MOZART
Grande Messe en ut mineur

ALIA VOX
AVSA9965
66’27

WOLFGANG AMADEUS MOZART
Grande Messe en Ut mineur K 427 (417a)
Vienne, 1783

Nouvelle version complétée et reconstruite par Luca Guglielmi (nº track 12, 13, 18, 19)
à partir d’œuvres de Mozart, révisée par Jordi Savall

1. I.  KYRIE  5’36
2- 9. II.  GLORIA  22’20
10-13. III.  CREDO  21’32
14-17. IV.  SANCTUS  11’19
18-19. V.  AGNUS DEI  8’26

G. Bolcato, E. Martínez, M.B. Kielland, D. Fischer, M. Winckhler
LA CAPELLA NACIONAL DE CATALUNYA

LE CONCERT DES NATIONS

Direction : Jordi Savall

Enregistré du 2 au 5 février 2025 à l’Église Sant Domènec de La Seu d’Urgell (Catalogne)
par Manuel Mohino assisté de Totouan Bouché-Pillon.

Montage et Mastering SACD : Manuel Mohino

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INTERPRÈTES

SOLISTES

Giulia Bolcato soprano I
Elionor Martínez soprano II
Marianne Beate Kielland mezzo-soprano
David Fischer ténor
Matthias Winckhler basse

LA CAPELLA NACIONAL DE CATALUNYA

Sopranos
Alexandrine Lerouge-Monnot*, Rita Morais*,
Anaïs Oliveras, Anna Piroli, Arantza Prats*,
Natasha Schnur, Baiba Urka, Lise Viricel

Mezzo-sopranos – Contraltos
Anna Bachleitner*, Mercè Bruguera, Lucija Ercegovac*,
Eulàlia Fantova, Mariona Llobera, Lara Morger

Ténors
Martí Doñate, Oriol Guimerà, David Hernández,
Ferran Mitjans, Josep Rovira, Matthew Thomson

Barytons – Basses
Kevin Arboleda-Oquendo*, Lluís Arratia*, Noé Chapolard,
Joan Miquel Muñoz, Pieter Stas, Marek Opasca

Lluís Vilamajó, préparation de l’ensemble vocal

Maria Mauri répétitrice

LE CONCERT DES NATIONS

Manfredo Kraemer premier violon

Elisabet Bataller, Guadalupe del Moral,
Catalina Reus, Paula Sanz premiers violons

Mauro Lopes, Santi Aubert,
César Sánchez*, Paula Waisman seconds violons

David Glidden, Núria Pujolràs, Nina Sunyer* altos

Balázs Máté, Candela Gómez,
Dénes Karasszon, Bianca Riesner* violoncelles

Xavier Puertas, Peter Ferretti contrebasses

Luca Guglielmi orgue

Marc Hantaï flûte traversière
Paolo Grazzi, Miriam Jorde hautbois
Joaquim Guerra, Adrià Sánchez bassons
Thomas Müller, Federico Cuevas* cors
Jonathan Pia, René Maze trompettes
Elies Hernandis (alto), Joan Marín* (ténor), Hugo Alfos (basse) trombones

Riccardo Balbinutti timbales

Luca Guglielmi assistant de direction

JORDI SAVALL Direction

*Jeunes participants aux Académies YOCPA

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Mozart’s Great Mass in C minor
One of the musical peaks of all time

Many questions spring to mind when considering one of the pinnacles of Mozart’s music, and of music in general. To understand one of the essential elements in his creative process, as well as the difficulties Mozart faced in finishing this Mass which had emerged in such an extraordinary way, let us first of all remember that his decision to compose this Mass was not the result of a commission, but above all the consequence of a very personal vow. Thanks to the letter that Mozart wrote to his father, Leopold, on 4th January, 1783, concerning the trip that the young composer and his wife planned to make to Salzburg, we know the reasons that prompted him to compose a new Mass: “I truly made this promise in my heart, and I truly hope to keep it. When I made it, my wife was still unwell; but as I was firmly resolved to marry her as soon as she was cured, I could easily make this pledge […] but as proof of the reality of my vow, I have the score of half a Mass, which is most promising.” […]

I am delighted to present this new recording of Mozart’s Great Mass in C minor, a version completed in what I consider to be a brilliant manner by my long-standing colleague, the outstanding musicologist and composer, Luca Guglielmi, who has collaborated with me as assistant conductor and continuo player in the preparation of operas, and as an inspiring colleague in choral and chamber music concerts. In the text “A new completion of Mozart’s Mass in C minor K 427: the rationale and challenges of this version”, he gives a detailed account of everything he has studied and achieved to arrive at this extraordinary result. He tells us that “the completion we present here is intended as a further contribution to the state of the art of musicological research and, at the same time, an attempt to take a different approach from that of previous endeavours carried out by our illustrious colleagues.”

JORDI SAVALL
Bellaterra, 6th October, 2025