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1. Kyrie (Soprano Solo, Coro SATB) Andante Moderato
2. Gloria (Coro SATB) Allegro Vivace
3. Laudamus Te (Soprano II Solo) Allegro Aperto
4. Gratias (Coro SSATB) Adagio
5. Domine (Soprano I, Soprano II) Allegro Moderato
6. Qui Tollis (Coro I SATB, Coro II SATB) Largo
7. Quoniam (Soprano I, II, Tenore) Allegro
8. Jesu Christe (Coro SATB) Cum Sancto Spiritu (Coro SATB)
9. Credo (Coro SSATB) Allegro Maestoso
10. Et Incarnatus Est (Soprano I Solo)
11. cifixus (Coro SATB)
12. Et Resurrexit (Coro SATB)
13. Et In Spiritum Sanctum (Tenore Solo)
14. Et Unam Sanctum (Coro SATB)
15. Et Vitam Venturi (Coro SATB)
16. Sanctus (Coro I/II SATB) Largo
17. Benedictus (Soprano I/II, tenore, Basso) Allegro Comodo
18. Agnus Dei (Soprano II Solo, Coro SATB) Andante
19. Dona Nobis Pacem (Soli SSTB, Coro SATB)

Product Description

Product Description


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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.0 out of 5 stars  9 reviews
10 of 11 people found the following review helpful
5.0 out of 5 stars Mozart and Levin, An Exquisite 'Collaboration' July 10 2008
By R. Gerard - Published on Amazon.com
Format:Audio CD|Verified Purchase
It is something of an oddity that two of Mozart's most enduring sacred works are incomplete: the Mass in C Minor, and the even more famous Requiem. Dr. Robert Levin is one in a long line of musicologists who has completed the Requiem in an edition which is my personal favorite, so naturally, I jumped at the chance to give his new completion of the Mass in C Minor a listen. I was cautious- only the beginning of the Credo had been finished by Mozart, and the Sanctus is riddled with lacunae. The Agnus Dei is completely lacking. From what material would Levin draw to make an educated and sound completion?

The one important thing to remember, is that Levin used as much of Mozart's own material as possible, so much that relatively little of the present work is original Levin. Levin drew from the arias of another work... the cantata "Davide Penitente," in which Mozart reused the music from the Mass' Gloria; Levin used sketches, themes, subjects, etc. from the period in which Mozart composed the Mass. To provide unity, Levin reuses fugue themes Mozart composed for the Mass (e.g. the second subject of the "Kyrie" is reused in the fugue "Et Vitam venturi" at the end of the Credo). Sounds academic, sure, but the reality of the performance is astounding, sounding appropriately Mozartian. The sound is nearly seamless, in keeping with Mozart's unique contrapuntal style. All of the modulations, episodes, etc. are in place. Mozart would have been proud. If I had been less well-versed in musicology or unfamiliar with the Mass prior to listening, I would never have guessed it was completed by another (modern) hand. For that, Levin's endeavors require the highest merit. (The "Agnus Dei" is especially emotionally charged, adapted from the aria "Fra l'oscure" in Mozart's aforementioned cantata, and completed by the "Dona nobis pacem" fugue, the theme an authentic Mozart creation.)

It is a recording one will have to approach with open ears. No, Professor Levin is not Mozart, but he is surely the best living candidate to complete Mozart's unfinished masterpieces. Having heard this man speak to college campuses in person, as well as reading his publications, it is clear his understanding of the subject is absolutely unparalleled.

As for the recording itself, Helmuth Rilling leads with precision and clarity. His expertise with Bach's choral music serves him well here, in this heavily contrapuntal Mozart mass (itself a work of experimental nature following Mozart's exposure to Bach's contrapuntal technique). As for the "brassiness" a previous review mentioned: it seems rather refreshing that finally more conductors are paying more attention to balance with their orchestras... after all Mozart must have included a brass section here to be heard.

