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Benedictus-Schubert Mass in G: Recordings Comparison

Benedictus-Schubert Mass in G: Recordings Comparison

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Published by Jussi Doherty

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Published by: Jussi Doherty on Jul 14, 2009
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Recordings Comparison: Benedictus from Schubert Mass No.

2 in G Major
Summary: In the three following recordings of the Benedictus, there are less drastic differences than what we heard with the Credo. The biggest distinctions are in tempo and tone of the singers. Opening section: • Both Kegel and Behrmann approach with a tempo that brings out the Siciliano style. You’ll see that they are very similar. We’ll listen to the Kegel. PLAY #1. • Ferencsik’s tempo is more slow and deliberate. This allows the soloist to demonstrate an impressive amount of control in her line. The Slovak Phil demonstrates a little more contrast between their staccato and legato markings, and tend to lean into their crescendos with a little more weight. PLAY #2. Fugato section: • In the Kegel and Ferencsik recordings, the choir enters with a dramatic sound, in high contrast to the three measures leading up to it. We’ll listen to the Kegel for this. PLAY #3 • The choir in the Behrmann recording use a much lighter, buoyant sound. And, in m. 75, they do something that no one else does— they employ an unwritten subito piano before driving to the end. I think it’s dramatic and exciting. PLAY #4 Recording #1: Kegel / Orchester Leipzig • Nice moderate walking tempo; brings out Sicliano style; keeps line moving • Tenor/Soprano had nice balance in duet • Bass had darker vowels than others; The T/S overshadowed him at times with their brighter vowels • Mm 47-48, the trio had a nice crescendo to the DC • Transition into the fugue was nice and light, in contrast to the dramatic entrance of the choir that follows Recording #2: Behrmann / Bach Collegium Berlin • Soprano was very oscuro

• • • •

Tenor used very closed e’s in “venit” Nice balance in the trio; melody in the bass came through Chorus enters with light, buoyant sound in the fugue During conclusion of the fugue, choir altered dynamics at each repetition of the text “Osanna in excelsis.”

Recording #3: Ferencsik / Slovak Philharmonic • Very slow introduction and soprano solo • Well observed crescendos, accents, and other expressive markings; orchestra demonstrates high contrast between staccato and legato • Dreamy quality tempo • A1 tempo increases • Bass soloist was very oscuro; overshadowed by Tenor/Soprano soloists • Choir enters with heavy, dramatic sound in the fugue

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