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410:
much scope for self-expression as had been enjoyed by Guest's. Bernstein's chorus itself was "of the highest class", as was his orchestra, which demonstrated its virtuosity by coping with the breakneck pace that he had adopted, perhaps unwisely, for the end of the "Agnus Dei". The audio quality of his disc was fairly good, even if his balance engineer had allowed his woodwinds to "occasionally sound unnaturally prominent". Bernstein's was "a strong, vivid performance", but, although there was little to choose between the two discs, Guest's was the better both technologically and musically.
457:
394:
Judith Blegen in the Credo's "Et incarnatus est". The chorus was no less impressive, if it could perhaps have sung even more lustily than it did. The New York
Philharmonic, sometimes disappointing with other conductors, was on its best form for Bernstein. The recording quality was variable, but mostly satisfactory. "One hesitates to overwork such words as 'inspiration' and 'glory'," Freed concluded, "but these are the qualities that shine from every bar of this beautiful performance."
481:
meticulously crafted for performance during a religious service. He was happier with the relish that the orchestra displayed while delivering "big-boned Haydn in every sense". He characterized
Bernstein's conducting as "galvanizing". "He clearly enjoys the music unreservedly and propels it forward with insight and enthusiasm", he wrote. His final verdict was that "the essential greatness of the music is not seriously compromised on this recording."
283:. A. G. Carrick is an alias that the Prince derived in jest from his full, formal title: His Royal Highness Prince Charles Philip Arthur George, Prince of Wales, Earl of Chester, Duke of Cornwall, Duke of Rothesay, Earl of Carrick, Baron of Renfrew, Lord of the Isles and Prince and Great Steward of Scotland.) Also on the album's cover are a photograph of Bernstein by Ludwig Schirmer and a photograph of the Prince by dpa/Camera Press.
414:
325:. In the work's Introduction, Haydn's depiction of the world's primordial chaos, Münchinger, he wrote, offered "mystery and awe", Bernstein drama and colour. In Bernstein's recording, "God was not so much moving over the face of the water as being moved", driven across it by the conductor. This contrast between Münchinger's and Bernstein's approaches continued when the
297:
1085:
145:
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and released in 1966. Bernstein's soloists, he thought, sounded as though they were "behind the orchestra and in amongst the chorus", Guest's as though they were standing much closer. Bernstein's arrangement was possibly in accord with the custom of Haydn's own day, but seemed to deny his soloists as
393:
in
September 1975. "There can be few scores of any kind", he wrote, "whose vigour, joy and unlaboured exaltation find so close a parallel in the characteristics of Bernstein's music-making." All four vocal soloists sang well, particularly Frederica von Stade in the Gloria's "Gratias agimus tibi" and
917:
In 1992, CBS issued the two works together on CD (catalogue number SM2K 47560) as the thirty-sixth of the hundred recordings in their
Leonard Bernstein "Royal Edition", so called because each album in the series was illustrated with a watercolour by Prince Charles. The album was also available in a
333:
sang "in hushed tones", Bernstein's John
Reardon sang "loudly, and so the atmosphere just created". Matters improved on Bernstein's album when Alexander Young delivered Uriel's "Now vanish before the holy beams", Bernstein laudably animating a "rhythmic vitality... admirably suited to this work".
480:
in April 2014. He made little mention of the soloists, noting only a "richly operatic contribution from a youthful
Frederica von Stade". He found Joseph Flummerfelt's Westminster Choir "painfully stretched", and thought that their "democratic choral-society gusto" was not ideally suited to music
342:
was unequivocally better than
Bernstein's Judith Raskin, with "more variation of tone" and "more sensitive feeling" than the American. The albums' rival choirs and orchestras all had much to commend them. Bernstein's Camerata Singers sang with "great enjoyment and excellent tone"; Münchinger's
351:
had a string section that the
Americans could not equal. Bernstein's album was better engineered than Münchinger's, offering "bright recording", "great clarity" and "excellent balance". In sum, though, even if Bernstein's release gave "considerable pleasure and a great deal to recommend it",
29:
913:
as both a stereo LP (British catalogue number CBS 76410, American catalogue number M 33267) and a quadraphonic LP (American catalogue number MQ 33267). The four-channel release used
Columbia's SQ stereo-quadraphonic matrix system.
