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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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 - Words and Music


13 November 2013
Words and Music
Rick Jones

Ahem. Attention please. The Bostonians celebrate mass with pomp, solemnity and Haydn. The composer in 1798 was nervous about what the future might hold with Napoleon on the rampage. The mass is titled Mass in the Time of Anguish. The period specialists pump out the drama efficiently, not lingering over the echo, but firing volleys from the timps and trumpets and retiring. The work has another nickname: The Nelson Mass because the British admiral had just defeated the French Emperor. Hurrah! The work unfolds now anxiously, now triumphantly, the contrast epitomised in the Sanctus where timid utterances of 'Holy' give way to an uproarious Osanna. The soloists lead boldly, soprano Wilson pleading for mercy in pearly melismas, mezzo Fischer with motherly warmth, tenor Jameson with uncharacteristic bashfulness and bass Deas with with a cannon's roar. Conductor Pearlman delivers the entire supplication in record time, allowing the Bostonian sopranos to let rip in the Gloria, urging the pace in the sluggish Benedictus. The insistent chiming motif of the Agnus dei soothes by repetition and tolls as if for the dead. There's even time for a symphony at the end. The fashionably old-fashioned instruments play No102, infusing it with a sense of relief that a) Napoleon failed and b) the falling chandelier killed no one when it crashed down during the symphony's finale. The disc makes an impact, with its comforting mass and cheerful symphony. 
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