A Set of Choral Mozart

 

To set with the best.

Granted, this is not my favorite performance of Mozart's Requiem in D minor, yet it remains better than his later 90s effort. The rest of the program, though, is something to write home about. Perhaps this is due to the fine singing from the Schola Cantorum of Oxford, master-chorused by Andrew Parrott.

I still have the individual entries this 2CD is collated from (covered on the blog HERE and HERE), but I think this 2CD Decca Double Decker is probably the best way to get these all. Plus, here we have Marriner from the 60s and 70s, which is so much more convincing in Mozart than his post-Amadeus recordings. The British conductor was much more willing to take chances, and his vocal soloists were generally of a better breed, at least for my personal tastes.

A review from 2022

This compilation of Mozart’s Requiem recorded by Sir Neville Marriner and his Academy in 1977, the Coronation Mass and Litany with the same team from 1971, and the Exsultate Jubilate from 1966 was put together and remastered in 1994. The best part of this collection is the starry team of soloists that carry over for every choral work here, minus Erna Spoorenberg who is featured solely in Exsultate, Jubilate.

I like Marriner’s 1977 Mozart Requiem very much. It might not have the fire and brimstone of De Burgos on CFP , or the swift excitement of a HIP orchestra, but it is aptly done, and the orchestra and vocals sound great. László Heltay’s chorus is quite excellent, and justly receives the focus of this recording.

Marriner truly excels, though, in the other symphonic choral works here. The adult mixed chorus Schola Cantorum of Oxford, with Andrew Parrot, is suave sounding and incisive in both the Coronation Mass and Litany K195. The Academy of St. Martin-in-the-Fields has lovely warmth and vibrato, but tastefully so, and in general give the spotlight over to the chorus and soloists.

The highlight of each of these performances are the soloists. Ileana Cotrubaș’ soprano is particularly ideal, with its fulsome simplicity and ravishing tone, plus the rest of the soloist team is excellent and gives this collection wonderful consistency. Erna Spoorenberg’s Exsultate Jubilate is not as dynamic, she sounds a tad plain to my ears, especially in the final Alleluia, but she acquits nicely nonetheless.

Mozart’s music is, of course, divine, and one could hardly ask for better sponsorship than Sir Neville Marriner and St. Martin-in-the-Fields. Decca’s sonics are very good here, and afford an uptick in sonics from their original CD incarnations. It is certainly a great way to have these wonderful teams of singers and instrumentalists gathered together in one place as well.

 

 

 

Works
Exsultate, Jubilate, K. 165
Litaniae Lauretanae, K. 195
Mass in C Major 'Coronation', K. 317
Requiem, K. 626

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

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

Label: Decca / London
Year: 1967-77; 1994
Total Timing: 2.05.27

 

 

 

Not everything is a favorite of mine here, but this 2-fer is really very well done nonetheless.

On the deficit, Marriner's 70s Requiem lies towards the polite side, and I find Erna Spoorenberg's Exsultate plain.

The Schola Cantorum of Oxford, however, raises the profile of the Coronation Mass and the Litany, so I am happy regardless.

 

 

 

 

 

 

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