Choir of New College Oxford; Edward Higginbottom, Orchestra of the Age of Enlightenment. Novum NCR1383.
The key word here is "authentic." As the program notes are quick to point out, this recording of Mozart's Requiem is unique in several ways: It uses "soloists drawn from the chorus, as in Mozart's day, including young male singers for the soprano and alto solos" (the New College Choir made up of youngsters twelve to twenty-two), and it uses a period ensemble, the Orchestra of the Age of Enlightenment. The result is a performance on the scale of those in Mozart's day. Although, of course, Mozart would never have heard his own Requiem, given that he left it uncompleted at his death. The version we get here is the customary one completed by Franz Xavier Sussmayr, Mozart's assistant and copyist.
Despite the use of period instruments and the determination of correct size and makeup of the choir and ensemble, Maestro Edward Higginbottom's new realization of the Requiem may or may not be entirely "authentic," since no one can go back through the centuries to hear what the earliest performances sounded like. In the instance of Higginbottom, his performance may follow all the earmarks of authentic performance practice, phrasing and tuning, but that doesn't mean that traditionalists should dismiss it. Overall, I like this new interpretation very much.
It is in the beginning of the piece, the Introitus, that Higginbottom seems most conventional and respectful. In effect, he doesn't tip his hand to the excitement to come until the succeeding segments.
Then, in the Squenz, the Dies irae is properly fiery, powerful, and wrathful, a foreshadowing of more good things to follow. Then, in the Tuba mirum, Recordare, and later Benedictus sections, where we hear the solo quartet of voices sung by children in the soprano and alto parts, the performance becomes particularly effective, the young male voices, crisply articulated, quite affecting in their innocence. Here, Higginbottom moves along a little more briskly than many other conductors in the work. Indeed, as the performance proceeds, it actually appears to pick up energy and distinguish itself from its seemingly more timid rivals.
The Offertorium movements are spirited yet always gracious and graceful, the conductor and his forces doing their utmost to present the music in a new light. Still, new light or no, the music seems fresher and more illuminating than ever. It's a revelatory new version of an old warhorse. Although it may not tickle the fancy of every Mozart fan the way it did me, I look forward to hearing it many times over.
Novum recorded the music at the Church of St. Michel and All Angels, Summertown, Oxford, England, in July of 2010. It exhibits a good sense of depth in instrumentation and voices, with a reasonably well balanced response. While there is a slightly forward quality to the upper midrange that makes voices a little brighter than I'd like, it is hardly a concern, and it may, in fact, help to clarify the vocals. All around, the sound is clear and clean, with enough ambient hall bloom to ensure realism and an appropriate perception of acoustic space.
As a footnote, I should add that Higgenbottom's extensive booklet notes on the composition of the Requiem make a fascinating and enlightening read. If you buy the disc, don't miss them. I even like the cover design.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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