Despite having sung one of the movements at a solo recital, I had never heard the complete cantata before. And that is coming from someone who loves Britten's cantatas!
Subtitled Carmen Basiliense, the work is a mere 20 minutes, made up of 13 short movements, set in Latin. Each of the sections are rather characterful, and unlike his other cantatas which call for simple accompaniments from harp or organ alone, Academica uses a full orchestra and a riot of percussion, here with the London Symphony Orchestra & Chorus; plus soloists such as Helen Watts and Peter Pears are on hand.
As far as I know, this 1961 stereo performance remains the only recording of the work, and it baffles me as to why. Perhaps it is the Academica title, or the background of serialism and 12-tones. If I wasn't aware of those facts, I wouldn't be none the wiser, for Britten sets a completely tonal landscape aside Britten's penchant for perky rhythms, curious vocal solos, and wonderful choral contributions.
The London Symphony Chorus stays for Britten's a cappella choir pieces as well. They traverse the smaller choral jewels Hymn to the Virgin, Hymn to St. Cecilia, and the Choral Dances from Gloriana. These are rarely performed by a large symphonic chorus anymore, so it is interesting to hear them in this way, sensitively led by George Malcolm.
Still there is more. The dedicatory performers of Britten's Missa Brevis perform here. I was surprised to hear the Westminster Cathedral Choristers performing with vibrato, as the British chorister tradition generally uses a straight, pure tone. Perhaps this is a quality George Malcolm taught, and it was this sound which Britten was fascinated by, so to be able to hear his Mass setting as it was intended is remarkable. The recording mentions the performance as 1959, but in monaural sound; yet it is a very good mono, for I would have guessed it merely as an older stereo recording.
The last entry on this very full collection is Britten's Rejoice in the Lamb, another quirky choral cantata. Here, the composer conducts with George Malcolm at the organ in 1957 in stereo. This work is more rampant on record, although as ever, I appreciate hearing Britten's music from the leadership of the composer himself, even if this performance will not end up being a favorite of mine. I am not familiar with George Malcolm, other than through his contributions on harpsichord and as an organist, but his way with singers is equally fine.
This is a wonderful collection of Britten's choral music from authoritative, contemporaneous sources. The Decca Eloquence sonics are excellent throughout, as are the various performing bodies in differing locales.
Works
Cantata Academica (20.57)
Missa Brevis in D Major (10.18)
Rejoice in the Lamb (16.00)
Choral Dances from Gloriana (8.58)
Hymn to St. Cecilia (10.30)
Hymn to a Virgin (3.56)
Soloists
Jennifer Vyvyan, soprano
Helen Watts, contralto
Peter Pears, tenor
Owen Brannigan, counter-tenor
Performers
George Malcolm, organ
Westminster Cathedral Choir
London Symphony Chorus
Purcell Singers
London Symphony Orchestra
George Malcolm, conductor
Benjamin Britten, conductor
Label: Decca
Year: 1958-60; 2019
Total Timing: 71.19
When it comes to Britten's oft-recorded choral works, I am not sure these would be my favorites.
But something such as Cantata Academica and Rejoice in the Lamb from George Malcolm and Benjamin Britten himself is hard to argue with.
This all comes in very good sonics too!
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