More bargain-bin Mozart on Royal Long Players, this time mundane and instantly forgettable accounts of several of his best-known choral works. This may possibly suit entry-level collectors, but since you’re reading this you’re likely to demand something far more compelling. First up is as ramshackle a Requiem as you’re liable to hear anywhere. Tempos are lethargic, and befogged orchestral playing and poor choral diction in the Kyrie section sets the tone for much that follows. Among an indifferent solo team, only Peter Schreier sings his part with much distinction, though he’s far from his best here. In the role of conductor, Schreier’s very fine 1982 Dresden account on Philips, now to be had at mid-price, is a prime contender among humanly involving accounts of Mozart’s Requiem.
The rest is no better. Disc 2 brings the C minor “Coronation” Mass, this time in a dismal 1967 Berlin performance under Heinz Meyer-Kundt. His is a name I’ve not come across before, and that’s no bad thing if this is the best he can muster! It’s a very poor account, lacking in pulse and energy (how can you make the exultant Gloria sound as limp and inane as here?) with another poorly balanced recording and below-average soloists. Lastly, in the little K. 194 and K. 275 masses none of the performers makes a compelling case for further listening. If you want the Requiem, Schreier’s Dresden version is excellent, or if you prefer historical instruments, go for Martin Pearlman’s Boston Baroque account on Telarc in the version completed by Robert Levin. In the Coronation Mass, Karajan’s fine Vienna performance on DG has Bruckner’s Te Deum as the intriguing coupling. [1/22/2001]
