Beethoven: Missa Solemnis in D major, Op. 123

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The orchestra and chorus are comparatively small under Suzuki, the tempos slightly on the fast side, the soloists able to cope with the appalling difficulties of their music, but not outstandingly... — BBC Music Magazine, June 2018, 4 out of 5 stars More…

Release Date: 29th Mar 2018
Catalogue No: BIS2321
Label: BIS
Length: 74 minutes

Presto Recording of the Week

30th March 2018
Record Review

31st March 2018

Recording of the Week
Presto Recordings of the Year

Finalist 2018

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Beethoven: Missa Solemnis in D major, Op. 123

Work length1:14:02

$13.55

$22.00

$29.75

Ann-Helen Moen (soprano), Roxana Constantinescu (mezzo-soprano), James Gilchrist (tenor), Benjamin Bevan (baritone), Ryo Terakado (violin)
Bach Collegium Japan
Masaaki Suzuki
Recorded: January and February 2017
Recording Venue: Kawaguchi Lilia Music Hall, Kawaguchi, Japan

I. Kyrie

Track length10:21

$1.50

$3.85

$5.25

IIa. Gloria. Gloria

Track length5:03

$1.00

$1.30

$1.75

IIb. Gloria. Qui tollis

Track length5:23

$1.00

$1.30

$1.75

IIc. Gloria. Quoniam

Track length6:10

$1.00

$1.30

$1.75

IIIa. Credo. Credo

Track length3:44

$1.00

$1.30

$1.75

IIIb. Credo. Et incarnatus

Track length4:55

$1.00

$1.30

$1.75

IIIc. Credo. Et resurrexit

Track length8:51

$1.50

$2.60

$3.50

IVa. Sanctus. Sanctus - Pleni sunt cœli - Osanna

Track length3:22

$1.00

$1.30

$1.75

IVb. Sanctus. Præludium - Benedictus

Track length11:14

$2.05

$3.85

$5.25

Va. Agnus Dei. Agnus Dei

Track length5:58

$1.00

$1.30

$1.75

Vb. Agnus Dei. Dona nobis pacem

Track length9:01

$1.50

$2.60

$3.50

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Interview, Masaaki Suzuki on Beethoven's Missa solemnis

12th April 2018

The Japanese conductor and early-music expert talks to David about his recent recording of Beethoven's mighty Missa Solemnis with the Bach Collegium Japan.

Recording of the Week, Bach from William Christie and Beethoven from Masaaki Suzuki

30th March 2018

Two veteran early music specialists venture into new territory: William Christie conducts Bach's Mass in B minor and Masaaki Suzuki turns to Beethoven's Missa solemnis.

Beethoven began composing the Missa solemnis in 1819, when he learned that his patron (and pupil) Archduke Rudolph was going to be appointed Cardinal Archbishop of Olmütz. The plan was for the mass to be ready for performance at the enthronement celebrations in March 1820, but one year proved to be too little time. It wasn’t until almost three years later, in January 1823, that Beethoven was able to complete the work.

As might be expected, it was unparalleled in every respect – although composed for use during church services, even Beethoven’s contemporaries found that it exceeded the bounds of the genre. Beethoven himself was quite aware of both the dimensions and the importance of the work: in a letter he described it as ‘my greatest work’. It is also a work which over its course encompasses great contrasts: from the solemnity of the Kyrie and the intense excitement at the opening of the Gloria to the disturbing intimations of war during the closing Dona nobis pacem.

Originally founded with the aim of performing the choral works of Bach, the Bach Collegium Japan and Masaaki Suzuki are now taking another great leap, after their recent release of Mozart’s Great Mass in C minor. Described as ‘refreshingly open-hearted, spontaneous and natural’ their interpretation received a 2017 Gramophone Award. Joined by an eminent quartet of vocal soloists, the team now applies its expertise in period performance to Beethoven’s masterpiece.

Reviews

June 2018

The orchestra and chorus are comparatively small under Suzuki, the tempos slightly on the fast side, the soloists able to cope with the appalling difficulties of their music, but not outstandingly beautiful…I suspect that Beethoven would have approved of Suzuki’s intransigence, so like his own, but whatever is the polar opposite of easy listening, this is it.

July 2018

Beethoven’s primary concern when writing his Mass was to interpret the liturgical text with precision and to convey its meaning to the audience. Masaaki Suzuki’s insightful reading of the score certainly does that. Thoughtful and exhilarating, it carries the listener along on a great wave of sound. His soloists are well chosen and the singers and orchestra maintain the highest standards. There is so much clarity that comes out of this reading, from the fresh voices of the singers to the precise articulation of the orchestral playing. Highly recommended.

June 2018

Suzuki’s successes with [the piece] seem to come principally from his keen ear and personal charm. For those who find weightier performances daunting (and nothing wrong with that!), this friendly account is certainly worth hearing, but in the wider context it leaves much unsaid.

30th March 2018

Despite the relatively small instrumental and choral forces (just over thirty singers and four desks of first and second violins), the momentum never slacks, and the energy is relentless in the best possible way...Though this is very much an historically-informed performance (using gut strings and relatively straight-toned voices), it’s also one in which the uncanny modernity of Beethoven’s writing springs to the fore.

15th April 2018

The performance has warmth, energy and an exact feeling for tempo. The Japanese chorus rise fearlessly to Beethoven’s demands. A memorable musical and emotional experience.

Videos

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Beethoven: Missa Solemnis in D major, Op. 123

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Contents

Interview, Masaaki Suzuki on Beethoven's Missa solemnis

Recording of the Week, Bach from William Christie and Beethoven from Masaaki Suzuki

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