Word: incarnatus
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...descended) in a motif that alternated between the orchestra and chorus. The forceful repetitions ended with a descending solo clarinet figure. This line, which was unfortunately marred by a bad note, fell, as if from the heavens, to the pure tones of the unaccompanied quartet intoning the "Et incarnatus..." The Credo ended on a lighter note with a playful fugue on the text of "Et vitam venturi saeculi," (and the life of the world to come.), inspired by Bach's similar usage in his Mass in b minor. Brewer and Clemont's capricious interplay, along with the matching figures...
...there were moments of great beauty. From the Incarnatus section to the final choruses, the performance gathered power and assurance. The Confiteor section provided outstanding examples of subtle, directional phrasing. The male solos were similarly convincing. Tenor Frank Hoffmeister and Bass David Evitts showed clearly why they are two of the busiest free-lancers around. They both posess a rich and confident tone, accurate intonation and the kind of innate musicality that makes satisfying performances a matter of course...
...coloratura soprano role in its first performance, this was Mozart's last Mass before the Requiem. Wolfgang Gönnenwein conducts the South German Madrigal Choir and Southwest German Chamber Orchestra in this spacious performance, with Edith Mathis exquisitely singing the eight-minute bel canto solo, Et Incarnatus...
...best bit of solo work with the one short phrase that makes up the bass part. No one could have any criticism, however, of Eleanor Davis' "Laudamusic," which was altogether competent. The soprano, Phyllis Curtin, had the most difficult role of all, particularly in the jumps of the "Et incarnatus est." Though she had many exquisite tones, she showed a slight unwillingness to land decisively on a note and sustain it. Tenor Summer Crockett was inaudible at times during his soles and his voles unpleasantly constrained...