Haydn: Nelson Mass - Insanae et vanae curae Edward Higginbottom

• 1 Kyrie 05:03
• 2 Gloria: Gloria in excelsis Deo 03:49
• 3 Gloria: Qui tollis peccata mundi 04:19
• 4 Gloria: Quoniam tu solus sanctus 03:04
• 5 Credo: Credo in unum Deum 01:58
• 6 Credo: Et incarnatus est 04:09
• 7 Credo: Et resurrexit 04:13
• 8 Insanae et vanae curae 06:42
• 9 Sanctus 02:22
• 10 Benedictus 06:53
• 11 Agnus Dei: Agnus Dei 03:08
• 12 Agnus Dei: Dona nobis pacem 03:03
• Total Runtime 48:43

Info zu Haydn: Nelson Mass - Insanae et vanae curae

Novum continues to celebrate the magnificent work of New College Choir - in the classics of the choral repertory, and in its byways. Here, in Haydn's Nelson Mass, they tackle one of the most frequently climbed summits in the choral range.

The metaphor is not misplaced: the work makes high demands on singers and orchestra alike, not least in the coloratura writing for the solo soprano (here sung brilliantly by the leading treble), and the virtuoso string writing (delivered with youthful panache by New Century Baroque). These qualities give the New College performance an unusual lustre and presence. The Mass is coupled with Haydn's ever-popular motet Insanae et vanae curae.

The scoring used in this new recording is Haydn's original primary-coloured orchestration for strings and trumpets. This brings to the performance an arguably more characterful sound-world than when the woodwinds are employed (after the first edition by Breitkopf & Härtel). In addition, we source the solo voices from the Choir, making the vocal ensemble fully cohesive with the chorus. This makes complete sense for the alto, tenor and bass soloists, whose technical demands are no more exacting that the chorus parts. But it raises questions for the soprano solo part, written for a singer of a very different cut. Here, New College sticks to its belief in the capacity of boys (some boys at least) to measure up to the highest demands of vocal artistry. You won't find another recording which so fully celebrates the capacity of a boys' choir to scale this particular summit.

The motet Insanae et vanae curae, contemporary with the Mass, and occupying the same dramatic world, is sung as an Offertory motet. The scoring of the motet has been adapted to the scoring of the Mass: woodwinds have been excised and in their place the organ (as in the Nelson Mass) provides the figurations otherwise lost.

“This latest account...is less punchy, more liturgical than some, but scarcely less intent in purpose. Instead of the usual operatic soloist in the florid solo soprano passages, we have a remarkably secure and expressive boy treble in Jonty Ward, while the Choir of New College sing with all their usual focus.” (BBC Music Magazine)

“Many excellent recordings abound but none has such a particular drawing points as on the disc released here, which features the treble Jonty Ward singing the soprano solos. His tone is warm and even, with a hint of a 'continental' flavour. His tuning is spot-on throughout...this is a polished disc of great music and deserves to be widely heard.” (Gramophone Magazine)

Jonty Ward, treble
Hugh Cutting, alto
Nick Pritchard, tenor
Tom Edwards, bass
New College Choir Oxford
New Century Baroque
Edward Higginbottom, conductor

Recorded in St Michael's Church, Summertown, Oxford, July 2011

New College Choir
is one of the most celebrated and acclaimed choral groups of the UK. It comprises around thirty voices, including its famous boy choristers. It has been around since the late 14th century, when William of Wykeham set up a choral foundation within his ‘New’ College. Since then it has regularly sung chapel services, and continues to do so during the University terms (you can drop into Evensong any night of the week – bar Wednesday – and listen). What has changed rather more dramatically over the years is the Choir’s outreach: now its singing is heard the world over, through broadcasts (including regular webcasts of chapel services) and recordings. The Choir has also built up an enviable discography, numbering over one hundred CDs, presenting choral music from all corners of the repertory. Indeed, the range of music sung by the Choir is one of its defining features, making involvement in its work particularly rewarding for singers. It frequently tours, and in the last two years has visited the USA, France, Germany, Spain, Italy and Cyprus. From time to time, the Choir teams up with leading instrumental ensembles for live and recorded performances. The Choir has built up a timbre and style which are instantly recognizable, and in which the treble voices are a defining feature (listen to them on The Art of the Chorister).

New Century Baroque
Conceived during a highly successful year of touring throughout Europe, with the European Union Baroque Orchestra, the 27 members were driven by their enjoyment of playing together and the wonderful musical experiences they shared to create a new orchestra. NCB is made up of the new generation of period performers, from 11 different countries across Europe, bringing together a diversity of cultures, experiences and musical ideas. The result of which creates an ensemble with a very special sound, one of vitality and vibrancy.

NCB gave its very successful launch concert in May 2010 to a packed hall in Newbury and have since performed with soprano Gemma Bertagnolli in South Tirol and with harpsichordist Mahan Esfahani at the Piccola Accademia di Montisi, Italy. NCB’s recording of Haydn’s Nelson Mass with New College Choir, Oxford and Edward Higginbottom was released on the Novum Label in 2012. The group was selected as young ensemble in residence at the Centre Culturel D’Ambronay, France 2011 and gave its debut concert at the prestigious festival that year. In 2012, NCB was again invited to be Ensemble in Residence at Ambronay, and in 2013 released its recording of Mozart's Requiem and Clarinet Concerto for Ambronay Editions, with Leonardo García Alarcón, soloist Benjamin Dieltjens, and the Chamber Choir Namur. NCB also gave their debut performance in the 1st Valetta International Baroque festival, Malta in January 2013 to great critical acclaim.

Collectively the members have worked with some of Europe’s finest Baroque musicians and orchestras, in some of Europe’s most renowned venues and festivals. The group looks forward to continuing the musical journeys together, and to share our passion for Baroque music with audiences of all ages.

Edward Higginbottom
has been Director of Music at New College, Oxford since 1976. His early music training was primarily as an organist, and before he left school he had already gained his Fellowship of the Royal College of Organists, winning the Harding and Read prizes for the most outstanding candidate of the year. There followed a long association with Corpus Christi College, Cambridge, beginning with an organ scholarship (winning the John Stewart of Rannoch university prize in Sacred Music), continuing with graduate work and a doctoral thesis on French baroque music, and ending with a research fellowship (1973-76). From 1970 to 1972 he worked in Paris. His contact with French culture has born fruit in entries on French music for The New Grove Dictionary of Music, editions of Francois Couperin's chamber music, and activities related to French musical policy.

Since his appointment to New College, Edward Higginbottom has brought the Choir of New College into international relief. The Choir has toured extensively in most major European countries, and has also visited Brazil and Australia. It has become increasingly known for its performances of Renaissance and Baroque music, and these interests have shaped a very extensive discography (some 80 recordings), including many of music hitherto not recorded, for which Dr Higginbottom has been responsible for the new editions used (Gibbons, Mondonville, Italian composers of the early 17th century, etc.). Edward Higginbottom's work at Oxford also involves teaching in the Faculty of Music as a Lecturer.

He has also been active in advising the French Ministry of Culture on its policy of reintroducing choir schools in France, for which work he has been honoured with the decoration of `Commandeu de l'Ordre des Arts et des Lettres'. He has acted as jury president at various international music competitions and as consultant.

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