Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.
Bach's Six Brandenburg Concertos are essential and enduringly popular works in the Baroque orchestral repertory, full of interesting instrumentation choices and dancing melodies. Under the direction of prize-winning Bach specialist John Butt O.B.E., the ensemble has become particularly acclaimed for its inquisitive approach, shining new light into some of the best known pieces of the Baroque repertoire. Dunedin Consort, the team that brought you ‘John Passion', is back with its first instrumental release: ‘J.S. Bach: Six Brandenburg Concertos'. Under the direction of Bach specialist John Butt, Dunedin Consort demonstrates its collective experience and historical knowledge in an exceptionally insightful and fresh performance.
The Dunedin Consort’s recording of Bach’s Mass in B Minor revisits the spectacular individual virtuosity that made the Messiah recording so successful. This is the premiere recording of the work in the new Breitkopf edition, edited by Joshua Rifkin, a leading thinker in authentic period performance, who fully endorses John Butt’s interpretation. Bach’s Mass capitalizes on the very essence of the group’s skills: skilled virtuosic choral performance coupled with outstanding, characterful solo singing.
The Dunedin Consort presents the premiere recording of Mozart scholar David Black’s new 2013 edition of Süssmayr's completion of Mozart’s Requiem. In keeping with several other Dunedin projects, this provides the opportunity to re-imagine what this work may have sounded like at its very first performance. To this end, the recording will be the first not only to use this new edition, but also to present the work using forces close in style and scale to those at the first performances.
Beethoven called Mozart's Requiem "wild and terrible", and that's what we get in Harnoncourt's new recording. Ominous dread hangs from every note of the dark opening measures, the Rex tremendae and Confutatis are driven with terrifying strength, and the supplications of the Lacrimosa, with their weeping stabbings of the orchestra, are freighted with emotional power. The Tuba mirum duet of bass soloist and trombone has a beauty almost never achieved in other readings. Nor does Harnoncourt overstep the stylistic boundaries of this classical-era work; rather, the intensity is heightened for being in the idiom of its time.
The Mozart Requiem is one of the best-known sacred works in the classical repertoire. It was the composer's last work, and he left it unfinished at his death. British conductor Roger Norrington, a pioneer of authentic performing practice, and an outstanding group of singers present Duncan Druce's version of the Requiem, based on the latest Mozart research, together with other moving choral works.