Crucifixus - No. 11 from Mass no. 18 in C minor (Great) - K427 (K417a)

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    The two principal scores in which the music is found, namely Mozart 's manuscript and a set of parts for a performance of the piece, have contradictory elements. Though some second-opinion editions have come along in the meantime, musicologist Robert Levin has sourced original Mozart sketch pages relating to this work that have not been properly understood in the past in creating this new, edition of the C minor Mass. In it, Levin has managed to bring forward a complete liturgical mass setting of the kind Mozart likely intended for this work, running nearly a half an hour longer than most other versions.


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    While that is great news for fans of the "Great" C minor Mass, does longer, in this case, mean "better? Helmuth Rilling clearly embraces this Levin realization as though it were the original work, infusing it with a sense of conviction and a grave seriousness while managing to avoid sterility or pompousness.

    FOLIO: Mass No. 18 in C minor ("The Great"), K427 (K417a)

    The soloists are good, but it is second soprano Juliane Banse who carries away the top honors here. Moreover, to Levin 's handiwork?

    W.A. Mozart - Mass In C Minor; K. 427, Kyrie ("Amadeus" Soundtrack)

    Although the C minor Mass is a "fragment," it is not very "fragmentary. While Levin has brought to it liturgical integrity, the work in its familiar form has the virtue of concision, whereas the new edition gets bogged down in the long series of short, reconstructed movements that make up the "Credo.

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    Mass in C minor is, at its base, a very good performance that does the work justice, without regard to the form in which it is presented. AllMusic relies heavily on JavaScript.

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