Benjamin BRITTEN (1913-1976)
A Ceremony of Carols [21:17]
Anton BRUCKNER (1824-1896)
Locus Iste [2:47]
Virga Jesse floruit [4:00]
Os justi [4:32]
Christus factus est [5:09]
Ave Maria [3:27]
Jacobus GALLUS (1550-1591)
Missa Ad Imitationem Pater Noster, 8 Voceum [26:18];
Puer Concinite [1:29]
Repleti sunt [2:09]
Tomas Ludovico da VICTORIA (1540-1611)
Una hora [2:58]
O regem coeli [2:42]
Giovanni Pierluigi da PALESTRINA (1525-1594)
Hodie Christus natus est [2:17]
Giovanni NASCUS (1510-1561)
Incipit lamentation [4:54]
Jacobus de KERLE (1531-1591)
Missa Regina Coeli [5:06]
Elisabeth Bayer (harp)
Chorus Viennensis, Wiener Sangerknaben/Anton Neyder; Hans Gillesberger
rec. September-December 1971, Vienna, Austria
ACANTA 233602 [41:12 + 47:53]
The Vienna Boys Choir, whose previous members include Haydn, Schubert and
Hans Richter, has been through some tough times since their inception in
the 15th century. After the collapse of the Austrian monarchy
in the early 20th century they entered mainstream consciousness
in the 1960s after a Walt Disney film about and starring the choir. The
21st century has seen a rival choir set up amidst allegations
of falling standards as well as child-abuse accusations from former members.
This CD set is a re-release of recordings made in the 1970s, perhaps the
golden-age of the choir.
The age of the recordings is instantly heard in the performance style of
the early music on the second disc. During the 1970s opinion changed regarding
“historical performance practice” and you would be unlikely
to hear a performance like this nowadays. The trebles dominate the contrapuntal
texture in the Missa ad imitationem by Gallus. The warmth of the
boys’ sound is achieved through liberal use of vibrato which is lacking
in the lower parts, provided by Chorus Viennensis. The sound is more unified
in the works which the boys perform by themselves. Both pieces by Victoria
display the unique sound of trebles using their very low register which
continues throughout the early pieces. These performances are very much
of their time; a more recent interpretation would have more lightness to
the articulation and a faster tempo. However, the most enjoyable aspect
of these early works is the ability of the boys to shape their melodic lines
independently.
The title track of the CD Britten’s Ceremony of Carols was
performed under Anton Neyder. It has the same full, vibrato-rich sound as
the other works which becomes a bit overwhelming in the loudest movements.
All the soloists sing with incredible expression making these movements
the most enjoyable. For those seeking a different interpretation, try the
recording of women’s voices by The Choir of Trinity College, Cambridge
and Stephen Layton on Hyperion
CDA67946.
The Bruckner motets are all very slow. However, this does allow for a lot
of detail to be included. For example, Christus Factus est is full
of dynamics and subtle shadings. The full sonorities of Bruckner’s
choral writing are well suited to the rich sounds produced by these forces
but occasionally lack rhythmic intensity and direction.
These two CDs are a real snapshot of a former age. This is a great souvenir
of a world-famous choir as they were at their prime and is an interesting
comment on 1970s performance practice. It is worth a listen but there are
more enjoyable recordings out there.
Hannah Parry-Ridout
These two CDs are a real snapshot of 1970s performance style.
Review index and discography: Britten's A ceremony of carols
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