A note at the front of the booklet includes the following statement
“This distinctive recording of Mozart’s last great work can
claim to be unique in two mutually supportive ways: the use
of soloists drawn from the chorus, as in Mozart’s day – including
young male singers for the soprano and alto solos – combined
with the use of a period orchestra. These are no idle historical
gestures. The contemporary virtues of this approach are a consistency
in the sound-world between chorus and solo ensemble, and a homogeneity
of style between period orchestra and period chorus.”
One virtue of this performance that’s not specifically mentioned
there, but which should be recorded, I think, is the clarity
of texture that results from Edward Higginbottom’s approach
to this work. He uses a choir of thirty-six – 15/8/5/8 – and
the orchestra comprises 6/6/3/3/1 in the string section plus
pairs of basset horns, bassoons and trumpets together with timpani
and three trombones. So the band comprises twenty-nine players.
These forces produce an effect that is often intimate, though
sections such as the ‘Dies Irae’, the tenor and bass passages
of the ‘Confutatis’, and the ‘Sanctus’ are all delivered with
suitable heft.
The internal balance of the choir is excellent, as is the balance
between the singers and the orchestra. The choir does a very
good job indeed throughout, not least the trebles who invest
the top line with a fine cutting edge, though their sound is
never harsh or shrill.
I like most of the speeds chosen by Edward Higginbottom. For
example, the tempo he adopts for the ‘Confutatis’ allows just
the right amount of breadth and he achieves a good sense of
grandeur in the Sanctus without over-inflating the music. Perhaps
the pacing of the ‘Hostias’ is just a notch on the fast side
– the music sounds a bit too amiable – but I like the tempo
of the ‘Osanna’, which is sufficiently lively but avoids any
feeling that the music is being pushed too fast.
So, what’s not to like? I’m afraid that, for me, the performance
has an Achilles heel in the shape of the solo quartet. I’ve
quoted above the rationale for using four members of the chorus
and I acknowledge the argument for authenticity. Dr. Higginbottom
knows far more about such matters than I do but I would just
offer the suggestion that, while Mozart probably did expect
church choirs of the day to use their own members as soloists,
the solo parts in the Requiem have a definite operatic quality
– and dimension – to them. Might it not be possible that Mozart
hoped that suitable voices would be employed to serve in his
quartet?
As it is, I’m afraid the New College quartet disappoint. None
of them sing badly but they just lack the tonal depth and the
histrionic characteristics that this music seems to demand.
I readily acknowledge the counter-argument that hearing Big
Name soloists in this music is simply what we’re used to. Jonty
Ward is a gifted treble, who sings with pure tone and spot-on
intonation while Guy Cutting’s tenor has a good ring – he’s
the best of the quartet. On the other hand the alto, James Swash,
sings tidily but his tone is rather pallid while bass Jonathan
Howard simply lacks the vocal presence that his part demands
– the ‘Tuba mirum’ is a major disappointment. None of the quartet
brings sufficient vocal character to the ‘Recordare’ and in
the ‘Sed signifier Michael’ passage in the Offertorium the alto
and bass parts only register weakly.
All this is a great pity since I’ve admired so many recordings
by Dr Higginbottom and his fine choir over the years. This reading
of the Mozart Requiem is interesting as a musical experiment
and, as such, would have been enjoyable to hear as a one-off
concert event but I’m afraid that, for all its positive points
– and there are many, as I’ve tried to point out - it doesn’t
stand up to the scrutiny of repeated domestic listening. It
must be said also that at less than fifty minutes duration the
disc is poor value for money.
If you are tempted, the recorded sound is clear and good and
the documentation, which includes a detailed essay by Dr Higginbottom,
is excellent.
John Quinn
Jonty Ward (treble); James Swash (alto); Guy Cutting (tenor); Jonathan Howard (bass); Choir of New College Oxford
