This identical program appears on a Koch-Schwann release in which Jacques Houtmann conducts the Liège Symphony Orchestra with chorus and soloists, but the new Naxos disc is frequently superior on most counts. Though little known today, François-Joseph Gossec (1734-1829) was a composer of considerable significance, despite the fact that his contributions to the development of symphonic music in France were overshadowed by the material he provided for military and revolutionary purposes. Gossec’s 1760 Requiem (Missa pro defunctis) also served the purposes of revolution, in that performances given during August 1789 were dedicated to Parisian subjects who lost their lives during the storming of the Bastille. Mozart, incidentally, made Gossec’s acquaintance when staying in Paris in 1778, and described him (somewhat uncharitably) as “ein sehr trockner Mann” (“a very dull man”). That assessment notwithstanding, Gossec’s Requiem, with its surprising militaristic effects and pronounced theatricality, exerted tremendous influence upon the liturgical music of Berlioz. The other work here, a “Symphonie” in 17 parts, was written in 1809. Though of considerably less stature, this agreeably tuneful work still deserves an occasional hearing.
This new Naxos issue is distinguished by excellent choral and solo contributions, while the recording itself has considerably more bite and focus than the earlier Koch disc. Orchestral playing, too, by the Orchestra della Svizzera Italiana, is generally accomplished and adroit, but the performers heard in the “Symphonie à 17 parties” (especially the winds) don’t match the idiomatic distinction of their Belgian rivals. But if you buy this disc, I suspect it will be principally to acquire the “Grande Messe”, and on this account you’ll certainly not be disappointed. Diego Fasolis and his forces realize an engaging performance, though obvious highlights are the more dramatic episodes of the “Dies irae” section, which demonstrate just how prophetic this seldom performed work really was.
