You do not need to complete Mozart’s c-minor mass-a concert at the Munich Philharmonic in front of ears.
Munich – An itch to release this Unfinished, whether it is in the case of Schubert’s Seventh, Bruckner’s ninth, or Mozart’s liturgical legacy. Just the Torso accept, it’s been and is usually practiced. But completely it would look even better, think of the music science. As the case may be, Mozart’s c-minor mass, the Munich Philharmonic with conductor Andrew Manze demonstrated, especially in the Gasteig.
Benjamin-Gunnar Cohrs added stückelte 2013, the non-voiced parts, after all, from the Material of the master. The collection has its pitfalls. The new Agnus Dei, and monumentalised, to vocals extended Version of Mozart’s “Mason of funeral music”, to fit the structure and content, Manze leads the big breakdown is impressive. However, in the case of the Remaking of a soprano Aria from Mozart’s “Davide Penitente” for the ‘Et resurrexit’, it hooks. The tone is biting with the resurrection, rejoicing, slowing down the action. And the ring closure in the Finale, the quotes for the Dona nobis pacem the opening Kyrie (and at the completion of Mozart’s Requiem is based), endeavour works, especially when in the final bars, all for the purpose of comforting home to the major is forced.
Strong hour of the Philharmonic Choir
so Be it: The ambitious program honors the Philharmonic. Manze is not comfortable in the score. The basic character is vital, the pace is fast, sometimes, as in the Gloria Prussian, the other – for example, in the “Qui tollis pink” with expansive choral phrases about rugged orchestral gestures – lives from the contrast. The Philharmonic chorus has a strong hour. Everything sounds clear, purified, high-energy, without overextending. Julian Prégardien (Tenor), especially Liang Li (Bass) score in accordance with almost only the keywords. Jacquelin Wagner (soprano 1) sing in balanced, also monochrome. Julia Lezhneva (soprano 2): Baroque does better than Mozart, where you have to increase your voice artificially and must discolor.
In the fair, as well as in Haydn’s 104. Symphony is Manze friendly, historically-informed entertainer. His technique suggests more than what really comes out of it. Small Consternation are the result – even though the orchestra is used to, thanks to Chef Gergiev actually Irritating.
Markus Thiel
