The Credo opens with the Credo in unum Deum, a pulsating and moderately
paced choral piece. The pulsating rhythm, pacing, and vocal effectiveness
are the keys to this music. Seven of the versions do fairly well including
Rifkin's one-voice per part approach which increases the incisiveness of
the words. Pearlman is too fast without any offsetting benefits. The best
performance is Parrott's which is also one-voice per part and has the flow
and pulsating rhythm right on target.
The second part of the Credo is another choral piece, Patrem omnipotentum,
which is faster paced and more upbeat than the previous one. All the
versions are very good. Bruggen's is the fastest and does best with the
climaxes and intrumental contributions. Rifkin provides the slowest pace
and is somewhat restrained in power; however, his singers are excellent and
the whole is just as incisive as the other versions.
The third part of the Credo, Et in unum Dominum, is a ravishing aria
for soprano and alto which possesses significant elelments of serenity,
continuous momentum, joy, and robustness. I am very impressed with all
the performances. Four (King, Herreweghe, Leonhardt, Hickox) are rather
slow with a little loss of robustnness; King's boy sopranos are very good.
Bruggen provides a moderate pace and good but not outstanding vocalism.
Four versions are outstanding. Parrott's is moderately paced and
features the excellent Emma Kirby and a boy soprano who blend beautifully.
Rifkin's, also moderately paced, has a great soprano in Judith Nelson and
superb instrumental work. Gardiner's has a fast timing which is fine and
a superb duo of soprano Patrizia Kwella and mezzo-soprano Mary Nichols.
Pearlman speeds along with the captivating soprano Nicole Heaston. This
piece is one where I definitely feel that faster is better than slower.
"Donald Satz" <[log in to unmask]>