Bruckner: Mass No.3
Sally Matthews (soprano), Karen Cargill (mezzo-soprano), Ilker Arcayürek (tenor), Stanislav Trofimov (bass)
Mariss Jansons / Bavarian Radio Symphony & Chorus (BR Klassik)
(scroll down for English review)
巴伐利亞電台在本月推出一套70隻碟的楊遜斯大盒裝，大部分都是以前推出過，但有這張錄於2019年（楊遜斯死的一年）年頭的布魯克納《第三彌撒曲》，以前從未推出過。
布魯克納《第三彌撒曲》於1868年完成，寫於《第一交響曲》及《第零交響曲》之間，交響曲作曲家布魯克納可能還未成形，但聖樂作曲家布魯克納在此曲已臻極致，加上這個演奏及音質都一流的錄音，聽慣布魯克納交響曲的你，沒有藉口再逃避了。
首先令我着迷的是巴伐利亞電台合唱團，在垂憐經（軌一）的弱音既有穿透力，去到強音時就有清澈的音色，亦有力量跟樂隊抗衡，兩方都不用保留，這個樂章就如典型布魯克納慢板般，在反復中加強到高潮。此外就是榮耀經（軌二）及信經（軌三）毫不拖泥帶水，激烈時很有爆炸力，但在楊遜斯手上，這種爆發力不是暴力或刺激，而是忘我的喜悅，就如《歡樂頌》那樣（當然旋律不是那麼經典。）
當年我是因為柴利比達克的現場錄音而喜歡這曲，那時通常聽完垂憐經，就會跳過榮耀經及信經，跳到降福經（軌五），這個旋律布魯克納會在《第二交響曲》的慢板重用，但其實在本曲之中才是最好，我聽過這次，很有衝動去說這是布魯克納最動人的慢板，不信你就試試。
楊遜斯選的速度，我覺得至能表現到這段音樂的真摯，柴利比達克就好像又滴眼水、又搣自己大髀去逼眼淚出來。得罪講句，這曲目毋須再聽他的，柴利比達克雖然有其獨特之處，不過聽了他那批慕尼黑愛樂錄音廿幾年、去到今時今日還迷戀他的人，就像沒有長大的小孩子那般。
Bavarian Radio is to release a mega box set of Jansons’ live recordings with the BRSO. Most material was previously released, but this 2019 recording of Bruckner’s Third Mass wasn’t, and was Jansons’ only recording of the work.
I was instantly mesmerized by the BR Chorus. In the Kyrie (track 1), The pianissimos were penetrative, and when it built up to a climax, the chorus made a big, crystal-like sound that yielded no ground to the orchestra. The Gloria (track 2) and Credo (track 3) were conducted with such momentum that these two longest movements no longer had any longueur. Jansons dared to bring out the ecstatic singing which reminded me of Beethoven’s Missa Solemnis, even the Ode to Joy.
I came to appreciate this work because of Celibidache’s live document with the Munich Philharmonic, released after his death. I used to reach directly to the Benedictus (track 5) after listening to the Kyrie. After listening to Jansons’ account, I was tempted to declare that this Benedictus is the most moving of all Bruckner adagios. The melody was recycled in his Second Symphony but here is the best place for it.
Jansons chose a tempo that manifested the directness and sincerity of Bruckner’s melody. In comparison, Celibidache’s dragging tempo made the Benedictus simply a self-flogging moment. I know Celibidache’s unique presence, but it’s already 25 years since his death and people who still couldn’t shake off their fixation to him, is simply a musical infant in my eye.