Related Reviews
Boston Globe
'Pearlman’s soloists — soprano Mary Wilson, mezzo-soprano Abigail Fischer, tenor Keith Jameson, and bass-baritone Kevin Deas — are an appropriately anguished quartet, and the performance as a whole is a fervent one…'
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The Arts Desk
‘Two masterpieces on a well-produced disc - brilliant music, performed with style.’
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Audiophilia
Recommended New Release: 'The performance of both works has the sprightliness, transparency and precision of line that typically result when baroque specialists play classical-era repertoire; I also love the recording, which adds a touch of warmth…’
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Choir & Organ
4 Stars
‘…a vigorously lively performance…under the exacting leadership of Martin Pearlman.’
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Chorzeit
4 Stars
‘…präsentieren nun Chor und Orchester von Boston Baroque das eigenwillige Werk und machen erneut unmissverständlich klar, dass es für diese Literatur keine Alternative zu alten Instrumenten gibt…’
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The Whole Note
‘Boston Baroque certainly captures the character of those times, deftly alternating huge dynamic ranges that switch from jubilant and boisterous celebration to reflective and prayerful gratitude.’
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International Record Review
'...superbly rendered...vibrant, idiomatic and fluent...'
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Crescendo
‘…ce disque est principalement dominé par une bonne humeur indétrônable. En effet, la jovialité sonore s’entend très distinctement comme elle se devine chez les musiciens heureux à leur instrument.’
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Audiophile Audition
5 Stars
'...a wonderful release...can't be recommended highly enough.'
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New York Times
'...rhythmic verve and intensity. A fine quartet of soloists...'
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BBC Music Magazine
'...a vigorous, well paced reading of Haydn's fieriest Mass...'
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Infodad.com
'...how lively and alive that rediscovery has been - and with how much power and wonder...'
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AllMusic.com
‘...precise work on historical instruments, and for clean, bright approach free from mannerism.’
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News Observer
'An engaging Haydn... a vivid, incisive account of this uplifting music.'
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The Obersver
'a unique setting, freshly captured...'
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The Sunday Times
'The orchestra, in both the Mass and the symphony, play with a justified delight in this life-affirming music.'
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Words and Music
Disc of the Day: ‘The disc makes an impact, with its comforting mass and cheerful symphony.’
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Classics Today
'...the big moments in the Gloria and Credo come off so effectively.'
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Boston Baroque - Haydn: Lord Nelson Mass - Musical Toronto


10 November 2013
Musical Toronto
John Terauds

Not as popular as The Creation, Joseph Haydn's Lord Nelson Mass - real title: Missa in angustiis (Mass of a Time of Anxiety) is no less thrilling, especially when presented with the verve of Boston Baroque under artistic director Martin Pearlman.
It's safe to say that we're on the cusp of a new golden age of recording, thanks to the dozens of in-house labels that are sprouting up everywhere, giving local performers a fighting chance for the ears of fans normally lured by big-label releases. And this is a fine example of the phenomenon.

Although not perfect (thanks to an occasionally ragged choir), the Bostoners' interpretation of this Haydn mass is full of fire as well as subtlety. The music is alive, as in a live performance, rather than clinically perfected in an editing booth.
Pearlman chose Haydn's original orchestral and vocal scores, which are a bit different from the one most people who know this piece are familiar with. The biggest difference is having an organ amidst the instruments, and not having any woodwinds (there was some cost-cutting at the Esterhazy household in the day, and the prince had let all of the woodwind players go, leaving Haydn with strings and brass).

Because we're hearing period instruments here, the balance between brass and strings works nicely. The bursts of brass throughout underline nicely the don't-worry-be-happy side of this music.

Included on the disc is a sparkling performance of Haydn's Symphony No. 102 - the real 'Miracle' symphony, premiered in London by Haydn in 1794.
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