Masses for Double Choir

Description

Josef Rheinberger composed his Cantus Missae in 1878, while he was court conductor to Louis II. The work bears witness to the successful reconciliation of the conflicting currents of his time, and it is precisely this perfect balance that gives it its timeless character. The Mass enchants with its melodic character, often almost songlike. On closer listening, however, the music reveals a remarkable modernity for its time. Nana Forte’s Libera me was composed nearly 150 years after the Cantus Missae. This work is a spiritual drama in which the composer uses ancient compositional techniques for two choirs: she intertwines the choirs in counterpoint or layers them in contrasting strata, as on the words “tremens factus sum ego”. Frank Martin kept the manuscript of his Mass for Double Choir in a drawer for nearly 40 years, considering it a matter between himself and God alone. Musically and sonically, this Mass is undeniably a 20th-century work. Yet one can hear echoes of Gregorian chant, and one senses that the composer consciously places himself within the centuries-old tradition of double-choir compositions and Masses, with their symbolism. Thus, Martin’s work is characterized by the tension between tradition and modernity, personal confession and dogmatic affirmation. But instead of seeking a middle ground, Martin approaches these themes as a seeker and a questioner. The result is one of the most popular Masses of the 20th century. The recordings by the SWR Vocal Ensemble, under the direction of Yuval Weinberg, stand out for their thematic and dramatic coherence, as well as for their artistic excellence. The Masses on this album are part of the centuries-old tradition of double-choir compositions, while also possessing a timeless quality and ranking among the most beloved Masses.