Rossini: L'occasione fa il ladro / Regazzo, Fogliani Virtuosi Brunensis
Naxos AudioVisual
DVD
$15.49$30.99Save 50%Dec 10, 2021
L’occasione fa il ladro (‘Opportunity Makes a Thief’) was composed by the young Rossini in just eleven days, working alongside his librettist Luigi Prividali. The tale presents a comedy of multiple confusions in one act. Count Alberto, travelling to marry a fiancée he has yet to meet, leaves an inn with the wrong suitcase. Left holding the Count’s papers and possessions, Don Parmenione audaciously adopts Alberto’s identity intent on taking the bride for himself. Jochen Schönleber’s acclaimed production adapts Rossini’s swift and deftly plotted moral drama to give present-day relevance to Rossini’s exuberant ensemble burletta.
Molière: Der Menschenfeind / Lenk, Deutsches Theater Berlin [DVD]
Naxos AudioVisual
DVD
$12.49$24.99Save 50%Nov 05, 2021
Alceste is an idealist and a master of hurtful words, always eager to hold up a mirror to his fellow human beings. But he has finally found his match in the young widow Célimène: As rhetorically gifted as he is, she has no intention of giving in to his whimsies. A delightful and humorous production within a contemporary reduced setting by famous stage director Anne Lenk at the Deutsches Theater Berlin. “Molière’s sparkling wit comes through beautifully.” (New York Times) “An outstanding production.” (Frankfurter Allgemeine Zeitung) “An entertaining evening with grand actors and racy dialogues.” (taz) The production was invited to the Theatertreffen Festival Berlin, 2020.
Resonating powerfully with Hans Werner Henze’s pacifist perspective, Der Prinz von Homburg is based on a play by Heinrich von Kleist that opposes authority, celebrating a dreamer rather than a classical hero, and individualist freedom rather than militarist nationalism. Ingeborg Bachmann’s libretto heightens this message, and Henze’s chamber-music setting is at once powerful and unpredictable. This visually stunning production stretches from intimate transparency to dramatic heights, in a critically acclaimed staging by the award-winning director Stephan Kimmig.
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Also available on standard DVD Commissioned in 1846, Macbeth offered Verdi the opportunity to make a qualitative leap in his career and its premiere was triumphantly received by audiences. Yet the libretto had proved problematic and many Italian critics did not share the composer’s reverence for Shakespeare. Verdi surmounted all concerns with an opera that valued brevity but also preserved the play’s most important elements. The formidable final concertato stands as one of his greatest achievements thus far, his pacing and detailing of the opera as a whole far surpassing his previous works. This production preserves the preferred 1865 revision of the work, sung in Italian and retaining the original 1847 finale.
Director and author Simon Stone rewrote, updated and questioned Chekhov’s famous drama for the present day: with brilliant dialogue, subtle characterization and the ambivalent figures which these so reliably generate. Avoiding pathos, spectacle and heroism, Chekhov maintains a masterful balance between melancholy and joie de vivre. Premiered 1901 at the Moscow Arts Theatre it is a play about the everyday, about desire and failure. “For long time there was no such intelligent, deliberate Chekhov staging.” Der Tagesspiegel Invited to Berlin Theatertreffen Festival 2017.
The production of Siegfried Wagner's "Sonnenflammen" in Bayreuth was unanimously highly praised in the media, describing it as "a discovery, at least in musical terms. The two and a half hours of performance will not be long at any time. The music is pleasant, pleasing, very onomatopoeic, narrative, the composition is well done, the orchestration post-romantic revelling." (IOCO) About the effect of the music, Opera Lounge says: "There is wonderful music in Sonnenflammen. Perhaps more than anything else, the richness of colour and stylistic variety fascinates: even the secondary characters, the fortune teller announcing the end of the world, Fridolin's father cursing his son, each have their own idiom. When Fridolin remembers his homeland now forever lost, his singing is unusually simple and intimate. Some of it, like the mocking choir of the girls who shave the new court jester, is almost operatic." The artists involved are members of piano-pianissimo-musiktheater, which was founded in 1980 by Peter P. Pachl thanks to the encouragement of August Everding, director of the Munich Opera at that time. At the biannual Wagner-Spectacular in Upper Franconian Pegnitz, Richard Wagner's unknown works were staged for the first time, as were works by Franz Schreker and Alexander Zemlinsky, and works by writers such as Herbert Rosendorfer and Bernd Schünemann.
