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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Crescendo
'Une version qui mérite d’être connue et justement appréciée.'
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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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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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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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Le Parnasse Musical
4 Stars
'Prise de son extraordinaire, l'une des meilleures de tout le catalogue discographique.'
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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.'
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Dunedin Consort - Mozart: Requiem - The Telegraph


02 May 2014
The Telegraph
Geoffrey Norris
4 Stars

Many years ago - probably in 1967 or 1968 - I sang in the choir for an "authentic" performance of Mozart's Requiem that finished after the eighth bar of the "Lacrimosa". It was here, so the reasoning went, that Mozart had laid down his pen, and, although it meant ending in mid-air, it was felt that a poignant point had been made. The extent of Franz Süssmayr's involvement in the completion of the Requiem after Mozart's death in 1791 has been the subject of research. Some musicologists have opted to bypass Süssmayr, or at least to treat him with circumspection, in creating new performing editions, but this recording reverts to the Süssmayr version in which the Requiem was first performed in 1793, using the recent scholarly edition by David Black.

The Dunedin Consort's credentials in bringing fresh insights and impetus to key works of the choral repertoire have been well established in previous Linn recordings of Bach's Passions and of works by Handel, and this new release of the Mozart Requiem similarly strips the music of time-honoured accretions. In their place 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 as the "Dies irae", the "Rex tremendae" and the "Confutatis". Here the conductor John Butt instils fervour into his forces, fierce in rhythmic drive, forthright in the enunciation of the text. The 16 voices include the four soloists - Joanne Lunn, Rowan Hellier, Thomas Hobbs and Matthew Brook - who emerge naturally from the texture rather than being treated as separate entities, another factor that seems to enhance the performance's fluency, pacing and crisply articulated counterpoint.

The ensemble projects far more strength than its modest proportions might suggest, but it is a sign of its sensitivity to the import and implications of the Requiem's atmosphere that its response to the more meditative parts of Mozart's and Süssmayr's music is of affecting, eloquently phrased sincerity.

There are extras here in the shape of Mozart's "Misericordias Domini" and a reconstruction of the music sung at his own Requiem Mass in 1791, all performed with palpable emotion.


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