Berlioz Requiem

Reviews and comments

Adrian Horn''s new edition of the Berlioz Requiem was one of the most fortunate discoveries of my 40 years in choral music. A wizened colleague had already sent me a sly email -- "What''re you going to do with your altos?" -- when I started into the laborious chore of marking a score with arrows, squiggles and "colla" signs. When the Horn edition emerged, I eyed it suspiciously at first. On what grounds was he an expert; why should I trust his choices? Close inspection showed a conscientious and principled approach, and so I got to know more about Horn and his long history with the piece. He started his singing career in a performance under Robert Shaw, and has been associated with more performances of this still-rare work than anybody I''ve known, short of Mr. Shaw! It was ultimately an elegant solution to a notoriously messy problem. The sound that resulted was excellent, and best of all, my altos always knew what line they were to read; I was spared the surliness of singers who are confused by makeshift changes in the score; I could concentrate on the sound of the music. That sound, I believe, was very close to what Berlioz had in mind.David Chase, La Jolla Symphony and Chorus

For accompanists in particular, Adrian Horn''s edition is a quantum leap forward: legibility, musicality, clarity, and common sense abound. It is a thing of beauty, makes rehearsals and score-marking infinitely easier, and everyone should burn those wretched previous editions. Vicki Heins-Shaw, Accompanist, La Jolla Symphony Chorus

This edition is a welcome gift to choruses around the world. The reality is that choruses today are facing generational challenges and changing interests which have greatly affected membership. Therefore the music director is left with the hard decision of whether or not such great repertoire should be available to their singers and audiences. Though Berlioz obviously had a specific timbre in mind by not originally including altos, many composers are far more flexible than we are led to believe. I think if he were given the choice of having his great masterpiece languish in obscurity or enjoy greater appreciation from future generations, he would choose the latter... especially when approached in such a respectful and faithful way.Jung-Ho Pak, Cape Symphony

Adrian Horn''s new edition of Berlioz''s "Requiem" is a modification whose time has come. In a period when there are many more women than men singing choral music, his edition makes performing the "Requiem" possible by reassigning the existing voice parts, using S1/S2/A1 on top for the Soprano parts and distributes the A2''s to the top of the split Tenor parts. This allocation permits the male tenors to sing strongly in the core of the sound and allows the A2''s to float on the top of that clear texture. The edition also makes it possible for more regional and community ensembles to perform this landmark of the choral-orchestral repertoire. Dr. Lynne Morrow, Music Director, Oakland Symphony Chorus, Director, Vocal and Opera Theater Programs, Sonoma State University

"I''m surprised that no one has done it before."
William Weinert, Director of Choral Activities, Eastman School of Music