The All-Star Orchestra gives you a front row seat to the world’s greatest music, performed by top players chosen from over 30 great American orchestras, and conducted by Gerard Schwarz. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with multiple cameras in and around the orchestra, the All-Star Orchestra celebrates the symphonic experience in the 21st century. The first work on this release is Modest Mussorgsky’s Pictures at an Exhibition. The beloved orchestral showpiece is a series of imaginative portraits, including “The Glome,” the “Ballet of the Unhatched Chicks in Their Shells,” and the spectacular Finale, “The Great Gate of Kiev.” The next work is Sergei Prokofiev’s Romeo and Juliet. Excerpts from the famous ballet include: Capulets and Montagues, the Dance of the Knights, Portrait of a Young Juliet, Scene at the Ball, the Fight and The Death of Tybalt. Finally, Jan Sibelius’ Symphony No. 2 is presented. The work is a pinnacle of Nordic Romanticism. The grand, expansive melodies and searing harmonies have been called the musical equivalents of fire and ice. This is the most famous of the Finnish composer’s symphonies.
Jean-Baptiste Lully’s Atys, a tragédie en musique, became known as the ‘king’s opera’ due to Louis XIV’s fondness for it. The work stands as a testament to the Sun King’s courtly refinement, as well as his moves to make France the center of European artistic culture. The opera’s themes of romantic dilemmas and ultimate tragedy, set amidst the poetic atmosphere of Ovid’s classical mythology, create the perfect vehicle for a narrative filled with dramatic intensity combined with a myriad of moving and expressive arias and duets. William Christie conducts this acclaimed production – hailed by The New York Times as being ‘as satisfying it is bold’.
REVIEW:
The role of Atys is physically as well as vocally taxing, but is here superbly realised by the German tenor, Bernard Richter, while the French soprano, Emmanuelle De Negri, is an excellent Sangaride, with the creamy voice of the mezzo, Stephanie D’Oustrac, as Cybele completing the love triangle. The cast list is large, and with the Compagnie Fetes Galantes providing the dancers, the stage is at times totally filled. The reviews at the time of filimg (2011) were suitably euphoric regarding the casting, and equally of the presence of the period instrument orchestra, Les Arts Florrissants, with the idiomatic conducting of William Christie. The filming itself is immaculate in its ideal mix of full stage and close-up images, while the sound quality is gorgeous.
The All-Star Orchestra gives you a front row seat to the world’s greatest music, performed by top players chosen from over 30 great American orchestras, and conducted by Gerard Schwarz. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with multiple cameras in and around the orchestra, the All-Star Orchestra celebrates the symphonic experience in the 21st century. The first work on this release is Edward Elgar’s Enigma Variations. The score is dedicated to “my friends pictured within,” and each Variation represents a real person. As he was finishing the work, Elgar wrote: “The enigma I will not explain- it’s ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture.” A musical mystery of great beauty and endless fascination. The next piece is Benjamin Britten’s Young Person’s Guide to the Orchestra. The perennial family favorite showcases- one by one- all the instruments of the orchestra. Next is Alan Hovhaness’ Symphony No. 2, opus 132 “Mysterious Mountain.” The composer wrote: “Mountains are symbols, like pyramids, of man’s attempt to know God. Mountains are symbolic meeting places between the mundane and spiritual world.” Finally is Eugene Goossens’ Jubilee Variations. This is a world premiere video recording of this unpublished 1944 work created by Eugene Goossens with contributions from ten composer friends, including Aaron Copland, Howard Hanson, William Schumann, and more.
The opening concert of the Salzburg Festival, for many regarded as the world's most renowned music festival, is by tradition a high-profile event and the 2011 gala presented here was one of the best in memory. Pierre Boulez, the "grand seigneur of subtle minimalism and exquisitely beguiling sounds" (Der Standard), assembled a cast of tremendous distinction to join the Vienna Philharmonic for this prestigious concert, conceived as a tribute to Gustav Mahler: Dorothea Roschmann, Anna Larsson, Johan Botha and rising star Anna Prohaska. After two works by Mahler's pupil Alban Berg, featuring Roschmann and Prohaska, the main event of the concert if Mahler's large-scale cantata Das klagende Lied - a "great spectral opera for the mind's eye" (Vienna Zeitung).
