Requiem in D minor K626 [46:52]
Misericordias Domini in D minor K222 [7:09]
Reconstruction of parts of the music as performed at the Requiem Mass for Mozart on 10 December 1791 [7:15]
Joanne Lunn (soprano); Rowan Hellier (alto); Thomas Hobbs (tenor); Matthew Brook (bass)
Dunedin Consort/John Butt
rec. Greyfriars’ Kirk, Edinburgh, 15-19 September 2013
LINN RECORDS CKD449 SACD [61:00]
It is refreshing after so many modern attempted completions of Mozart’s
Requiem to go back to that by Franz Süssmayr. The detailed extent
of his additions has been well known for many years and many have felt
that they could do better, understandably so given the weakness of some
of those additions. Nonetheless he had the clinching advantage of knowing
Mozart which gives his version a status which no modern composer can possibly
equal. The present recording makes use of a new edition by David Black
of Süssmayr’s version which removes some spurious changes made
in the first published edition. Its main, and at times startling, novelty,
however, is its attempt to copy the forces and manner of the work’s
first public performance. This was in Vienna on 2 January 1793 at a benefit
concert for the composer’s widow arranged by Baron van Swieten.
John Butt explains in his notes in the booklet that although there is
no direct evidence of the forces used on that day it is reasonable to
assume that they were similar to those used earlier for the performances
of Handel’s works arranged by Mozart. That means a chorus that is
relatively small, only 16 in all including and led by the soloists who
form part of the chorus. The orchestra has 20 string players and includes
a fortepiano as no organ was available at that performance. Despite this
however there is no question of the orchestra outweighing the chorus as
the latter sing with particularly strong projection. The fortepiano is
however to all intents and purposes inaudible.
This is a particularly purposeful and well considered performance. Passages
which usually present problems, such as the start of the “Tuba mirum”,
are simply made to sound natural and appropriate with some eloquent and
expert singing and playing. The soloists may not have the international
reputations of their numerous rivals on other discs but they do understand
their place in the whole, and sing with sensitivity to the musical line
and ensemble. Overall this is indeed an especially coherent performance.
There is no sense of apology for the weaker parts of Süssmayr’s
completion. I would not want to be without earlier classic performances
using larger or differently constituted forces but I expect to get much
continuing pleasure and understanding from this version.
Two interesting additional items are included. The setting of Misericordias
Domini dates from 1775 but it appears that it was revived for performance
in about 1791. It is therefore performed with similar forces to those
used in the Requiem and makes an interesting comparison. Finally the opening
movements of the Requiem are performed as they might have been at a Requiem
Mass for the composer held shortly after his death. This uses fewer singers
or strings than in the complete performance and omits some of the wind.
Again it makes an interesting comparison but is probably not something
to be returned to frequently.
The main performance, however, most certainly is. Its very individual
approach to choral sound and to the manner of the work’s performance
is endlessly fascinating. Once again, as he has done before with the music
of Bach, John Butt has illuminated music by looking in detail at how and
where it was performed in specific circumstances at the time of its writing.
The result has a combination of purposeful vigour and sensitivity helped
by a full and clear recording. Overall it is an essential addition to
any collection of Mozart’s choral music.
John Sheppard
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