The Masses in C, K317 and 337, which date from 1779 and 1780 respectively, are the last of Mozart's 15 Salzburg Masses, ten of which are in this key. Both are short (26 minutes and 23 minutes, respectively), in compliance with the Archbishop of Salzburg's rule that no Mass, including the Epistle Sonata and the Offertory or Motet, should last longer than three quarters of an hour. The earlier of the two, K317, is well known (perhaps because it has a convenient nickname, probably referring to its use at an annual service held since 1751 in commemoration of the miraculous crowning of an image of the Virgin in the pilgrimage church of Maria-Plain near Salzburg) and has been recorded many times, whereas K337 is virtually unknown, though musically no less interesting.
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At times quite sprightly, at other times ponderous not least in its treatment of dotting and though played with the professional efficiency one expects of the ECO, this recording fell short of medal-ranking when it was first issued. During the intervening 16 years even middle-of-the-road performances of the Music for the Royal Fireworks have become more attentive to scholarship and there are now several excellent recordings of the kind available (not to mention others on period instruments) on CD.
The performance of Radamisto is notable for an array of vocal talent headed by Janet Baker. Every name is familiar and admired. The ECO was a vibrant presence in the Handel operatic and oratorio market at this time and Norrington at the helm ensures that period practices are helpfully integrated into the fabric of a modern instrument performance – recitatives for instance, once the bane of some 1960s and 70s performances, move fluidly and intelligently, highly responsive to textual meaning and dramatic implications. Note Act I’s Reina, infausto avviso when Tigrane and Polissena’s recitative embodies fine pacing, telling rubato, and appropriately coloured accompaniment. Some cuts though were clearly necessary to accommodate the length of the production.