A highly significant release which features a collaboration between The Wallace Collection and St Salvator’s Chapel Choir (University of St Andrews) in presenting Sigismund von Neukomm’s complete Requiem à la mémoire de Louis XVI highlighting his significant position in the evolution of choral music between Mozart, Haydn and Brahms.
Released on the Sanctiandree label of the University of St Andrews, the album celebrates brass and choral music from Sachse, Guilmant, Bellon and Sigismund von Neukomm, and welcomes guest soloist Ian Bousfield.
Works all performed on period brass instruments, as appropriate to achieve as closely as possible the sound world of the original compositions.
Performers:
- The Wallace Collection
- St Salvator’s Chapel Choir
- John Miller (solo keyed trumpet)
- Ian Bousfield (solo trombone [by Adolph Sax])
Playlist:
- Concertino in B-flat major for Trombone and Brass Ensemble
Ernst Sachse (1813-1870) – The Wallace Collection with Ian Bousfield (soloist) - Morceau Symphonique for Trombone and Brass Ensemble
Alexandre Guilmant (1837-1911) – The Wallace Collection with Ian Bousfield (soloist) - Quintette no. 12: III. Adagio ma sostenuto
Jean-Francois Bellon (1795-1869) – The Wallace Collection - Requiem à la mémoire de Louis XVI
Sigismund Von Neukomm (1778-1858) – The Wallace Collection and St. Salvator’s Chapel Choir
Including:- Vor dem Requiem – St Salvator’s Chapel Choir 0:45
- Requiem aeternam – St Salvator’s Chapel Choir 1:52
- Te decet hymnus – St Salvator’s Chapel Choir 1:16
- Requiem aeternam II – St Salvator’s Chapel Choir 0:47
- Kyrie eleison – St Salvator’s Chapel Choir 2:57
- Dies Irae – St Salvator’s Chapel Choir 1:40
- Tuba mirum – St Salvator’s Chapel Choir 0:45
- Mors stupebit – St Salvator’s Chapel Choir 0:58
- Liber scriptus – St Salvator’s Chapel Choir 1:10
- Iudex ergo – St Salvator’s Chapel Choir 0:43
- Quid sum miser – St Salvator’s Chapel Choir 1:02
- Rex tremendae – St Salvator’s Chapel Choir 1:01
- Quarens me – St Salvator’s Chapel Choir 1:00
- Ingemisco – St Salvator’s Chapel Choir 2:10
- Confutatis maledictis – St Salvator’s Chapel Choir 1:00
- Oro supplex – St Salvator’s Chapel Choir 2:02
- Offertorium – St Salvator’s Chapel Choir 1:50
- Canon circularis per tonos – St Salvator’s Chapel Choir 1:27
- Hostias – St Salvator’s Chapel Choir 1:16
- Quam olim Abrahae – St Salvator’s Chapel Choir 4:42
- Sanctus – St Salvator’s Chapel Choir 1:04
- Pleni sunt coeli – St Salvator’s Chapel Choir 0:58
- Nach dem Sanctus: während der Wandlung – The Wallace Collection 1:41
- Benedictus – St Salvator’s Chapel Choir 3:25
- Agnus Dei – St Salvator’s Chapel Choir 1:42
- Lux aeterna – St Salvator’s Chapel Choir 1:18
- Requiem aeternam III – St Salvator’s Chapel Choir 2:06
- Libera me – St Salvator’s Chapel Choir 0:55
- Tremens factus – St Salvator’s Chapel Choir 0:42
- Dies illa – St Salvator’s Chapel Choir 0:49
- Requiem aeternam IV – St Salvator’s Chapel Choir 0:27
- Libera me II – St Salvator’s Chapel Choir 1:12
- Offertorium II – St Salvator’s Chapel Choir 2:33
- Sed signifer – St Salvator’s Chapel Choir 2:10
- Zum Schlüsse – St Salvator’s Chapel Choir 2:26
Neukomm
Neukomm’s huge output of some 2000 works has been described as ‘transitional’ between the Classical and Romantic periods; composers who do not fit neatly into pre-ordained categories invariably offer listeners fresh perspectives and insights.
Neukomm’s Requiem in C minor was composed during the auspicious political circumstances of the Congress of Vienna, which signalled closure on more than two decades of warfare: the Napoleonic Wars following the French Revolution of 1789. The solemn occasion of the Requiem’s first performance was attended by many of the heads of state of Europe and their representatives.
For this symbolic occasion, Neukomm came up with the idea of supporting the double choir with organ and a brass octet of keyed trumpet, four hand-horns and three trombones, an innovation without precedent. He uses this ensemble sparingly, only unleashing it at moments of high drama, and, on a few occasions, using the softer range of dynamics to induce depth and inspire awe, presaging the use of brass in operatic music by later Romantic composers. This is highly effective, especially during pivotal moments at the beginning, middle and end, acting as pillars to the overall form of the work. In these interludes the brass ensemble is heard alone, firstly as a short prelude; then after the Sanctus where the brass interlude accompanies the communion ceremony; and finally concluding the Requiem with a Funeral March, seemingly transporting the soul of the Requiem’s subject heavenwards to its final resting place.
Neukomm’s Requiem is heard alongside brass works of the same era: a brass Quintette by Jean-François-Victor Bellon, a brass ensemble arrangement of fellow French composer Alexandre Guilmant’s Morceau Symphonique, and German composer Ernst Sachse’s Trombone Concertino. Amongst the unusual instruments featured are the serpent and the ophicleide. These are heard alongside the singers of St Salvator’s Chapel Choir of the University of St Andrews directed by Tom Wilkinson, and The Wallace Collection, comprising a group of period brass specialists brought together to showcase these remarkable instruments and directed by Anthony George.
The CD launch was marked by a prestigious concert at St Alfege Church, Greenwich, London on 2 July 2018. Read more about this launch event (including a short video which offers a snapshot of the evening’s programme).