Biber

Missa Christi resurgentisa. Sonatae tam aris quam aulis servientes — Fanfare No I;

Fanfare No 4. 12 Sonatas, Tidicinium sacroprofanum' — I; HI; V; 'VII; XI. Sonata a 6.

JH Schmelzer 13 Sonatas, `Sacro-profanus concentus musicus' — aChoir of The English Consort;

The English Concert / Andrew Manze Harmonia Mundi HMU90 7397 (78' • DDD) Biber

Missa Christi resurgentis. Mystery Sonatas — The Resurrectiona

New York Collegium / Andrew Parrott with aIngrid Matthews vn aEric Milnes org Kleos Classics KL5135 (74' • DDD/13513 • T/t)

Two enjoyable approaches to a longforgotten antiphonal Mass by Biber

The Missa Christi resurgentis seems to have lain in obscurity for centuries, known about but otherwise ignored, until brought to life by James Clements and published by A-R Editions in the US. The New York Collegium gave the first modern performance in 2003 and The English Concert followed a year later with the European premiere. The recordings differ in the way the music is presented: both are very welcome.

After perhaps descending to the crypt to sneer at the tomb of Prince-Archbishop Hieronymus Colloredo, Mozart's employer, the visitor to the Baroque cathedral of Salzburg cannot fail to be impressed by the interior with its four galleries. Biber, who had joined the service of the Archbishop Maximilian Gandolph in 1670, made full use of the cathedral's spatial opportunities: two four-part choirs are complemented by string and brass groups used, like Venetian con spezzati, both antiphonally and in combination.

The Mass was probably written for Easter 1674. It begins with a sonata, the strings answering the brass. Andrew Manze takes it straight; while Andrew Parrott, by slurring the second and third notes, adds an appealing rakishness to the phrase. 'Christe eleison' sees the first of several appearances by three basses, a difficult ensemble to balance. The Americans, with a light first bass, make it sound quite airy. The English Concert, at a slower speed and a lower pitch, tend to growl away in their boots. The 'Et exspecto' section of the Credo finds Manze's sopranos singing high with a real sense of awe.

In general, the singing of the Choir of The English Concert is the more accomplished: some of the solo work in Parrott's choir sounds tentative and the boy alto causes moments of unease for the listener. The orchestral playing is first-rate on both recordings.

Which to choose must depend on the supplementary pieces. Manze includes five sonatas for strings. The tonal palette is limited, as is usual for the time, to the home key with occasional excursions to the relative major or minor. The first movement of the Sonata a 6 for trumpet and strings reappears on the American disc. Here, however, the context is that of an actual service. It starts with an alternatim setting of the introit Resurrexi by Johann Stadlmayr and includes, as well as the chanting of the epistle and gospel, organ pieces by Kerll and Poglietti. There are also two string sonatas from the Sonatae tam ans collection, one of which includes a fugue theme that anticipates the Allegro of Handel's Concerto grosso, Op 3 No 2. Having been rather bored recently by Biber's Requiem in F minor, I'm glad to say that I greatly enjoyed these recordings.

Richard Lawrence