ハウエルズ: ミサ・サブリネンシス

Herbert Howells Missa Sabrinensis (Severn Mass) of 1954 is a gigantic work, and performances have been scarce, which is partly because the payroll for the work is so large; it involves hundreds of singers and musicians. Beyond that, the music represents an aesthetic that fell out of fashion and hasnt quite made it back, despite the fall of the modernist tyranny. Its world premiere recording came in 1995, from none of other than Gennady Rozhdestvensky, with the London Symphony and Chorus, and this 2020 release by the Bach Choir under David Hill seems to be its second. One can understand why the work, with its great waves of sound and its soaring solo parts, appealed to the famous Russian conductor, and his recording is a vital if somewhat offbeat part of his legacy, but Hill and the Bach Choir may be a bit closer to the spirit of the music. Its the choir that really strikes the listener here. Despite its name, the venerable Bach Choir has been mostly a vehicle for large British pieces that were originally performed at big choral festivals, and Howells mass fits the groups talents as few other works could. The massive dimensions of the work suggest what might have happened if Wagner had somehow moved to England, lived into the 20th century, and developed an appreciation for Vaughan Williams. The interplay of choir and soloists leads to an almost mystical, Star Trek-like atmosphere at times, while other passages demand that the choristers hit high C and not flinch. They do so. The soloists here are likewise impressive, with only baritone Roderick Williams a familiar figure, and he, with his medium-sized lieder voice, is not even the best of them. Soprano Helena Dix is, from the evidence here, a major new figure, and one hopes to hear here in operatic repertory soon. Those immersed in the minimalist aesthetic of the present day may not find this their cup of tea, but its unlikely that theyll ever hear a better case made for the music.