The singers are excellent. Diana Damrau alone is reason enough to get this record. She is a great talent and has proved herself to be a true Mozartian. From Dr. Robert Levin's amazing scholarship, to the efforts of the singers, this is a recording a would not hesitate to recommend.
12 of 15 people found the following review helpful
5.0 out of 5 stars Thank you, Robert Levin, for a Rare Gift May 21 2006
By Douglas Brown - Published on Amazon.com
Format:Audio CD|Verified Purchase
It is difficult to understand what "Observer" disliked about Robert Levin's completion of Mozart's glorious Mass in C Minor, especially in Helmuth Rilling's magnificent performance with his Stuttgart forces and soloists. Maybe that reviewer finds any "completion" of a masterpiece "presumptious" (so long, Ravel's orchestration of Mussorgsky's "Pictures"). Rather than intellectually analyzing every added fugue to see whether it goes on for too long a time, I prefer to listen with open ears and mind and bask in the enchanting score. Certainly of all Mozart's works, the C Minor Mass tends most to sound "Baroque" (indeed, even Romantic) in its drama and passion. As for the "brassyness" [sic]of the added orchestrations, again nothing sounds out of place. Hearing the originally 45-minute incomplete mass pour out of my speakers (or through my headphones) for nearly an hour and a quarter has been a repeatedly enthralling experience. The soloists are wonderful, the chorus enthralling, the direction by Helmuth Rilling of the Bach-Collegium Stuttgart exhilariating. Do not let "Observer's" grumpiness keep you from enjoying this monumental masterpiece.
4 of 4 people found the following review helpful
5.0 out of 5 stars move over, Rudolf Moralt Dec 25 2011
By Laurence Levine - Published on Amazon.com
Format:Audio CD|Verified Purchase
I recently purchased Levin's completion of the Requiem K. 626 and this, the Mass K. 427. I expected to like the requiem, where Levin did some recomposing. I expected to dislike this version - which contains new music for one third of the work. It was the other way around. I like Levin here, and not in the requiem. Why? There we are dealing with a replacement and recomposition of known movements. Here we are substituting something for nothing i.e. instead of not having the movements at all, we have Levin's guess at how they might have sounded.

Levin's use of Mozart's sketches and other Mozart material sound to me like convincing Mozart. Mozart just might have completed his mass like that. The Dona Nobis Pacem is based on a sketch Mozart wrote for that movement. For those who want their Mass complete, this works better than Rudolf Moralt's recording using K. 262 to fill in the remaining movements.

Rilling conducts a very good performance (though hardly definitive). I suspect that most will ignore this completion. The torso works very well, even if it can't be used in a liturgical setting (because of the missing movements). It is good to have one recording of Levin's completion.
4 of 4 people found the following review helpful
5.0 out of 5 stars A wonderful effort Jan. 16 2011
By CD Maniac - Published on Amazon.com
Format:Audio CD
People will always have their own opinion on whether to finish an uncompleted masterpiece. I prefer to go by the project and judge each on their own merits.
In this case, I liked what I heard. As has been stated in other reviews, most of the missing material is by Mozart himself (taken from a piece that he made using recycled music from this mass). The justification is that Mozart wrote this music to go with music from the mass--why not include it in the Mass? Everyone must make up their own mind whether this works, but I had no problem with it, and in fact it is a very satisfying solution.
A great deal of thought has been used to create an overall structure that matches Mozart's other masses, and in preserving a logical key signature flow to the movements. To me, nothing sticks out as inappropriate.
A couple of reviewers have complained about the Dona Nobis, but this is based on a fragment written by Mozart himself for this mass. And if they were expecting a big blow-out finish (like in the Requiem), then they need to revisit what the words of Dona Nobis Pacem mean. A big finish would be all wrong.
In any event, you'll need to hear it to judge for yourself. The one thing you won't quibble about is the quality of the performance--first rate.
3 of 3 people found the following review helpful
5.0 out of 5 stars Mozart Mass in C minor Nov. 27 2012
By Alan K. Dawber - Published on Amazon.com
Format:Audio CD|Verified Purchase
Very good. I love Helmuth Rilling's interpretations, and though I have another version of the C Minor Mass (in its usual 'incomplete' condition), what is so refreshing and good about this version is that it has been 'successfully' completed according to (I believe) Mozart sketches of the uncompleted sections. It sounds very authentic, and I would listen to a complete version any time rather than the rather unsatisfactory incomplete rendering.

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