Liszt: Missa Solemnis

 

Discovering Franz Liszt's Missa Solennis (Missa Solemnis if you prefer) is an absolute pleasure. Compared to other Mass settings from the composer, such as the Hungarian Coronation Mass and the Szekszárd Mass, this is a cohesive, wonderfully conceived Mass in the shadow of Beethoven's late Missa Solemnis. Liszt's is fully Romantic, with no diversions into liturgical austerity, where the interplay between orchestra, chorus, and vocal soloists is inspiring, something I have taken issue with in Liszt's other large-scale choral settings.

For this review, I have taken Hungaroton's recording from 1976. It should be noted Hungarian conductor János Ferencsik recorded two performances - this later one and an earlier 1962 production found on Deutsche Grammophon. I will make some comparisons below, after I speak to the composer's work in a little more detail.

To my ears, it is clear this Missa Solemnis from Liszt is one of a celebratory nature. Even the Kyrie movement, which can often be found rather musically supplicative, builds into an unusually loud fervor, with each iteration of Kyrie building upon the previous in splendid fashion. While the soloists are usually reserved for the middle Christe area, Liszt employs the soloists as conversing with the chorus throughout.

The extended Gloria and Credo sections are built for musical grand occasions, and Liszt does not disappoint here, often summoning swinging operatic tunes with plenty of brass fanfares to boot. Always one for musical traditions in choral music, Liszt does not shirk his duty to provide a choral fugue or two, most notably to herald the Cum Sancto Spiritu towards the end of the Gloria. Conversely, the Credo is afforded some striking dissonance, intense drama, as well as choral intimacy across its 16 minutes.

While the music in the Sanctus and Benedictus portions are more inward in its religious effusions, the Hosannas can barely contain themselves, yet they end up much more serene than anyone might expect from Liszt in such a grand work. Sure the Sanctus is plenty brassy aside noble choral statements, yet I think these to be more reflective than assertive overall. I should mention Liszt eschews any instrumental characterization depicting the descent of the Holy Spirit to the Tabernacle in the Benedictus, moving straight to plain-spoken vocalizations instead.

The Agnus Dei can often be a musically anticlimactic conclusion, as the text is more subdued and pastoral, yet Liszt finds a way to end on a majestic, spirited note, particularly in the Dona Nobis Pacem finale. Most impressive to this listener is how Liszt brings back music from earlier in the Mass, making his musical ideas thematic and cyclical, a compositional thoughtfulness not often heard to used for liturgical church settings.

Harmonically speaking, Liszt is more dynamic compared to his other Masses. The harmonic progressions are fully Romantic, often moving to unexpected key centers and moving in chromatic directions. This said, Liszt is mightily tuneful throughout, and if not memorably so, the melodies are appreciated throughout. In many ways, Liszt follows in the footsteps of Berlioz for this Missa Solemnis, another composer with grand choral/orchestral sacred works to his name.

This is really a splendid recording as well. The chorus is perhaps set back too far, but the orchestra is only a little in front of them, with the soloists much closer. This differs from the 60s Ferencsik recording, where the weight and color of the orchestra is heard in much finer detail, with a greater presence from the pipe organ as well. On the other hand, the singers there, especially the soloists, are not ideal, with too big vibrato and voice qualities, plus not as great balances. Here on Hungaroton's 70s recording, the soprano is wonderfully youthful sounding, the tenor brightly Italianate, with only the bass soloist a tad plain sounding, all coming together terrifically.

Thus, there are positive attributes to both recordings, although I generally favor this 70s Hungaroton performance for its chorus and singers. Liszt does afford the orchestra a larger role than in his other Mass settings, so I do enjoy parts of the earlier recording to experience some audibly differing textures to Liszt's Missa Solemnis. Those wishing to look beyond these two can find more on the Arte Nova and Liszt Ferenc Chorus labels, although neither quite as fine in comparison.

If anyone comes away with anything, it should be Liszt's grandly-scaled Missa Solennis; one of surprising quality.

 

 

Works
Missa Solennis 'Gran Festival Mass', S. 9

Soloists
Veronika Kincses, soprano
Klára Takács, contralto
György Korondi, tenor
József Gregor, bass

Sándor Margittay, organ

Ensembles
Hungarian Radio and Television Chorus
Budapest Symphony Orchestra
János Ferencsik, conductor

Label: Hungaroton
Year: 1976; 1994
Total Timing: 56.35

Liszt provides listeners a grand choral Mass to set beside other more famous ones from music history. His Missa Solennis is really something you must set aside time to hear yourself for its special qualities.

While I prefer this 70's Hungaroton performance from Ferencsik, the same conductor's earlier 60's recording has some positive attributes as well.

Find more Liszt recordings HERE!