58:05)
Schumann’s Missa Sacra, which I believe I have heard before only in an arrangement with organ rather than orchestra, is hardly a celebrated work. The notes to this disc tell us that it was received indifferently whenRead more Schumann was alive: only the Kyrie and Gloria were then performed. The piece isn’t mentioned in Gerald Abraham’s essay on Schumann in The New Grove, except to the extent that it might be included in a nearly blanket condemnation of Schumann’s late works: “Schumann’s late music shows a falling off in inspiration which has been attributed to the deterioration of his mind, to over-production, to the influence of Mendelssohn and to various other causes. It is certainly true that a number of his late works, particularly those of the last two years, are failures and that even 10 years earlier an element of heavy, solemn, sometimes bombastic banality begins to appear.” On the other hand, Clara Schumann heard a nearly complete rendition after Robert’s death, and wrote Brahms, saying: “You can’t imagine how beautiful it sounds. Certain lines in the Sanctus have such a wonderful effect that they send shivers down your spine.” Though listening to it, my spine remained intact, it certainly is a lovely, gentle movement. The preceding movement, the Offertorium sung by Marianne Crebassa, is to my ears even more lovely. I wouldn’t call this work, or the slightly earlier double choruses, absolute masterpieces. The Kyrie eleison seems to me almost pedestrian. Yet these are not works I would call overly solemn, and certainly not bombastic. They are frequently beautiful, and if in toto they don’t make an overwhelming impression they are nonetheless well worth hearing. The performance by the oddly named Cris de Paris is well recorded and well sung. There is also almost no competition, so I can easily recommend this recording.
Mass for soloists, chorus & orchestra in C minor, Op. 147by Robert Schumann Performer:
Baptiste Lopez (Violin),
Marianne Crebassa ()
Les Cris de Paris
Period: Romantic Written: 1852 Venue: Monks' Refectory, Royaumont Abbey Length: 38 Minutes 48 Secs.
Gesänge (4) for Double Chorus, Op. 141by Robert Schumann Performer:
Marianne Crebassa (),
Baptiste Lopez (Violin)
Les Cris de Paris
Period: Romantic Written: 1849; Germany Venue: Monks' Refectory, Royaumont Abbey Length: 17 Minutes 50 Secs.
Missa Sacra Op. 147: Kyrie eleison
Missa Sacra Op. 147: Gloria
Missa Sacra Op. 147: Credo
Missa Sacra Op. 147: Offertorium : Toya pulchra es
Missa Sacra Op. 147: Sanctus
Missa Sacra Op. 147: Agnus Dei
Vier doppelchorige Gesange Op. 141: An die Sterne
Vier doppelchorige Gesange Op. 141: Ungewisses Licht
Vier doppelchorige Gesange Op. 141: Zuversicht
Vier doppelchorige Gesange Op. 141: Talismane
Average Customer Review: ( 1 Customer Review )
Competition between orchestra and choir limits quMarch 28, 2013By Herschel Anderson (Mesa, AZ)See All My Reviews"Schumann's Missa Sacra is a beautiful piece of choral music from the Romantic era. Unfortunately the choir and the orchestra in this recording compete with rather than complement each other throughout the Mass. The soloists in the Gloria, a soprano, and the Sanctus, a tenor, are separately miked so come through beautifully. To hear the superb quality of the choir, the listener needs only to listen to Schumann's Four Double Choruses, sung a capella, that complete the recording."Report Abuse