One of the most grown-up review sites around

Apollo's Fire

Search MusicWeb Here



International mailing

  Founder: Len Mullenger             Senior Editor: John Quinn               Contact Seen and Heard here  

Some items
to consider

Brahms Symphony 4 Dvorak Symphony 9
Peter Aronsky (piano) Les Délices du Piano"
IL Carnevale di Venezia Clarinet with orchestra

Sinfonie Concertanti


A most rewarding CD
Renate Eggebrecht violin


World Premiere
Weinberg’s Concertino (cello)!


Irish-Appalachian Celebration


compelling and uplifting

an inspirational performance

An indispensable acquisition

The finest we have had in years

bewitching sound

Simply amazing

A splendid addition

One of the most enjoyable

quite superb!

utterly essential

A wonderful introduction

An outstanding CD


One of the finest versions

Support us financially by purchasing this from

Simon MAYR (1763 – 1845)
Miserere in G minor, for soloists, chorus and orchestra [46:44]
Litaniae Lauretanae in G minor for soloists, chorus and orchestra [11:01]
Andrea Lauren Brown (soprano), Jaewon Yun (soprano), Theresa Holzhauser (alto), Markus Schäfer (tenor), Robert Sellier (tenor), Jens Hamann (bass), Virgil Mischok (bass)
Simon Mayr Chorus, Members of the Bavarian State Opera Chorus
Concerto de Bassus, I Virtuosi Italiani/Franz Hauk
rec. 2014, Asam Church Maria de Victoria, Ingolstadt, Germany
Latin texts with English translations provided
NAXOS 8.573782 [57:45]

Franz Hauk’s series with Simon Mayr’s music, most of it never before recorded, goes from strength to strength, and this Miserere is no exception. He set quite a few Misereres, but this one in G minor is unique since it encompasses a complete setting of the Psalm in its original configuration. The exact time for composition is uncertain. ‘1803’ on the cover of the score may refer to the first performance in Bergamo. It also seems that it was performed rather frequently, and this is easy to understand when hearing it. As always the orchestration is superb – personal and superb – with delicious instrumental solos, mainly woodwind. In this particular work the solo oboe has a lot to do, being called for to play obbligato to the vocal soloists in several places. The structure is rather straightforward: an opening chorus with the four solo singers, a tenor aria followed by a soprano solo, then a chorus with soloists, an alto solo, a bass solo, a duet for soprano and alto, then a chorus with soloists, followed by a second tenor solo and a concluding chorus. Several of the arias are quite extended and involves some demanding coloratura singing in places.

The opening Miserere mei, Deus is noble and solemn, whereupon the solo tenor Amplius lava me offers excellent lyrical singing. The soprano’s Tibi soli peccavi offers some virtuoso display in duet with the oboe. Asperges me hyssop is a dark but beautiful piece for the chorus and then the alto’s Averte faciem tuam a peccatis meis is preceded by a long introduction with solo violin, which also plays some obbligato to the great vocal solo. The oboe is again featured in the bass aria Docebo iniquos vias tuas, excellently sung with impressively clear enunciation. The duet Domine, labia mea aperies is the most beautiful part of the work, their voices blending admirably. In the tenor’s second solo, Benigne fac Domine, obbligatos are provided by trumpet and horn, and then the concluding chorus is a true fugue.

In the Litaniae Lauretanae, also in G minor, we hear a new soprano, tenor and bass while Theresa Holzhauser is retained from the Miserere. The work is composed c. 1800, and thus roughly contemporaneous with the Miserere. It is a fitting complement to the Miserere, with frequent repetition of Santa Maria.

The soloists are all well-known from one or more previous recordings in this series and they are very good indeed. We have also come to expect good choral and orchestral contributions from Hauk’s forces and they certainly live up to expectations.

Readers who have followed this series can with confidence invest in this latest addition. For each new recording one marvels at the high level of excellence of the music, and one always long for the next instalment. The present issue had been in the can for almost four years before it was issued. Perhaps it was wise to hold back and not overflow the market, but Naxos should know that there are several of us who can’t get enough of Mayr’s music.

Göran Forsling



Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Senior Editor
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger