The Better of Marriner's Requiems

 

Just look at the team of soloists!

While I like Sylvia McNair from Marriner's later 90s recording of Mozart's Requiem in D minor, this 70s performance is the one to have.

While I don't really care for the tenor of Robert Tear, this is otherwise a dream team of vocal soloists. The Academy chorus is strong here too, where the Hungarian chorus master László Heltay is behind their fine preparations.

On the other hand, this is a decidedly middle-of-the-road performance from Sir Neville for me. Marriner isn't breathing hellfire, nor does he completely bore one to tears. Also, with the sub-60-minute timing, I am surprised they didn't add yet another reissue of Erna Spoorenberg's Exsultate, Jubilate with this same team (BLOG).

And so, I keep this one mainly for the soloists and chorus, who perform admirably.

A review from 2022

This is Sir Neville Marriner’s 1977 performance of Mozart’s Requiem, not to be confused with his later efforts tied up with the film Amadeus on Philips. Overall, I find this 70’s recording much more convincing, and while I enjoy Sylvia McNair from that later one, this team is nigh-upon perfect for me.

Granted Marriner is rather measured here, nor is he bombastic or over-emotional. His Dies Irae is not going to start any fires, it swings heavily instead, and the Kyrie doesn’t weep all over the score. But this recording puts the British chorus up front, and there is enough strength and power to overcome Marriner’s median pace.

Add to that the sweet-voiced Ileana Cotrubas, whose soprano is welcoming and friendly compared to her larger-voiced compatriots on competing recordings. Watts, Tear, and Shirley-Quirk round off a fine quartet, with Tear’s contributions not spoiling the occasion, and Watts and Quirk a continuing pleasure.

My benchmark for a harried presentation with choral and soloist thrust galore is Rafael Frühbeck de Burgos on CFP from the 60’s. The sound hasn’t held up that well over time, but boy is Burgos’ a thrilling ride regardless. Plus, each of these recordings satisfyingly retain the use of modern instruments opposed to modern HIP trends.

Still I like this recording, and if Sir Neville Marriner rides the middle, it is a satisfying ride nonetheless. Decca/London’s sound is good and the physical media comes with texts and translations.

 

Listen on YouTube

 

 

 

Works
Requiem, K. 626

Soloists
Ileana Cotrubaș, soprano
Helen Watts, contralto
Robert Tear, tenor
John Shirley-Quirk, baritone

Performers
Academy of St. Martin-in-the-Fields Chorus
Academy of St. Martin-in-the-Fields
Sir Neville Marriner, conductor

Label: Decca / London
Year: 1977; 1987
Total Timing: 54.48

 

 

 

Not my favorite of Mozart's Requiem, but one could hardly do worse with a soloist team-up such as this.

If only Marriner had whipped up a little more fervor, I could be more encouraging.

 

 

 

 

 

 

 

 

 

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