Mozart’s sacred music poses some weighty questions: does the music glorify or illustrate the mass? How does it differ from its operatic counterpart? Did Mozart demonstrate a catholic sensibility or theatrical genius? 

Sandy Chenery with the Corelli Ensemble, Esterhazy Choir and soloists performed Vesperae Solennes de Dominica (K321) some early church sonatas and the Requiem (K626) in the secular setting of Lewes Town Hall and gave an outstanding account of the "very many notes" indeed, as Joseph ll would have it. 

Controlling the canons in the Requiem Kyrie or the fugal entries in Domine Jesu was finely achieved. Smaller forces than usual lent a translucent quality and subtle shading throughout: Salve Me and Voca me were sublime.

Michelle Walton, soprano, lent flexible power and operatic fireworks, Leigh Woolf’s clear sweet mezzo and the strong tenor of Daniel Auchinloss were both ideally suited to baroque counterpoint and the excellent baritone Mark Stone landed squarely on the lower leaps required for Tuba Mirum.

Originally formed from two string quartets, the sensitive and expressive Corelli were augmented for K626 by wind players which gave the trombones moments of great glory. Sacred flame or secular drama? Both - the Requiem remains transcendent.