Wolfgang Amadeus MOZART(1756-1791)
Mass in C, K 317, Coronation (1779) [24:48]
Ave verum corpus, K618 (1791) [3:12]
Vesperae solennes de Confessore, K339 (1780) [26:52]
Laurence Kilsby (treble); Jeremy Kenyon (alto); Christopher Watson (tenor);
Christopher Borrett (bass)
Tewkesbury Abbey Schola Cantorum of Dean Close Preparatory School
Charivari Agréable/Benjamin Nicholas
rec. 12-13 July 2011, Merton College Chapel, Oxford
Texts and translations included
DELPHIAN DCD34102 [54:59]
Thirty-two singers are listed in the booklet accompanying this disc, of whom
eighteen are trebles. They are pupils at Dean Close Preparatory School in
Cheltenham, and they join with the adults to sing the weekday evensong services
at Tewksbury Abbey. Charivari Agréable are a period instrument group based
in Oxford.
A little more than a year separates the composition of the two principal works
on this disc. Mozart’s early life is dominated by travelling, but these works
were composed during a two-year period when the composer was in Salzburg in
service to the Archbishop, a situation he found increasingly frustrating.
The short, celebrated Ave verum corpus was composed in the very last
year of his life when he was visiting his wife and son who were staying in
the spa town of Baden.
The performance of the Mass is an exuberant one. The energy level rarely dips
in this work, and these performers respond with enthusiasm. There seems no
question that the young singers are thoroughly enjoying themselves, but I
think rather more in the way of variety of dynamics should have been expected
of them. Mozart is either forte or piano, but forte
is at least that here, and often rather more, whereas indications of piano
are not always respected to the letter. I felt this particularly at the opening
of the Sanctus, where the forthright attack is rather unwelcome after the
rather relentless Credo. It is all superbly sung, though, and if you like
your Mozart like this, and the idea of an all-male choir appeals, there is
certainly no reason to hesitate.
Careful control of pace and phrasing is necessary if Ave verum corpus
is not to become marmoreal. This performance is again beautifully sung and
manages to stay on the right side of the line. I can’t in all honesty say
the same about the famous “Laudate Dominum” in the K339 Vespers, as the tempo
is really too slow and the phrasing rather too affectionate, with something
of a tendency to hold back at the ends of phrases. This is the moment, however,
to draw attention to the remarkable treble soloist, Laurence Kilsby. He has
a beautiful voice and his singing is highly expressive and musical. One notes,
too, especially in the “Laudate Dominum”, his outstanding breath control.
Something of a pity, then, that he sings with quite a pronounced vibrato when
there is not of trace of this in the introductory violin melody. The remaining,
adult, soloists are very fine too, though vibrato remains a problem, if only
because of the discrepancy in style between the vocal participants and the
instrumental ensemble. (I have no problem, personally, with vibrato in Mozart.)
Otherwise, the performance of the Vespers follows pretty much the same pattern
as that of the Mass, with both its strong points and its weaker ones. There
really is more light and shade in Mozart’s choral writing than is in evidence
here, and the effect sometimes becomes tiring. The recording is very immediate
and vivid, with the quartet of soloists well forward, which rather exacerbates
this. But there are many wonderful moments. These performers’ way with the
word “saeculorum”, for example, just before the final “Amens” of the second
movement “Confitebor”, is only one example of singing that it quite seductive
and totally convincing. Overall, though, the singing has a few rough edges
compared to that of the Mass, unsurprising as it is a more difficult work.
Benjamin Nicholas is Director of Choral Music at Dean Close Preparatory School,
and keen-eyed readers will spot that he is also jointly responsible, with
Peter Phillips, for the outstandingly fine choir at Merton College, Oxford,
whose first recording, entitled “In the Beginning”, was recently released,
also on Delphian. Charivari Agréable play splendidly, and seem at one with
the conductor’s view of the works.
William Hedley
see also review by John
Quinn
Outstandingly fine performances of three Mozart choral works from these young
musicians, but more light and shade would have been welcome.