Bernstein in Haydn is always compelling. I seem to remember that no less an authority than H. C. Robbins Landon once nominated him as the finest Haydn condutor today, and his rhythmic flair and feeling for dramatic contrast—qualities which are certainly called for in this late Mass—are consistently evident here. Though this is far preferable to Bernstein's earlier recording for CBS—made live at a peace demonstration in Washington (73147, 3/74—nla)—it has some of the same flaws of unpredictability and inappropriateness of scale, and sadly can be recommended only with severe reservations. So the very opening of the Kyrie—like the slow introduction to a Haydn symphony first movement—brings muffled, recessed choral sound, which yet suggests an inflated scale. When Judith Blegen enters with her Allegro, Bernstein lightens the mood wonderfully to dancing rhythms which yet sound symphonic. But then the long cello solo before the bass's ''Qui tollis'', sails dangerously close to the over-romantic wind, only to sink completely, when the bass enters, and I am astounded when he is named as John Shirley-Quirk, for the coarse, dark sound of this singer, often under the note, is quite unlike that singer's refined tones.
In the choral tuttis ensemble is not good, and comparison with the St John's College, Cambridge version under George Guest (Argo) is fascinating, for there the 1970 sound is far clearer on detail, thanks to the engineers as well as the apt, smallish scale. It is striking that lively as Bernstein is, Guest matches him in resilience of rhythm, and avoids the rhythmic stodginess which Bernstein inconsistently allows in the slow opening of the Sanctus. Shirley-Quirk apart, the soloists are first rate, but with its extra bonus of Michael Haydn's Ave regina the Argo record is still clearly preferable.'