Related Reviews
BBC Radio 3 'In Tune'
'The Dunedin Consort has made a huge impact with a small group of singers...[they] make a very strong case.'
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Audiophile.no
'a world-class performance'
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Pizzicato
Supersonic Award: 'This is without any doubt one of the best recordings ever made of this work...'
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HighResMac
'beautiful and surprising facets' / 'schöne und überraschende Facetten'
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International Record Review
'Butt directs an at once powerful and attractively nuanced performance of the Requiem.'
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AudioStream
'Download of the Week': 'The sound of this recording is first rate.'
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Choir & Organ
5 Stars
'Beautifully paced and using period instruments in a chamber-like recording, the classical brass and woodwind create just the right ambience and drama when needed.'
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Radio Klara
5 Stars
One of Flemish Radio Klara's 'Top 10' picks
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Hi-Fi News
'Album Choice': 'Butt’s direction is akin to cleaning an old painting, the colours emerging with a new vividness. An important realisation of a well-loved work.'
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The Irish Times
5 Stars
'The performance is sinewy and expressive, lit as from within, and captures the contrapuntal writing in a way that can only be called pristine.'
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RP Online
'The most beautiful Mozart "Requiem"...'
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Classical Candor
'Among the segments that stood out for me were the "Dies Irae" for its menacing spirit; the "Tuba Mirum," "Recordare," and "Lux Aeterna" for their sweet freshness; and the "Lacrimosa" for its earnest bearing.'
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The Sunday Times
'Butt gets drama aplenty...'
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The Telegraph
4 Stars
'The consort of 16 singers and an orchestra of historically aware punch and pungency bring to the music not only a vibrant clarity but also a dramatic intensity in such apocalyptic portions of the Mass...'
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Gramophone
Recording of the Month: '...one of the finest Mozart Requiems...'
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The Times
4 Stars
'It’s as though a veil has been lifted...And in the Dunedin Consort’s hands, almost every note, whoever wrote it, thrills, warms, and enchants.'
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Big Issue
'It’s a performance that reels you in and never lets you go.'
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Sinfini Music
4 Stars
'Linn’s up-close recording balance captures the dramatic focus and fiery energy generated by the Dunedin Consort.'
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AllAboutJazz.com
'The results are overwhelming.'
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NJ.com
'John Butt leads a performance that brings out the intricate orchestral writing that underpins the vocal lines.'
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BBC Music Magazine
5 Stars
'[Butt's] measured approach brings out the starkness and solemnity of Mozart’s setting, while the recording highlights its distinctive colours in a near ideal ecclesiastical acoustic.'
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Le Parnasse Musical
4 Stars
'Prise de son extraordinaire, l'une des meilleures de tout le catalogue discographique.'
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SA-CD.net
5 Stars
'There is no doubt that this issue is thought-provoking in its scholarship, exciting in its spontaneous and assured musicianship...'
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Music and Words
'Disc of the Day': 'The Lacrimosa is especially beautiful, the choir's soft entries touchingly dramatic.'
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The Guardian
4 Stars
'There's a real energy, with tremendous climaxes...'
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AllMusic.com
4½ Stars
'Linn offers extraordinarily clear and spacious sound, and the sharpness of the playing comes across in the mix without any loss of the wonderful acoustic resonance.'
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MusicWeb International
'...endlessly fascinating...Overall it is an essential addition to any collection of Mozart's choral music.'
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Retford Times
'stunning'
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Voix des Arts
'Maestro Butt and Dunedin Consort approach the score with the refinement of chamber players, and the resulting fusion of grandeur with intimacy serves the music ideally.’
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Surrey Mirror
‘…it’s well nigh impeccable, with director John Butt marshalling his resources superbly to create a richly detailed rendition of this much loved work.’
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Audiophile.no
‘…a world-class performance…’
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BachTrack.com
4 Stars
‘…magical performance…’
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The Guardian
'The Requiem had plenty of Dunedin hallmarks: crystal-clear counterpoint in the Lux Aeterna, pure vocal lines in the Lacrimosa, ferocious drive in the Dies Irae.'
more >>

Dunedin Consort - Mozart: Requiem - Crescendo


14 July 2014
Crescendo
Marie-Sophie Mosnier

John Butt propose la version de la première représentation du Requiem de Mozart, inachevé par le compositeur et terminé par son élève Süssmayer. Véritable testament musical, Mozart laisse au monde de la fin du 18e siècle un chef-d'œuvre du genre de la messe de Requiem, synthétisant le style fugué des maîtres baroques à la « forme sonate » typique du classicisme viennois. Un chef-d'œuvre absolu dont il existe de nombreuses versions discographiques. Cette version-ci surprend agréablement l'auditeur averti comme le mélomane néophyte, par sa rectitude interprétative. Dès les premières notes, le drame du registre de la messe de Requiem est intensément présent, sans jamais glisser dans une grande emphase ou une véhémence préromantique. La tenue de l'écriture fuguée du Kyrie par exemple, nous dévoile de la part des musiciens un goût de la mesure. Les solistes pénètrent d'emblée dans l'esprit insufflé par John Butt, celui d'une intériorisation du drame révélé par la messe de Requiem, sans perdre à aucun moment la quintessence sombre et funèbre. Il en va de même pour le chœur, très unifié dans son équilibre des différents pupitres, perceptibles à égale valeur, sans aucune prédominance d'un pupitre sur un autre. Parmi les nombreuses versions existantes, celle-ci témoigne d'une réflexion mûrie, répondant aux questions de style comme de goût, ne s'éloignant aucunement de l'esprit mozartien des dernières années du compositeur. Une version qui mérite d'être connue et justement appréciée.

Son 9 - Livret 6 - Répertoire 10 - Interprétation 9


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