The works of award-winning composer Chaya Czernowin have been performed worldwide at significant new music festivals and prestigious venues, and she is the first woman to be appointed composition professor at Harvard University. Commissioned by Deutsche Oper Berlin and widely acclaimed in the critical press, ‘Heart Chamber’ uses voice and stage as internalized sonic and visual landscapes to create a genuine multi-sensory musical experience. With only two characters and a hint of a narrative, this is a grand opera on the smallest of transformations, focusing on the intense beauty and vulnerabilities of falling in love. ‘It is seldom that audiences at the Deutsche Oper Berlin have listened with such rapture to a new commission’ (Online Merker). Director Uli Aumüller’s feature film ‘I did not rehearse to say I love you’ is also included and takes a behind-the-scenes look at the creation of the opera.
Lokumbe: Can You Hear God Crying / Brosse, Chamber Orchestra of Philadelphia
Naxos AudioVisual
DVD
$10.49$20.99Save 50%Nov 11, 2014
Hannibal Lokumbe CAN YOU HEAR GOD CRYING? A Spiritatorio
Janice Chandler-Eteme, soprano Rodrick Dixon, tenor Paula Holloway, vocals Homayun Sakhi, rubâb Alyn E. Waller, readings
The Celebration Choir (chorus master: J. Donald Dumpson) The Music Liberation Orchestra Chamber Orchestra of Philadelphia Dirk Brossé, conductor
Recorded at Verizon Hall, Kimmel Center for the Performing Arts, Philadelphia, United States, 21 September 2012 Picture format: NTSC 16:9 Sound format: PCM Stereobr Region code: 0 (worldwide) Subtitles: Englishbr Running time: 71 mins No. of DVDs: 1 (DVD 5)
Christian Thielemann and the Staatskapelle Dresden are continuing their internationally acclaimed Bruckner cycle with the Symphony No. 5. For Anton Bruckner, his Fifth Symphony was a glorious confrontation with the music of the past – from a personal, biographical angle, but also as a departure from the composition techniques he preferred up to this point. Not for nothing is this tremendous opus magnum regarded as Bruckner’s “contrapuntal masterpiece”. In this universally lauded performance, Christian Thielemann, already the leading Bruckner interpreter of our times, has once again proven himself to be a “magician of the Bruckner sound”. (Kurier)
Anton Bruckner SYMPHONY NO. 5 (Blu-ray Disc Version)
Dresden Staatskapelle Christian Thielemann, conductor
Recorded live at the Semperoper, Saxon State Opera, Dresden, 2013
Picture format: 1080i High Definition Sound format: PCM Stereo / DTS-HD Master Audio 5.1 Region code: 0 (worldwide) Subtitles: English, German, French Running time: 89 mins No. of Discs: 1 (BD 25)
Beethoven: Missa Solemnis (Documentary And Performance) / Bernius, Kammerchor Stuttgart
Naxos AudioVisual
DVD
$13.99$27.99Save 50%Sep 11, 2020
Beethoven’s Missa solemnis is the one work the composer admired above all his compositions. It was written for his great patron and friend Archduke Rudolf of Austria at around the same time that he embarked on his Ninth Symphony and as the writer Donald Tovey noted, ‘there is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord.’ This insightful documentary follows Frieder Bernius on a journey of discovery as he immerses himself in Beethoven’s monumental masterpiece in preparation for a recording.
Zemlinsky: Der Zwerg / Runnicles, Deutsche Oper Berlin [Blu-ray]
Naxos AudioVisual
Blu-Ray
$17.49$34.99Save 50%May 22, 2020
A 2020 Grammy nominee for best opera recording!
