When Richard Maunder’s editions get together with Christopher Hogwood and co, you know instantly that the result will be spot on.
The sound of the boy treble line (singing alto as well) is earthy yet in tune, and well complemented by the strong lower parts. The orchestra is supportive yet unobtrusive. The dynamics and phrasing are all well chosen and executed. The choice of soloists is inspired, especially Arleen Auger – such a beautiful voice.
It is just a pity that there is not more on the disc – some have argued in the ‘Dona ut Kyrie’ tradition that an Agnus Dei could be tacked on at the end using the music of the Kyrie.
An excellent recording.
Review by J. Hutchings
Sometimes I have felt hesitant about using the word ‘interpretation’ for his performances, which have been apt to seem objective and lacking in emotional commitment. However, the grandeur and the elevated quality of the ”noble torso” that is all Mozart wrote of the C minor Mass have apparently touched something deeper in Hogwood, and though the performance still bears the imprints of his approach it carries more expressive weight than usual. It begins with a steady and powerful Kyrie, monumental in feeling, dark in tone. The big choruses of the Gloria have plenty of energy, where that is called for—as in the ”Gloria in excelsis”, which has a fine drive to its rhythms, though it is not fast, and the closing ”Cum sancto spiritu” fugue, excellently sustained—and sufficient of the sombre, too, as in the ”Qui tollis”. The Credo is lively, perhaps a shade pushed; the ”Osanna” has a fine, energetic gait.
Hogwood uses a boys’ choir, rightly I think, not simply because that is what Mozart took for granted but because the freshness and ring of boys’ voices, and the extra clarity they impart to the textures, bring nothing but advantage. There is a splendid team of soloists, headed by Arleen Auger in excellent voice, full, warm and glowing—a tasteful, unaffected singer, she is surely the leading soprano in this repertory today. The broad, open phrasing in the ”Laudamus te”, with the leaps true and the semiquaver runs perfectly placed, is a delight; and the interplay of solo voices, with Lynne Dawson’s more grainy one in the ”Domine Deus”, and in the ”Quoniam” trio with the admirable tenor of John Mark Ainsley too, is always pleasing. The big solo number here, of course, is the ”Et incarnatus”, and here the music is somewhat different from usual because Hogwood uses a new edition by Richard Maunder which fills out the skeletal version left by Mozart rather more fully than do existing texts. Maunder’s added horn parts take a little getting used to, but by and large are pretty persuasive; his sustained string writing at some points seems to me more questionable. Auger’s singing, in any case, is beautiful; it is traditional to call this music ‘operatic’, but that is to my mind based on a misapprehension of style, and her reading of it seems to me deely expressive without in any way transgressing the proper limits of sacred music.
Review by Stanley Sadie, Gramophone
Arleen Auger – soprano
Lynne Dawson – soprano
John Mark Ainsley – tenor
David Thomas – bass
Winchester Cathedral Choir
Winchester College Quiristers
The Academy of Ancient Music [on period instruments]
Christopher Hogwood – conductor
Tracklist:
01. I. Kyrie (7:00)
02. II. Gloria – Gloria in excelsis Deo (2:19)
03. Laudamus te (4:41)
04. Gratias agimus tibi (1:14)
05. Domine Deus (2:42)
06. Qui tollis peccata mundi (4:50)
07. Quoniam tu solus Sanctus (3:49)
08. Jesu Christe – Cum Sancto Spiritu (4:25)
09. III. Credo – Credo in unum Deum (3:07)
10. Et Incarnatus Est (7:44)
11. IV. Sanctus – Sanctus – Osanna (3:43)
12. Benedictus – Osanna (5:51)
EAC extraction logfile from 16. May 2012, 16:57
The Academy of Ancient Music – Christopher Hogwood / Mozart – Mass in C minor, K.427 – Hogwood
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Overread into Lead-In and Lead-Out : No
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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
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Used output format : User Defined Encoder
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11 | 41:51.02 | 3:42.53 | 188327 | 205029
12 | 45:33.55 | 5:51.30 | 205030 | 231384
Range status and errors
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Filename F:Ripped general[0720] Mozart – Mass in C minor, K.427 – HogwoodMozart – Mass in C minor, K.427 – Hogwood.wav
Peak level 96.6 %
Extraction speed 5.6 X
Range quality 99.9 %
Test CRC 4B03B61B
Copy CRC 4B03B61B
Copy OK
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AccurateRip summary
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Track 12 accurately ripped (confidence 4) [769666CD] (AR v2)
All tracks accurately ripped
End of status report
log date: 2017-04-02 22:20:13
––––––––––––––––––––––––––––––––––––––––
Analyzed: Academy of Ancient Music, Christopher Hogwood & Wolfgang Amadeus Mozart / Mozart – Mass in C minor, K.427 – Hogwood
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR14 -0.30 dB -19.90 dB 7:00 01-I. Kyrie
DR12 -0.97 dB -19.18 dB 2:19 02-II. Gloria – Gloria in excelsis Deo
DR14 -4.44 dB -24.98 dB 4:41 03-Laudamus te
DR10 -0.35 dB -16.36 dB 1:14 04-Gratias agimus tibi
DR13 -1.70 dB -21.40 dB 2:42 05-Domine Deus
DR12 -0.47 dB -18.47 dB 4:50 06-Qui tollis peccata mundi
DR14 -1.01 dB -20.21 dB 3:49 07-Quoniam tu solus Sanctus
DR12 -0.33 dB -16.91 dB 4:25 08-Jesu Christe – Cum Sancto Spiritu
DR13 -0.39 dB -18.10 dB 3:07 09-III. Credo – Credo in unum Deum
DR13 -2.24 dB -22.39 dB 7:44 10-Et Incarnatus Est
DR12 -0.73 dB -17.69 dB 3:43 11-IV. Sanctus – Sanctus – Osanna
DR13 -0.30 dB -18.98 dB 5:51 12-Benedictus – Osanna
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 12
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 620 kbps
Codec: FLAC
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