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Reviewer:
Peter Quantrill
Without getting caught up in the hustle and bustle of Chailly’s Bach in Leipzig, Blomstedt lays a light, smooth plaster over the stylistic distinctions between each movement of the Missa proper: what should be the free-flowing, contemporary Italianate imitation of the ‘Christe’, for instance, and the planed stile antico of the second ‘Kyrie’. There is a reluctance to play out with the kind of full instrumental weight that lent gravitas to Blomstedt’s approach – same orchestra, same place, filmed in the organ loft of the Thomaskirche – in 2001 (EuroArts, reissued on Blu-ray). Bracingly vibratolite violins in the ‘Credo’ are a sign of historically informed practice, but period style isn’t like an outfit to be hired for a costume ball. You can’t fake it. The Gewandhaus horn player uses a valved instrument in the ‘Quoniam’ while phrasing in imitation of his natural-horn colleagues, with an unwieldy effort mirrored by Luca Pisaroni.
Just as she did
for Peter Dijkstra (BR-Klassik, 4/17), Christine Land-shamer brings
smiling grace to the ‘Domine Deus’ and dovetails nicely with Wolfram Lattke, but
the phrases are neatly chopped into bouncy four-bar segments and once you hear
the regular stress on gramophone.co.uk the first beat of every bar it can be
hard to ignore. Best of the soloists is Elisabeth Kulman, whose refined breadth
of line and lightly worn dignity raises her contributions to another level. When
Landshamer joins her for ‘Et in unum Dominum’ the performance begins to take on
the persuasive force of the 2001 film, which Blomstedt then sustains throughout
the choral triptych at the heart of the Mass. With an Agnus Dei of
simple, unforced beauty, Kulman sets the seal on an account of solid virtues but
intermittent insights. |
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