Similar as the above two headings may look, there are two different versions here of the Requiem, Corboz adopting the finely-scored orchestral setting—I must ask MEO how he can possibly think it Respighian—and Best favouring the composer's compromise version (with strings, harp and trumpets) between that and plain organ accompaniment. The combination of chamber ensemble with solo organ lines (not entirely convincing, to my ear) makes for some problems of balance—there is a lack of bass in parts of the Domine Jesu Christe, the trumpets' plainchant is over-loud in the Kyrie, and the first ''Hosanna'' in the Sanctus is inaudible; but for the performance itself I have nothing but praise, soloists, chorus, orchestra and organ are all first class, and Best shapes the work expressively and sensitively.
In the Corboz performance, for all its virtues, there seems less punctiliousness and overal commitment: the chorus (a good one) is too distantly placed and its words are less than distinct, Jose van Dam is allowed to sing his ''Tremens factus sum'' forte instead of piano, as marked, and although Berganza brings intensity to the Pie Jesu, it is at the expense of the length of phrase which Ann Murray spins so steadily. In the Four Motets, too, there is a more casual approach in the Erato recording—particularly in Ubi caritas, which is taken at nothing like the marked Andante sostenuto; and the introductory Gregorian chants are not included. Here the Corydon Singers offer more expressive singing, with a wider dynamic range and far clearer words, and are better focused, than the Audite Nova ensemble, whose one advantage is its French tone-quality.'