The Cyberbass site does have a Missa Solemnis section.
http://www.cyberbass.com/Major_Works/Beethoven_L_v/beethoven_missa_solemnis_in_D.htm. The Et Vitam is in the section marked Et Resurexit. It is clear -- but SLOW. Much slower than any of the three conductors I have done this for have done it.

If you want to be thoroughly frightened, listen to the cut from our performance of the Missa with Eschenbach at
http://www.rtcutler.com/Audio/vitam_fast.mp3. I have no idea how we stayed together at this tempo -- all I know is that I personally was totally zoned in on doing my thing and apparently everybody else took care of their own concerns. It worked, but it still seems like something of a miracle to me -- a miracle that was preceded by one heck of a lot of very intensive rehearsal. I truly believe that the ONLY way anyone can stay on the conductor's stick at this kind of tempo, or even more reasonable fast tempos, is to memorize the melismas. I'm not kidding about this -- trust me, it's really hard to stay with the conductor in this one unless you can give him your full attention. It's not really that many melismas to memorize -- a couple of sessions with a piano will do it.

Actually, staying on the stick is a problem in all the big fugues in this work, and memorizing the other melismas will make your life a lot easier, too. The Gloria comes to mind. But the fast part of the Et Vitam is something absolutely unique, at least in my experience -- and I've been singing with the HSC for close to twenty years.

One more comment, for what it is worth. In my opinion -- and I know that other people's mileage differs on this -- the Missa Solemnis is absolutely unique musically, too. It is a very, very strange and wonderful piece of music. If you haven't sung it before, wait till you hear the martial music in the background of the Agnus Dei. Think about that. And the long, long incredibly beautiful lines of the violin solo in the Benedictus, which is almost like a violin concerto with choral accompaniment. And -- again your mileage may certainly vary -- when those scales start ascending near the very end of the work, as Beethoven works the theme of seeking, or being given, peace -- well, I think it's just magic. At first I was mystified, and a bit disappointed, that the work didn't have a big ending with a lengthy, bombastic coda -- and then having lived with the music many times I am still mystified by the ending but I am also ... deeply moved. Every time. I hope you are, too.

Whether it's your favorite or not (and I will admit that it is mine), I think you will agree that the Missa Solemnis stands alone.

The Cyberbass site does have a Missa Solemnis section.  http://www.cyberbass.com/Major_Works/Beethoven_L_v/beethoven_missa_solemnis_in_D.htm .  The Et Vitam is in the section marked Et Resurexit.  It is clear -- but SLOW.  Much slower than any of the three conductors I have done this for have done it.

 

If you want to be thoroughly frightened, listen to the cut from our performance of the Missa with Eschenbach at http://www.rtcutler.com/Audio/vitam_fast.mp3 .  I have no idea how we stayed together at this tempo -- all I know is that I personally was totally zoned in on doing my thing and apparently everybody else took care of their own concerns.  It worked, but it still seems like something of a miracle to me -- a miracle that was preceded by one heck of a lot of very intensive rehearsal.  I truly believe that the ONLY way anyone can stay on the conductor's stick at this kind of tempo, or even more reasonable fast tempos, is to memorize the melismas.  I'm not kidding about this -- trust me, it's really hard to stay with the conductor in this one unless you can give him your full attention.  It's not really that many melismas to memorize -- a couple of sessions with a piano will do it.

 

Actually, staying on the stick is a problem in all the big fugues in this work, and memorizing the other melismas will make your life a lot easier, too.  The Gloria comes to mind.  But the fast part of the Et Vitam is something absolutely unique, at least in my experience -- and I've been singing with the HSC for close to twenty years.

 

One more comment, for what it is worth.  In my opinion -- and I know that other people's mileage differs on this -- the Missa Solemnis is absolutely unique musically, too.  It is a very, very strange and wonderful piece of music.  If you haven't sung it before, wait till you hear the martial music in the background of the Agnus Dei.  Think about that.  And the long, long incredibly beautiful lines of the violin solo in the Benedictus, which is almost like a violin concerto with choral accompaniment.  And -- again your mileage may certainly vary -- when those scales start ascending near the very end of the work, as Beethoven works the theme of seeking, or being given, peace -- well, I think it's just magic.  At first I was mystified, and a bit disappointed, that the work didn't have a big ending with a lengthy, bombastic coda -- and then having lived with the music many times I am still mystified by the ending but I am also ... deeply moved.  Every time.  I hope you are, too.

 

Whether it's your favorite or not (and I will admit that it is mine), I think you will agree that the Missa Solemnis stands alone. 

__._,_.___

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