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Also available on standard DVD Based on Oscar Wilde’s story The Birthday of the Infanta, Zemlinsky’s single-act opera Der Zwerg is the tragic tale of a dwarf who is presented at court, falls in love with the beautiful Donna Clara, but is ultimately forced to see himself as others see him and to die of a broken heart. Preceded by Schoenberg’s Accompaniment to a Cinematographic Scene, Op. 34 (1930), Zemlinsky’s Romantic score is full of psychological intrigue. Is Der Zwerg a critique of society’s superficiality? Is it the composer’s self-portrait in his doomed affair with Alma Schindler? Director Tobias Kratzer’s stunning, transparent production creates a space in which each character is thrown into sharp relief in this ‘fine, noble and melancholy work’. (Bachtrack.com)
Distinguished Bach specialist Sir András Schiff returned to the BBC Proms in 2018 to present Book II of The Well-Tempered Clavier. Extending the variety already evident in Book I (available on 2.110653), Bach's effortless brilliance and new-found sonorities push harmony and counterpoint further than ever with a combination of ancient and modern styles, church austerity and gallant lightness. Schiff has said that 'no-one combines the sacred and the secular as Bach does', and this is comprehensively demonstrated in Bach's fascinating and challenging sequence. This performance in the Royal Albert Hall was described as 'a musical meditation for our troubled times' by the Independent.
Beethoven’s Missa solemnis is the one work the composer admired above all his compositions. It was written for his great patron and friend Archduke Rudolf of Austria at around the same time that he embarked on his Ninth Symphony and as the writer Donald Tovey noted, ‘there is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord.’ This insightful documentary follows Frieder Bernius on a journey of discovery as he immerses himself in Beethoven’s monumental masterpiece in preparation for a recording.
Haydn’s oratorio ‘The Creation’ is one of the greatest masterpieces in the repertoire. Its libretto was constructed by Gottfried von Swieten who took texts from the Book of Genesis, the Psalms, and who employed his own original poetry. In this radical and compelling staging by the ground-breaking Catalan theatre collective, La Fura dels Baus, and internationally acclaimed stage director Carlus Padrissa, the oratorio is seen through the prism of a stream of refugees expelled from Paradise. Stunning light projections encapsulate the stage space and incorporated philosophical and scientific perspectives make this truly an oratorio for our time.
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REVIEW:
Many productions these days use video as part of the design but this is the first I can recall which is so wonderfully—often breathtakingly—effective.
Corigliano: Circus Maximus / Junkin, University Of Texas Wind Ensemble [Blu-ray Audio]
Naxos AudioVisual
Blu-Ray
$8.49$16.99Save 50%Sep 28, 2010
This Blu-ray Audio Disc is only playable on Blu-ray Disc players and not compatible with standard CD or DVD players.
3441910.az_CORIGLIANO_Symphony_3_Circus.html
CORIGLIANO Symphony No. 3, “Circus Maximus.” Gazebo Dances • Jerry Junkin, cond; U Texas Wind Ens • NAXOS NBD0008 (Music-only Blu-ray disc: 52:54)
This program is the first music-only Blu-ray release from Naxos; when the busiest classical record label on the planet decides to take a particular technical direction, it behooves us to take note. Naxos has previously issued both SACDs and DVD-Audio discs but has fallen silent for some time, as far as a high-resolution product is concerned. DVD-Audio is gone and SACD, despite the fierce loyalty of a relatively small base of enthusiasts (like me), hasn’t moved beyond the category of a niche product. Blu-ray movies, of course, have been selling like hotcakes to a wide audience and it follows that there are a hell of a lot of Blu-ray players out there. The technology also provides a medium for state-of-the-art music reproduction, and Naxos now joins a number of more obscure labels including 2L, AIX, and Surround Records to provide us with a specimen of what could become the dominant physical carrier of high-resolution digital music.
Significantly, Naxos has not chosen a “sonic spectacular” warhorse to introduce the new format—another Planets, Carmina Burana, or 1812—but instead offers the first recording of a major work by an important contemporary composer. John Corigliano’s Symphony No. 3 for large wind ensemble, “Circus Maximus,” composed in 2004, is certainly the right stuff to show off the possibilities of an audiophile medium. The piece considers the similarities between the appetite in ancient Rome for spectacle of ever-increasing extremity and the media-driven, lowest-common-denominator reality-show entertainment culture of our own day. The composer observes in his liner note: “Many of us have become as bemused by the violence and humiliation that flood the 500-plus channels of our television screens as the mobs of imperial Rome, who considered the devouring of human beings by starving lions just another Sunday show.”
