Cathedral recordings have a way of lending a disembodied quality to the music that can make the performance sound as if it were taking place in some strange hallucinogenic dimension. This live (1968) Missa solemnis from St. Paul’s Cathedral is one such example, with the huge reverberation creating extreme far perspectives. However, in many ways this largesse complements the enormity of Giulini’s conception, as he goes for a massiveness of sound not dissimilar to his fabled performances of the Verdi Requiem. The Philharmonia Chorus’ full-throated singing certainly contributes to Giulini’s grand effect (most especially in the Gloria and Credo), as does the orchestra’s excited playing. The four soloists sing with all the requisite fervor and solemnity, though soprano Teresa Zylis-Gara particularly stands out for her warm, ringing tones in the Agnus Dei. Ultimately, this cannot be a first choice Missa as the big sound does swamp some important details (such as the cello line in the Credo’s central slow section) and makes the martial timpani in the Agnus Dei sound like someone banging on cardboard boxes. Still, this remains an intriguing item for the live performance collector.
Giulini’s Schubert Symphony No. 4 is easier to recommend, as it’s recorded in the more normal acoustic of Usher Hall (the contrast with the Beethoven makes it seem as if the orchestra had suddenly been piled up in your listening room). Here is a performance typical of the younger Giulini, flowing, intense, and with fully committed playing from the Philharmonia (especially in the dramatic finale). Although the sound isn’t studio quality, it’s easily listenable.
