Mozart: Mass in C minor, K427 'Great'

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Mozart: Mass in C minor, K427 'Great'


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Release date:

2nd Dec 2016




71 minutes


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Mozart: Mass in C minor, K427 'Great'


Mass in C minor, K427 'Great'

Olivia Vermeulen (mezzo), Makoto Sakurada (tenor), Christian Immler (bass)

Exsultate, jubilate, K165

from the revised Salzburg version of K165


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Following on from the 2015 release of Mozart’s Requiem, Masaaki Suzuki and his Bach Collegium Japan have gone on to record the composer's Mass in C minor, K427 – the ‘Great Mass’. As the nickname indicates, it is a work of unusual proportions for a mass of the Classical period – or would have been so, had Mozart completed it. It is not known, for what occasion Mozart intended the work, but a letter to his father Leopold, dated 4 January 1783, indicates that he may have committed himself to writing it in connection with his marriage to Constanze and a planned visit to Salzburg. A performance of parts of the Mass did take place in Salzburg in October 1783, with Constanze performing the prominent soprano part. Two years later Mozart reused the music from the Kyrie and Gloria sections in the sacred cantata Davidde penitente, K 469, but the Mass itself was left incomplete. The present performance includes the sections completed by Mozart himself, as well as those sections, for which extensive sketches by Mozart provided a basis for completion (by Franz Beyer in 1989). Three of Suzuki’s soloists also took part in the recording of the Requiem, while the Dutch mezzo-soprano Olivia Vermeulen makes her first appearance on BIS, shining in the aria ‘Laudamus te’. The disc closes with the celebrated cantata Exsultate, jubilate in which the soprano Carolyn Sampson glitters in the virtuosic solo part. As an appendix to the programme, she and the Bach Collegium Japan orchestra also repeats the initial aria, in a less well-known later version with a slightly different text and with flutes replacing the oboes of the original.

Wolfgang Amadeus Mozart: Mass in C Minor, K. 427 "Great Mass" (Completed by F. Beyer)

Kyrie (Chorus, Soprano)

Gloria: Gloria (Chorus)

Gloria: Laudamus te (Mezzo soprano)

Gloria: Gratias (Chorus)

Gloria: Domine (Soprano, Mezzo-soprano)

Gloria: Qui tollis (Chorus)

Gloria: Quoniam (Soprano, Mezzo-soprano, Tenor)

Gloria: Jesu Christe - Cum Santo Spiritu (Chorus)

Gloria: Cum Sancto Spiritu

Credo: Credo in unum Deum (Chorus)

Credo: Et incarnatus est (Soprano)

Sanctus: Hosanna

Sanctus: Benedictus / Hosanna

Wolfgang Amadeus Mozart: Exsultate, Jubilate, K. 165

Exsultate, jubilate

Fulgat amica dies

Tu virginum corona


Exsultate jubilate, K. 165: Aria (1779 revised version)

Sunday Times

13th November 2016

“The Mass survives as one of the great unfinished works. Suzuki’s famed period forces are significantly enlarged here (24 choristers), but are quite small for this work. His tempi are surprisingly spacious, but the dramatic impact of the double-choir Qui tollis in the Gloria comes across with full force.”

Gramophone Magazine

December 2016

“Period-instrument C minor Masses get better and better. ...The choir are well drilled and the two female soloists are matched as well as any on disc...Suzuki is no speed merchant, and maintains the through line in more strenuous movements.”

BBC Music Magazine

January 2017


“Stripping the score right back, Suzuki makes musicianship dominate. He taps into the subtle arts of his fellow performers, especially Carolyn Sampson, to create a benchmark performance…Sampson arabesques effortlessly up to the stratosphere in a slow dance with solo woodwinds…the three other vocal soloists equal Sampson’s elegance, forging a blissful euphony in their ensembles”

MusicWeb International

10th January 2017

“A tremendous achievement.”

Classical Ear

27th March 2017


“playing and singing are excellent throughout, especially from the vocal soloists, all giving florid and characterful performances. The Exsultate, Jubilate makes an ideal filler, not least for the further opportunity it provides to hear soprano Carolyn Sampson, here on excellent form. The SACD audio is atmospheric and clear, giving an ideal audio image for the orchestra and soloists”

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