355:
551:
1 (9:15) No. 1 Einleitung: Die
Vorstellung des Chaos: Rezitativ mit Chor: "Im Anfange schuf Gott Himmel und Erde... Und der Geist Gottes schwebte auf der Fläche der Wasser" (Raphael, Chorus, Uriel)
445:, he thought, was among the conductor's better essays in Haydn. Yes, the solo singing was problematic, and Judith Raskin had been "much criticized for her inadequate German". Yes, Bernstein's
926:
and notes by Andreas Kluge and Prince Charles in English, French, German and Italian. The booklet was illustrated with three of Prince Charles's paintings and five photographs of Bernstein.
279:. (The back of the album credits the painting to A. G. Carrick Ltd, a company set up by the Prince of Wales to exploit his intellectual property rights for the benefit of
1130:
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37-CD box set titled "The Royal Edition: Vol. 2" (catalogue number SX37K 48179). The album included a 92-page booklet which provided the text of the
280:
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13 (4:38) No. 13 Terzett mit Chor: "Die Himmel erzählen die Ehre Gottes... Dem kommenden Tage sagt es der Tag" (Chorus, Gabriel, Uriel, Raphael)
321:
in January 1969, comparing Bernstein's recording with what he considered to be the best of its predecessors, a 1968 Decca album conducted by
347:
Chorus with superior diction. Similarly, where Bernstein's New York Philharmonic provided "finely pointed orchestral detail", Münchinger's
144:
453:, "featuring some big-name soloists", it was "exciting (if rough-and-ready)". The album as a whole was "well worth considering".
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2 (3:43) No. 2 Arie mit Chor: "Nun schwanden vor dem heiligen Strahle... Verzweiflung, Wut und Schrecken" (Uriel, Chorus)
449:
were sometimes unorthodox. And yes, some numbers were hammy. But "the basic impression made brisk and taut". As for the
560:
4 (1:44) No. 4 Solo mit Chor: "Mit Staunen sieht das Wunderwerk... Und laut ertönt aus ihren Kehlen" (Gabriel, Chorus)
1075:
271:
The cover of the album, designed by C. C. Garbers, features a photograph by Lesley Donald of a 1991 watercolour by
243:
was recorded using analogue technology on 17, 18 and 20 May 1966 in the Philharmonic Hall – afterwards renamed the
272:
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19 (2:18) No. 19 Terzett mit Chor: "Der Herr ist gross in seiner Macht" (Gabriel, Uriel, Raphael, Chorus)
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20 (0:34) No. 20 Rezitativ: "Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe" (Raphael)
522:, Oratorium für Solostimmen, Chor und Orchester (Vienna, 1798), Hob. XXI/2, with a text by Freiherr
359:
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14 (0:39) No. 14 Rezitativ: "Und Gott sprach: Es bringe das Wasser in der Fülle hervor" (Gabriel)
344:
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11 (0:44) No. 11 Rezitativ: "Und Gott sprach: Es sei'n Lichter an der Feste des Himmels" (Uriel)
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was recorded using analogue quadraphonic (four-channel) technology in February 1973 in the
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2 (9:13) No. 30 Duett mit Chor: "Von deiner Güt', o Herr und Gott" (Eva, Adam, Chorus)
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27 (4:49) No. 27 Terzett: "Zu dir, o Herr, blickt alles auf" (Gabriel, Uriel, Raphael)
606:
17 (0:30) No. 17 Rezitativ: "Und die Engel rührten ihr unsterblichen Harfen" (Raphael)
338:
were both enjoyable in their own way. As the soprano archangel, Gabriel, Münchinger's
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15 (6:19) No. 15 Arie: "Auf starken Fittiche schwingt sich der Adler stolz" (Gabriel)
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7 (0:37) No. 7 Rezitativ: "Und Gott sprach: Es bringe die Erde Gras hervor" (Gabriel)
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is a 1992, 149-minute CD issue of two studio recordings of classical vocal works by
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9 (0:14) No. 9 Rezitativ: "Und die himmlischen Heerscharen verkündigten" (Uriel)
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5 (0:50) No. 5 Rezitativ: "Und Gott sprach: Es sammle sich das Wasser" (Raphael)
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5 (0:26) No. 33 Rezitativ: "O glücklich Paar, und glücklich immerfort" (Uriel)
330:
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6 (3:29) No. 34 Schlusschor (mit Soli): "Singt dem Herren alle Stimmen" (All)
909:
as a double LP (catalogue number CBS 77221/1-2). In 1975, CBS released the
609:
18 (4:23) No. 18 Terzett: "In holder Anmut stehn" (Gabriel, Uriel, Raphael)
499:
was included in the magazine's list of the "Best Recordings of the Month".
