The tracklist blurb for this British release allows that Heinrich Schütz "would never have heard his music performed by forces such as these and on such a scale," but claims that "surely he would have been a strong advocate of this astounding aural experience." That's the kind of thing copywriters get paid for, but Schütz more likely would have been mystified by this aural experience. The National Youth Choir of Great Britain has 140 voices, for one thing, and the group has a uniquely lush, lyrical sound forged in the ...
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The tracklist blurb for this British release allows that Heinrich Schütz "would never have heard his music performed by forces such as these and on such a scale," but claims that "surely he would have been a strong advocate of this astounding aural experience." That's the kind of thing copywriters get paid for, but Schütz more likely would have been mystified by this aural experience. The National Youth Choir of Great Britain has 140 voices, for one thing, and the group has a uniquely lush, lyrical sound forged in the recordings of contemporary music that have been their stock-in-trade. There is no instrumental accompaniment, and pieces from various publications and of various functions are put together in mix-and-match groups of two or three pieces, interspersed with organ music by Schütz's contemporaries (none of Schütz's own having survived). The whole thing is so different from a historically oriented performance of Schütz, or even the few performances by mainstream choirs, that it becomes...
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