Corigliano’s technique involves settling on an “architecture” for a piece before actually developing specific musical materials. The Circus Maximus was, of course, Rome’s enormous outdoor public entertainment venue and the composer wanted his work to “justify the encirclement of the audience by musicians, so that they were in the center of an arena.” His “Circus Maximus” is scored for a typical concert wind ensemble positioned onstage, in front of the listener, plus a substantial “surround band” deployed quite specifically around the hall. (The notes reproduce a diagram for positioning the instruments as published in the G. Schirmer score.)
The 35-minute composition consists of eight sections that run continuously. “Introitus” opens with fanfares from 11 trumpets located around the perimeter of the auditorium’s first tier, soon joined by the onstage players. This attention-grabbing movement leads to “Screen/Siren”—a quartet of saxophones plus string bass placed distantly and emitting plaintive, beckoning cries, a song sung in a tritone-laden harmonic milieu. This is rudely interrupted by “Channel Surfing,” as hyperactive music seems to come from every direction. In the manner of Mahler’s Seventh, there are two contrasted “Night Music” sections, one evoking a dangerous backwoods—wild animals howl—and the second an energetic nocturnal urban environment. Then comes the “Circus Maximus” itself: “Exuberant voices merge into chaos and a frenzy of overstatement,” in the words of the composer. Relief follows in the form of a “Prayer” that possesses a degree of harmonic uncertainty but always seems to have a IV to I resolution as the favored destination. “Coda: Veritas” reprises the first section’s fanfares, building to an almost unbearably intense unison note for all the trumpets, terminated by the firing of a 12-gauge shotgun. (Thoughtfully, Corigliano suggests in the printed score that a performing organization may want to hire “a licensed pyrotechnician,” rather than entrust the operation of the firearm to an everyday percussionist.)
The multichannel audio program, DTS-HD Master Audio 5.1, is virtually mandatory for a full appreciation of a work in which the spatial deployment of the performers is critical. (In the “Circus Maximus” section, a marching band actually moves through the cacophony produced by the other considerable forces.) Producer Stephen Epstein and engineer Richard King—both have worked for Sony Classical—have created an incredible sonic experience that may change your outlook in terms of the level of visceral excitement achievable with large-scale repertoire in a home listening environment.
Corigliano’s Gazebo Dances, composed originally for piano four-hands, is a much earlier work. There have actually been six previous recordings of the version for band. The four brief movements are inspired by a turn-of-the-last-century concert-band-in-the-park ethos. The composer describes the opening Overture as “Rossini-like”—I hear the Bernstein of Candide. There’s an off-kilter Waltz and a wistful Adagio that reaches a troubled climax. An exuberant Tarantella ends this affable piece, which is surely within the capabilities of most college bands and maybe even a few ambitious high school groups. Delightful stuff.
FANFARE: Andrew Quint
There are two distinct issues with this disc: the music and the recording. Readers of MusicWeb International want to know what to expect from two unknown works by a rarely heard composer. Your reviewer would however be failing in his duty if he did not herald the arrival of a 'new' format for music.
The music first. The symphony is scored for a large wind-band which is detailed in the insert giving not only instrumentation but a diagram of its distribution around the large auditorium at the University of Texas. As it is the composer’s intention that we are surrounded by the players and impacted from all angles, the DTS Master soundtrack is the one to hear. The opening leaps out from behind the listener and much of the first three movements come from discrete groups of musicians placed behind and to the sides. The work fully deserves the title 'symphony' because the themes announced in the early stages are developed extensively in proper symphonic style culminating in recalls of earlier music near the end. Corigliano writes about his wish to draw parallels between the shows at the Ancient Roman Circus Maximus and the current preoccupation with an increasingly intrusive media pandering to the lowest common denominator through 'reality' shows. Whilst we may not feed the religious to the lions, we do seem to watch public humiliation with greater and greater relish. The idea also gave him the excuse he sought to surround his audience with performers. For me the music works quite well and is certainly not hard to enjoy even if it is a bit nerve-racking awaiting the next unexpectedly angled assault. The two Night Music movements are reminiscent of Mahler's pairing in the Seventh Symphony with their fierce activity but here the two nights are of nature and of the city. Night Music 1 is atmospheric but more than just sound-effects because it is thematically linked to what has gone before, particularly the 'primitive calls' heard in the Introitus. Night Music 2 serves as a scherzo for his Symphony, full of dance rhythms and punctuated by fierce outbursts culminating in a climax of quite devastating impact. This is followed by the reflective Prayer and a short but dramatic coda Veritas. The work closes with a gun-shot for which detailed instructions are given in the score, just in case anyone should try to use the 'wrong' gun! The Gazebo Dances are orchestrated from a set of piano four-hand pieces and scored for a more normal wind-band. They are very agreeable with the easy charm of Malcolm Arnold's light music and as beautifully recorded as the main work.
