MOZART: Requiem, K 626; Masonic Funeral Music, K 477 – Montserrat Figueras, soprano/ Claudia Schubert, alto/ Gerd Turk, tenor/ Stephan Schreckenberger, bass/ La Capella Reial de Catalunya/ Le Concert des Nations/ Jordi Savall, director – Alia Vox Heritage multichannel SACD 9880, 55:05 [Distr. by Harmonia mundi] ****:
When one listens to the Requiem today there are a variety of “versions”—the original Sussmayr/Eybler, Maunder, Druce, Beyer, Levin, and probably more in the works as I write this. But I think John Elliot Gardiner got it right when assessing the plethora of composers trying to make sure we get as “authentic” a version as possible. He said that really only the Sussmayr can make that claim as he knew Mozart, worked with him, had Constanze’s approval, and most likely was much more involved with instructions that Mozart left with him than we suppose today.
At least that is the presupposition that Jordi Savall is making in this now 20-year-old reading, nicely remastered in multichannel SACD from the 2-channel original and featuring a 20-voice choir that is recessed enough in a reverberant acoustic to make it sound even larger. Savall is primarily interested in the spiritual and interpretative nuances of this work as opposed to guessing the origins of the so-called “finished” portions. As such, this is one of the best period instrument readings available, sacrificing nothing to authenticity for authenticity’s sake, and turning in a very lovely, devotional, and technically fine performance by any accounts. For that reason alone, aside from the little bonus of the interesting but not really gripping Masonic Funeral Music, this recording can serve as an only reading if necessary.
But—and it’s a big one—there are just too many excellent readings of all stripes out there to suggest that if one has this recording alone that the last question regarding the Requiem has been answered. One really needs several. Among recent SACDs I would heartily suggest the Atlanta Symphony Orchestra and Chorus under Donald Runnicles, modern instruments played with period panache and the finest chorus in the world. For some older period perversions I would suggest Hogwood and his Academy in the radical Maunder version that is brilliantly played and using boys instead of sopranos. For a really superb devotional account of huge proportions, you can’t do better than Bohm and Vienna on DGG. But this is a very welcome retread of tremendous excellence, and anyone will find it enjoyable and quite moving.
— Steven Ritter
Harold Land Quintet – The Peace-Maker – Universal Music Group
An excellent addition to the Verve By Request vinyl reissue series.