660:
3 (2:24) No. 31 Rezitativ: "Nun ist die erste Pflicht erfüllt" (Adam, Eva)
621:
22 (2:56) No. 22 Arie: "Nun scheint in vollem Glanze der Himmel" (Raphael)
618:
21 (3:11) No. 21 Rezitativ: "Gleich öffnet sich der Erde Schoss" (Raphael)
405:
in December 1975, comparing it with an Argo disc of the Mass conducted by
296:
182:
334:
Young's virile singing and the more lyrical performance of Münchinger's
603:
16 (2:44) No. 16 Rezitativ: "Und Gott schuf grosse Walfische" (Raphael)
584:
12 (2:46) No. 12 Rezitativ: "In vollem Glanze steigt jetzt" (Uriel)
572:
8 (5:19) No. 8 Arie: "Nun beut die Flur das frische Grün" (Gabriel)
557:
3 (2:09) No. 3 Rezitativ: "Und Gott machte das Firmament" (Raphael)
464:– also known as the Haydnkirche – in Eisenstadt, Vienna, where the
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412:
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39:
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23 (0:52) No. 23 Rezitativ: "Und Gott schuf den Menschen" (Uriel)
663:
4 (8:29) No. 32 Duett: "Holde Gattin, dir zur Seite" (Adam, Eva)
352:
Münchinger's version was the more desirable of the two overall.
639:
28 (2:46) No. 28 Chor: "Vollendet ist das grosse Werk" (Chorus)
633:
26 (1:28) No. 26 Chor: "Vollendet ist das grosse Werk" (Chorus)
630:
25 (0:29) No. 25 Rezitativ: "Und Gott sah jedes Ding" (Raphael)
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6 (3:46) No. 6 Arie: "Rollend in schäumenden Wellen" (Raphael)
627:
24 (3:25) No. 24 Arie: "Mit Würd' und Hoheit angetan" (Uriel)
654:
1 (5:03) No. 29 Rezitativ: "Aus Rosenwolken bricht" (Uriel)
202:
and the Camerata Singers, was first released in 1968. The
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in English, French, German and Latin, and the text of
578:
10 (2:07) No. 10 Chor: "Stimmt an die Saiten" (Chorus)
1073:
963:, cond. Leonard Bernstein, Sony CD, SM2K 47560, 1992
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Geraint Lewis included the album in a survey of the
816:
Judith Raskin (1928–1984, soprano), Gabriel and Eva
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976:, cond. Karl Münchinger, Decca LP, SET 362-3, !968
468:was first performed and where Haydn was entombed
8:
1025:, cond. George Guest, Argo LP, ZRG 515, 1966
143:
27:
18:
16:1992 studio album by Leonard Bernstein
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825:Bruce Prince-Joseph, harpsichord continuo
822:John Reardon (baritone), Raphael and Adam
819:Alexander Young (1920–2000, tenor), Uriel
840:Leonard Bernstein (1918–1990), conductor
329:began his narration. Where Münchinger's
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715:10 (3:25) "Quoniam tu solus sanctus",
1131:Albums conducted by Leonard Bernstein
887:and producer of the CDs' 20-bit remix
281:The Prince of Wales's Charitable Fund
7:
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896:Francis Pierce, remastering engineer
867:Joseph Flummerfelt, chorus director
703:8 (2:02) "Gloria in excelsis Deo",
855:Frederica von Stade, mezzo-soprano
772:16 (4:07) "Benedictus qui venit",
123:Thomas Z. Shepard and John McClure
14:
961:Die Schöpfung & Harmoniemesse
681:(Eisenstadt, 1802), Hob. XXII/14
166:Die Schöpfung & Harmoniemesse
22:Die Schöpfung & Harmoniemesse
1083:
728:11 (2:42) "Credo in unum Deum",
709:9 (6:17) "Gratias agimus tibi",
883:Thomas Z. Shepard, producer of
834:Abraham Kaplan, chorus director
828:Bernard Altmann, cello continuo
734:12 (3:43) "Et incarnatus est",
489:In the September 1975 issue of
890:John McClure, producer of the
791:18 (2:38) "Dona nobis pacem",
759:15 (3:28) "Sanctus, sanctus".
746:14 (1:47) "Et vitam venturi",
232:, was first released in 1975.
1:
149:CBS Masterworks LP: CBS 76410
873:Leonard Bernstein, conductor
366:1826) of the elderly, blind
1012:, September 1975, pp. 84–85
740:13 (2:42) "Et resurrexit",
425:was first performed in 1798
1147:
690:7 (8:44) "Kyrie eleison",
300:Joseph Haydn portrayed by
277:View of Ben Avon, Balmoral
173:, both accompanied by the
1067:, April 2014, pp. 130–133
441:in May 1993. Bernstein's
429:David S. Gutman reviewed
397:Roger Fiske reviewed the
263:, also in New York City.
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1041:, December 1975, p. 1089
992:, January 1969, p. 1033
785:17 (3:07) "Agnus Dei",
774:Molto allegro – Allegro
1116:1970s classical albums
1106:1960s classical albums
905:In 1968, CBS released
852:Judith Blegen, soprano
526:(1733-1803) after the
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426:
377:
305:
1126:1992 classical albums
1054:, May 1993, pp. 56–59
870:New York Philharmonic
858:Kenneth Riegel, tenor
837:New York Philharmonic
524:Gottfried van Swieten
459:
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255:, New York City. The
175:New York Philharmonic
675:Missa Nr. 12 B-Dur,
419:Palais Schwarzenberg
793:Allegro con spirito
349:Vienna Philharmonic
273:the Prince of Wales
226:Frederica von Stade
33:Sony CD: SM2K 47560
1050:Gutman, David S.:
644:Track listing, CD2
503:Track listing, CD1
470:
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345:Vienna State Opera
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287:Critical reception
988:Robertson, Alec:
864:Westminster Choir
861:Simon Estes, bass
717:Allegro spiritoso
437:coupled on CD in
327:archangel Raphael
249:David Geffen Hall
245:Avery Fisher Hall
230:Westminster Choir
179:Leonard Bernstein
177:and conducted by
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44:Leonard Bernstein
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761:Adagio – Allegro
376:to his daughters
360:Eugène Delacroix
261:Manhattan Center
198:, John Reardon,
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101:German and Latin
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66:Manhattan Center
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210:Wind Band Mass
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390:Stereo Review
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385:Harmoniemesse
383:reviewed the
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381:Richard Freed
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373:Paradise Lost
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362:'s painting (
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716:
710:
705:Vivace assai
704:
697:
696:
691:
684:
683:
674:
673:
672:
648:
647:
591:
590:
545:
544:
542:(1608–1674)
533:
527:
516:
515:
514:
512:(1732–1809)
509:Joseph Haydn
507:
506:
496:
490:
488:
477:
473:
471:
465:
450:
446:
442:
438:
434:
430:
428:
422:
407:George Guest
402:
398:
396:
388:
384:
379:
371:
363:
340:Elly Ameling
336:Werner Krenn
316:
312:
307:
302:Thomas Hardy
276:
270:
256:
240:
239:
209:
203:
192:The Creation
191:
185:
171:Joseph Haydn
165:
164:
163:
132:
40:Studio album
1121:1975 albums
1111:1968 albums
1023:Mass No. 12
692:Poco adagio
540:John Milton
368:John Milton
218:Simon Estes
212:), sung by
194:), sung by
1100:Categories
1065:Gramophone
1052:Gramophone
1039:Gramophone
990:Gramophone
930:References
804:Performers
754:IV Sanctus
711:Allegretto
649:Part Three
478:Gramophone
462:Bergkirche
439:Gramophone
403:Gramophone
370:dictating
331:Tom Krause
318:Gramophone
799:Personnel
723:III Credo
698:II Gloria
417:Vienna's
401:on LP in
387:on LP in
315:on LP in
311:reviewed
267:Packaging
251:– in the
236:Recording
592:Part Two
546:Part One
485:Accolade
433:and the
421:, where
228:and the
183:oratorio
119:Producer
98:Language
50:Released
42: by
685:I Kyrie
304:in 1791
292:Reviews
1076:Portal
787:Adagio
748:Vivace
742:Vivace
736:Adagio
730:Vivace
181:. The
82:Length
58:Studio
878:Other
447:tempi
364:circa
107:Label
73:Genre
532:and
460:The
64:and
53:1992
538:by
87:149
1102::
1030:^
997:^
981:^
938:^
495:,
275::
224:,
220:,
216:,
91:26
1078::
208:(
190:(
89::
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