To focus on the recording and the medium. This is not the first music issue on Blu-Ray but it is the first from mass-market leaders Naxos and they have announced several more including four Dvorák symphonies. Clearly they are seriously testing out the market for a medium which will not play on anything except a Blu-Ray-capable player, thus the notice on the packaging about it not working on a CD or standard DVD player. Given that the classical market is a tiny fraction of the CD market, that modern classical music is a fraction of that fraction, and finally that Blu-Ray is a fraction of the DVD market, Naxos have set themselves a huge task to sell more than a handful of any one disc in this series. This 2006 recording was made in 24-bit 88.2 kHz and this fact is emblazoned across the top of the cover as if it mattered. What you hear is not 24-bit / 88.2 kHz, that was the digital format for the failed DVD-Audio market, but DTS High Definition Master Audio and that provides 24-bit 96 kHz in 6 channels: 5 surround and one for the subwoofer if you have one. Naxos made a series of DVD-A discs a few years back, thus the present recording format; then they tried out SACD - yet another format. Both failed because few people had the equipment to play the discs and Naxos withdrew from that market. Blu-Ray is different because it is possible to play these music-only discs on any Blu-Ray video equipped home cinema system. How many people will purchase both the latest Hollywood blockbuster and John Corigliano's latest symphony remains to be seen! This particular issue is very well recorded indeed. I would go so far as to say it is one of the best I've ever heard. Since the music demands actual surround distribution of forces the use of the extra channels is not merely self indulgence by the engineers. The dynamic range on the disc is little short of frightening. If you do not jump when the music starts you have not turned the volume up far enough and you will not hear the quietest passages, of which there are plenty. Why the disc requests contact with the internet I do not know. I tried saying yes and no for two playings and detected no change in facilities. Maybe someone somewhere in Naxos marketing has noted the fact that I played the disc. I will be very interested to hear the Dvorák symphonies which make very different, much subtler, demands on a surround recording.
Celebrating his 75th birthday with a programme of Stravinsky, Hummel and Beethoven, “everything about Mariss Jansons exudes joy and sovereignty,” wrote Süddeutsche Zeitung. This thrilling, varied concert was recorded in January 2018, with Jansons and the Bavarian Radio Symphony Orchestra demonstrating the close relationship which has developed between them over the past 18 years. This recording also features a stellar quartet of soloists partnering with one of this fine orchestra, playing under the conductor who, even at 75, continues to inspire them to great artistic heights. Born in 1943 in the Latvian capital of Riga, Mariss Jansons grew up in the Soviet Union as the son of conductor Arvid Jansons, studying violin, viola and piano and completing his musical education in conducting with high honours at the Leningrad Conservatory. Further studies followed with Hans Swarovsky in Vienna and Herbert von Karajan in Salzburg. In 1971 he won the conducting competition sponsored by the Karajan Foundation in Berlin. His work was also significantly influenced by the legendary Russian conductor Yevgeny Mravinsky, who engaged Mariss Jansons as his assistant at the Leningrad Philharmonic in 1972. Over the succeeding years Mariss Jansons remained loyal to this orchestra, today renamed the St. Petersburg Philharmonic, as a regular conductor until 1999, conducting the orchestra during that period on tours throughout the world. Since 2003 Jansons has been Chief Conductor of the Bavarian Radio Symphony Orchestra and Chorus.
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REVIEW:
Beethoven insisted that the keynotes of his Mass were cheerfulness and gentleness, and these qualities are evident in a tenderly shaped Sanctus and Benedictus.
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