Beethoven: Missa Solemnis

19,70

1 CD | 1 Blu-Ray Audio 

Κλασική Μουσική 

Deutsche Grammophon

26 Φεβρουαρίου 2020

Εξαντλημένο

Ερώτηση για το προϊόν

Περιγραφή

028948382217

Ludwig van Beethoven:Missa Solemnis in D major, Op. 123

Καλλιτέχνες

Walter Berry (Bass-Baritone)Gundula Janowitz (Soprano)Christa Ludwig (Mezzo-Soprano)Fritz Wunderlich (Tenor)
Wiener Singverein (Χορωδία)
Berliner Philharmoniker (Ορχήστρα)Herbert von Karajan (Μαέστρος)

In 1966 it was decided to fly the Wiener Singverein, actually an amateur choir, to Berlin because Karajan wanted to record the Missa solemnis and Haydn’s creation there. Sometimes we recorded parts of the Missa in the morning and parts of Creation in the afternoon. At that time these were recording times of 10 to 14 days, which one can only dream of today. The Missa solemnis was still little established at that time, for many it was a “Bohemian village”. Even today, the Missa probably ekes out a shadowy existence and, despite its importance, is a comparatively unknown work. When someone says that I know and love the Missa, I rarely believe that and think to myself: “Go out and cook potatoes!” My first encounter with the work was at the beginning of the 1960s, when a friend enthusiastic about the Missa played excerpts for me on LP; so at first I knew it only in fragments and instinctively thought: “That’s difficult, though.” When I knew that I would take on Karajan, I studied it with a répétiteur for about half a year, along with my other commitments. Karajan had a very instrumental idea of the singer, and he would have liked to have performed the quartet in the Ninth Symphony with instrumentalists rather than singers. Christa Ludwig and I often told the story about the tempo in Benedictus. I wasn’t afraid of the high tones, I could trust them. My concern was more, “Hopefully, you don’t get out and there’s a musical error.” Of course there was a certain tension in the room and afterwards, when it was successful, one was relieved. The Benedictus has a central meaning, heaven opens; my daughter loves it very much and we hear it every year at Christmas, together with the “Et incarnatus est”. Karajan was a gifted singer’s companion. It presupposed that everyone was perfectly prepared, and so it was often not necessary to record several takes as it is today. Karajan had faith in us – and we trusted him. He conducted these great works without a baton and only with his beat, with very small movements and his aura did he somnambulishly lure out of us what he wanted to hear. Karajan was a genius. No, he was more than a genius: he was a human being. In a way, he was also a shy and shy person, and quite generous and loving with the people he worked with. He was polite. A gentleman. Not so long ago I was invited to visit friends at a baroque castle in Lower Austria, Ebenthal Castle. We had a birthday party there. The castle has its own castle chapel, and there I said to the others: “Wouldn’t it be nice to hear the Missa solemnis right here? First they looked at me in amazement, but then we brought a system into the chapel and finally together, but each for himself on a bench, the whole Missa listened to in the Karajan recording Since I usually had to sing during the Missa, this was probably one of the few times I heard the Missa completely. Everyone cried in the end. It’s really a recording of the century, and the sky is opening. (From a telephone call with KS Gundula Janowitz, 6 August 2019)

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