Putting a title like `Worlds Greatest' on the front of a CD is obviously a bold claim, and one which many people have become so familiar with that they tend to take it with a pinch of salt. There are so many ways of trying to catch the buyers interest that very few titles like these really jump out at the buyer.
This one did jump out at me, though not so much for the choice of tracks, more for the quality of artists who perform them. Considering this is only a 2CD set, far too short for any Mozart compilation, the list of performers reads like a roll call for the best `Last Night of the Proms' ever staged.
A simple list of some of the orchestras, conductors, singers and soloists sums up this gem of an album: ... Read More:
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This recording was my first: it was so perfect that I had to buy more and hear more, so I owe a lot to this. I suppose I also owe a lot to the Honda advert that introduced me to it...
It is an astonishing text, and the variety of movements created by Pergolesi are beautifully crafted in performance here. Kirkby and Bowman, carefully supported by the Academy of Ancient Music, wring out the very emotional core of the music. The image of the Virgin at the bottom of the Cross could not be made more real, and the anguish, torment and pain born by the mother are truly brought to life.
Brilliant performance, gripping, double-dotted strings give a real edge to Rex Tremendae, while Kirkby and Watkinson's pure sound blend wonderfully with the fruity Knabenchor sound of Westminster Cathedral. The 'authentic' instruments really make this recording stand out, from the military-sounding timpani to the warm tones of the brass chords in the Tuba mirum. The inclusion of the Amen chorus is a controversial choice, and will probably offend some, but to my ears this sounds entirely in place - simultaneously plaintive and infused with Todesangst. This is a brilliant attempt to peel back the Süssmayr's modifications and get back to Mozart's original intentions. Dropping in Mozart's Amen chorus is a daring and explicit break with previous interpretations ... Read More:
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These are the sacred works of Handel from his first Italian stay, and include, Nisi Dominus, Dixit Dominus, Laudate Pueri, the Salve Regina and the Carmelite works. With the exception of minor imperfections in the Latin pronounciation of several of the singers, this is a wonderful recording. It is constructed so that the works of Handel are fitted into a Vesper Service with antiphonies and the Handel works in the position of the psalm. Therefore it is conceived as a Vesper Service overall. I think that for several of the individual works included here, particularly Laudate Pueri, and Dixit Dominus there are better recordings e.g. for Laudate Pueri, Nisi Dominus (see: Harmonia Mundi Musique d'abord collection) and for Dixit Dominus (see: Balthasar-Neuman ... Read More:
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This record is one of the best early music cds available, or perhaps it IS the very best, despite being over 20 years old. The musicianship, singing and recording are all wonderful, and the sound is so good, your living room will be transformed into a Gothic chapel.
Unfortunately, this disc should come with a musical financial health warning, as newcomers to early music will probably find themselves shelling out for more and more of Emma Kirkby and Gothic Voices' recordings. And that's just the beginning: you'll develop a need for ever more obscure ensembles and composers for the rest of their lives. However, before you remortgage the house to buy similar music on full-price labels like ECM and so on, try the Jeremy Summerly discs on Naxos. They are ... Read More:
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Superb, majestic. Absolutely worth the money. Latin to English translation of the titles is included If you are considering buying it then think no more - just do it.
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Emma Kirkby's voice is stunningly beautiful - you could be forgiven for thinking you are indeed listening to the voice of an angel especially when listening to Exsultate Jubilate. Highly recommended
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The first thing to say is that whatever you think of these performances, be careful what you pay for a disc amounting to only 41 minutes of music. I find one of the works much more successful than the other, and I actually suspect that the composer may have as much to do with that as do the performers. The Magnificat (here in its more familiar D major version) simply does not strike me as being equal in inspiration to the best of the cantatas, such as no 51, and to whatever extent this may be a valid view the recording (certainly) and the performance (possibly) conspire to reinforce it.
You may experience a slight problem in setting the best volume-level for the Magnificat. The setting that suits the arias best may make the opening chorus uncomfortably loud, ... Read More:
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Masses played here are beautiful scores.Preston gives a bright and alert performance.Christ Church Cathedral sings with freshness and vigor.It is what this music needs.By contrast,soloists have a refined approach.The Academy of Ancient Music reachs top level.The sound (acoustic of the recording location and engineer's work)is perfect.
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It really depends on what you want from a Messiah as to what you want hear on a recording. If you like huge choirs of men and women and large orchestras with woodwind, then avoid this recording as it is not your style! However, if you like period instruments, this is a natural choice. The overall sound is sharper and more austere than many recordings, but this is also partly due to its origins.
This is the 1754 version for the Foundling Hospital, when 4 or 6 trebles and 13 men from the Chapel Royal were used as the choir; and two soparanos, an alto, tenor and bass performed the solos. This authentic, documented arrangement is quite different from many modern performances, which also omit half a dozen or so arias and recitatives that are recorded here (including ... Read More:
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