Weber's two mature Masses in E flat and G (there was a so-called Jugendmesse that only turned up in 1925) appeared in these performances as part of a large-scale special Conifer import of Weber recordings in 1986, but what was then two records giving rather short measure can be accommodated on to a single CD by dropping the Hummel E flat Mass which was the coupling to the G major Mass. They are interesting, attractive, if somewhat uneven works. The appellation Freischutzzesse for the E flat work is regrettable and would probably not have been countenanced by Weber himself. There is certainly some kinship with Agathe's manner in the beautiful Benedictus, and perhaps the hushed chords and off-beat timpani of the Sanctus could be seen as the 'good' obverse of Samiel's diminished sevenths and thudding drums, but the work has its own distinctive character, even if the input of some earlier music, including from the Jugendmesse, occasionally suggests haste and a more routine manner. The Credo is a superb idea, with the reiterated rising three notes on the word ''credo'' introducing one by one the objects of faith. The fine Agnus Dei is almost the only place where the soloists have equal prominence: elsewhere it is the soprano who leads, which is simply explained by the fact that the original soprano was the distinguished castrato Sassaroli. ''Excellent in elaborate music, breathes like a horse'', Weber noted, adding ''the alto is a dog''. Krisztina Laki does very nicely by Sassaroli's music, and includes for good measure the Offertorium ''Gloria et honore'' which Weber later added for him.
The equivalent Offertorium, ''In die solemnitatis'', is missing from the performance of the G major Mass, and is frankly no great loss. The soloists are more evenhandedly treated here, and rise to the occasion presented to them in the Benedictus, as their voices twine gracefully in looping lyrical lines. This time, the contralto has the Agnus Dei, a beautiful piece with a nice use of bassoon tone supporting the voice, though there is plenty of display for Sassaroli, who again sang the soprano part. Elisabeth Speiser manages well, and she is effectively supported by the others. However, neither performance nor recording comes up to the eloquence and lyrical grace of Horst Stein's Bambergers: the recording in particular, loses some of the detail in the Gioria. But this should not deter anyone: these two festive, yet devotional, Masses are enjoyable in their own right and also a fascinating glimpse of Dresden ecclesiastical music-making in the early years of the nineteenth century.'