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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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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Musical Toronto
'A boisterous Haydn Lord Nelson Mass from Boston Baroque...a sparkling performance.'
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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 - The Arts Desk


08 March 2014
The Arts Desk
Graham Rickson

In a week bristling with geo-political tension, we need Haydn's "Mass for Troubled Times" more than ever. Here, Boston Baroque's natural trumpets blast out their tattoo in the Kyrie with a punch matched by that of the choir. Such a magnificent opening - the boldness due in part to Prince Esterházy's economically-driven downsizing of Haydn's orchestral forces. Woodwinds and horns had been dismissed, and trumpets and timpani were used instead to supplement the ripieno strings. Martin Pearlman's swift speeds are perfectly judged, and this performance ticks all the right boxes. Sample the moment a minute into into Haydn's Gloria in excelsis Deo, when the solo quartet step aside to let Pearlman's massed choral forces ring out. It's as rousing as anything in Mahler 8. Pearlman's excellent soloists work hard, and he captures the mood changes as well as anyone. 
 
We get the Symphony no 102 as a welcome bonus. Pearlman's full-blooded approach works well, though the resonant acoustic can make for oppressive listening in the louder tuttis. Muted brass in Haydn's Adagio add their colour, and the Presto finale zips along, almost derailling to comic effect in the final 30 seconds. Two masterpieces on a well-produced disc - brilliant music, performed with style.


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