Sigismund Neukomm (1778-1858) studied for seven years with Haydn in Vienna. From 1809 he was based in Paris, albeit with frequent tours to other climes (Italy, England, North Africa). One of his most adventurous trips was a four-year stay in Rio de Janeiro, during a brief period when the imperial court of King John VI of Portugal was based in Brazil. Neukomm’s elaborate Missa solemnis (1818) acclaimed the Portuguese sovereign’s formal accession to the throne. Jonathan Gunthorpe, clarinets and horns combine to charming effect in a rondò-like setting of ‘Laudamus te’, whereas ‘Adoramus te’ exploits the poignant juxtaposition of unaccompanied solo voice ensemble against the full a cappella choir. ‘Domine Deus’ is an extensive aria sung ardently by Daniel Auchincloss that culminates with a rousing Haydnesque chorus. ‘Qui tollis’ makes solemn use of solo trombone, low strings and choral tenors and basses. The ‘Credo’ is a grand chorus that runs the gamut from jubilant brassy choral sections to woodwind-adorned passages for the soloists that would not be out of place in Mozart’s da Ponte operas; the unexpected introduction of a plaintive cor anglais and then thrilling rasps of brass-laden chords in ‘Crucifixus’ has more than a whiff to it of the Commendatore scene. The Namur Chamber Choir sing with precision and textural responsiveness, and the orchestral playing is convivial and unforced. This half of the offering is highly recommended.

Neukomm’s sombre Requiem (Paris, 1838) is set entirely for double choir (much of it male voices only) and accompanied by eight brass instruments (including ophicleide) and organ. The combined singers of Cantaréunion and Ensemble Vocal de l’Océan Indien are woolly around the edges, which makes proceedings uneven and disappointing. Nevertheless, the constituent Missa pro defunctis, Miserere and Funeral March (the latter played sublimely) demonstrate Neukomm’s fluency when working in an utterly different style from the Brazilian Missa solemnis. Both performances are live recordings made in 2008, originally released separately by K617. Their collective reissue is an admirable testament to the late Jean-Claude Malgoire’s inquisitive creativity with his pioneering period band La Grande Écurie et la Chambre du Roy. Listeners keen to explore further might want to investigate Malgoire’s live Versailles recording of Neukomm’s Requiem à la mémoire de Louis XVI (Alpha, 2017).