Mozart: Grosse Messe c-moll KV 427 is an 86-minute live video album of Wolfgang Amadeus Mozart's Christian vocal works Great Mass in C minor, Ave verum corpus and Exsultate, jubilate, performed by Arleen Auger, Cornelius Hauptmann, Frank Lopardo, Frederica von Stade, the Bavarian Radio Symphony Chorus and the Bavarian Radio Symphony Orchestra under the direction of Leonard Bernstein.

The most important work that he composed there was his opera seria Lucio Silla, premiered in Milan's Teatro Regio Ducale on 26 December as part of the city's carnival festivities.

The architecture of its music suggests that it was modelled on Neapolitan symphonies and concertos, and its brilliant coloratura vocal writing is reminiscent of contemporary Italian opera.

His sister Nannerl recorded in her diary that Constanze was the soprano soloist and Mozart the conductor when the Mass received its first performance in St Peter's Abbey on 26 October.

Some musicologists think that the ambition of the Mass's music was in part the consequence of Mozart's encountering the baroque masterpieces of Johann Sebastian Bach and George Frideric Handel in private concerts given by Baron Gottfried van Swieten.

Leonard Bernstein's album uses a performing score devised by Franz Beyer in 1989, which fills Mozart's lacunae with modest pastiches of his string writing but resists the temptation to embellish the music's texture with organ, brass or percussion parts.

Meeting Anton Stoll, an old friend who worked as a teacher and choirmaster, Mozart was prompted to compose a setting of the text Ave verum corpus, a verse excerpted from the anonymous 14th-century sequence In honorem SS.

Attached to a Cistercian abbey and consecrated in 1704, the basilica was chosen as a filming location because of its acoustics, its tranquillity and the beauty of its rococo design, and also for reasons of philosophy.

[1] Wolfgang Amadeus Mozart (1756-1791) Ave verum corpus ("Hail, true body", Motet for chorus and orchestra, K. 618, Baden bei Wien, 1791), with an anonymous text from the 14th century Exsultate, jubilate ("Rejoice, shout", Motet for soprano and orchestra, K. 165/158a, Milan, 1773), with an anonymous text Grosse Messe c moll ("Great Mass in C minor", Tridentine Missa solemnis [solemn Mass] for two sopranos, tenor, bass, chorus and orchestra, K. 427/417a, Salzburg, 1783), reconstructed by Franz Beyer (1922–2018), with a text codified at the Council of Trent between 1545 and 1563 and promulgated by Pope Pius V (1504-1572) in 1570 Kyrie Gloria Credo Sanctus Bonus feature J.

The dotted rhythm of "Qui tollis" was played with the maximum possible emphasis, and in that section's alla breve fugue, Mozart's counterpoint was "all striving, with a keen seizure of expression-marks, towards a climax that is as near to the Dionysian in its fervour as can be".

She was luminous in Exsultate, jubilate, consistently enjoyable in soft passages and accurate in scale work, although not as nimble or as radiant as Emma Kirkby had been when performing the motet with the Academy of Ancient Music under Christopher Hogwood.

The disc, he wrote, was "totally against the current trend toward small-scale Mozart performances, but the grandeur of Bernstein's conception – with dramatic outbursts, rubatos, and a lineup of star soloists ... – can be awe inspiring".

[5] The album was also discussed in a survey of the discography of the Great Mass in Gramophone[6] and in Business Review Weekly,[7] Diapason,[8] International Record Review,[9][10] Peter Gradenwitz's Leonard Bernstein: 1918–1990: Unendliche Vielfalt eines Musikers (1995),[11] Renate Ulm and Doris Sennefelder's 50 Jahre Symphonieorchester des Bayerischen Rundfunks: 1949–1999 (1999)[12] and The Penguin Guide to Recorded Music (2008).

In 2006, Deutsche Grammophon issued the album on an 86-minute Region 0 DVD (catalogue number 00440-073-4240), with 4:3 NTSC colour video and with audio in both PCM stereo and an ersatz 5.1-channel DTS upmix created by Emil Berliner Studios of Langenhagen using the company's AMSI II (Ambient Surround Imaging) technology.