As I have been going through Riccardo Muti's recording of Luigi Cherubini's Masses, I have remained impressed as to their quality and improvements.
The Mass in A Major is the first one that really didn't do too much for me.
The Mass in A Major is the first one that really didn't do too much for me.
It is the Coronation Mass for King Charles X from 1825, and we hear a few portions which show this occasion musically. Overall, however, this is a very understated, gentle Mass setting, thus perhaps it was my expectation which let me down.
The Gloria, and particularly the Laudamus Te, which Cherubini then brings back for the Et Resurrexit and Cum Sancto Spiritu are full of rising, brass-filled figures fit for a Coronation.
The Credo is the most interesting, where each men's section takes a verse to themselves with full-choral Credo's exclamations thrown in between. Cherubini avoids any fugal settings, and this may also shear this Mass of textural variety, in lieu of endless dotted rhythms from the composer.
The Gloria, and particularly the Laudamus Te, which Cherubini then brings back for the Et Resurrexit and Cum Sancto Spiritu are full of rising, brass-filled figures fit for a Coronation.
The Credo is the most interesting, where each men's section takes a verse to themselves with full-choral Credo's exclamations thrown in between. Cherubini avoids any fugal settings, and this may also shear this Mass of textural variety, in lieu of endless dotted rhythms from the composer.
Otherwise, the Kyrie, Offertory, Benedictus, O Salutaris, Agnus Dei, and the middle portions of the Gloria and Credo are all rather similarly contemplative, plus the added Offertory and Religious March seems endless, although the latter bandies between winds and strings nicely. Riccardo Muti really lays into the extremes of dynamics with the chorus too, so these softest areas are extremely light in texture.
Cherubini does insert some nice key relationships. The Crucifixus, for example arrives from the Et Incarnatus' G Major moving to E-flat, and the Agnus Dei transitions nicely to the Dona Nobis Pacem from C Major to A Major, both unexpected harmonic jaunts.
Cherubini does insert some nice key relationships. The Crucifixus, for example arrives from the Et Incarnatus' G Major moving to E-flat, and the Agnus Dei transitions nicely to the Dona Nobis Pacem from C Major to A Major, both unexpected harmonic jaunts.
This is really all to say, this Mass setting didn't really move me musically. It has its moments, but its generally lyrical setting was shorn of much variety or even melodic allure.
On this recording from 1985, Riccardo Muti leads the Philharmonia Orchestra and Chorus. I sense a larger men's section might have been more impactful, but generally, everyone sings beautifully. Cherubini, like his Mass in F 'di Chimay' is written in only three vocal parts, so perhaps that is yet another missing element for me.
Listen on YouTube
Work
Mass in A Major, for the Coronation of Charles XI. Kyrie (6.07)
II. Gloria (13.44)
III. Credo (10.47)
IV. Offertory (9.45)
V. Sanctus and Benedictus (2.08)
VI. O Salutaris (3.57)
VII. Agnus Dei (5.11)
VIII. Marche Religieuse (5.11)
Ensembles
Philharmonia Chorus
Philharmonia Orchestra
Riccardo Muti, conductor
Label: EMI
Year: 1985
Total Timing: 51.39
This one is a light pass from me.
Most surprising since, as I understand it, this is a well regarded work.
Perhaps I will warm up to it when I have moved beyond my Cherubini series, or at least I will seek out another recording to see if it works better for me.
Find more Cherubini recording HERE!
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