On the heels of a successful recording of Mozart's Requiem mass in D minor, K. 626, comes this survey of some much less famous music by the men-and-boys Choir of New College, Oxford, the Collegium Novum instrumental ensemble, and their conductor, Edward Higginbottom. It's far from clear that the argument for historical accuracy advanced here is accurate. The soloists are drawn from the choir itself, but the music here might well have been sung by castrati, for which a female soprano is a better approximation than a boy ...
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On the heels of a successful recording of Mozart's Requiem mass in D minor, K. 626, comes this survey of some much less famous music by the men-and-boys Choir of New College, Oxford, the Collegium Novum instrumental ensemble, and their conductor, Edward Higginbottom. It's far from clear that the argument for historical accuracy advanced here is accurate. The soloists are drawn from the choir itself, but the music here might well have been sung by castrati, for which a female soprano is a better approximation than a boy soprano (female singers were apparently still prohibited in Salzburg). But the list of attractions begins nevertheless with the relationship between soloists and choir, which is unusually well integrated and produces a pleasantly balanced sound. The list continues with the overall performance of the choir, which is beautifully rehearsed; its articulation of the texts is absolutely second to none. And the biggest reason to try this out is the presence of some rather underappreciated...
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