This is a terrific re-release of two of my favourite Mozart recordings. The "Coronation Mass" and the Vespers date from 1779 and 1780 respectively and are among his true masterpieces of this period, with rich scoring, amazing harmonic invention, fabulous choral writing and some astonishingly beautiful aria-like movements. Laudate Dominum from the Vespers is among my very favourite movements in all of Mozart's work, which is really saying something.
These performances do full justice to such wonderful music. The Academy of Ancient Music under Christopher Hogwood have been uniformly excellent for decades and this is well up to their customary level of brilliance. Hogwood uses quite large forces here and they play wonderfully, while the outstanding cast of singers are technically excellent and, to my ear, perfect in their interpretations of the text and sheer beauty of the sound they make. (I have been half in love with Emma Kirkby for years and this disc is one of the reasons why.) It's a lovely, uplifting and inspiring disc of truly great music which has given me huge pleasure for many years. Now that it is available at budget price it's an unmissable bargain too, and I recommend it in the warmest terms.
Amazing, amazing, amazing music. Listening to this makes me feel it's all been downhill since Mozart. The Coronation Mass is surely one of Mozart's best works and Hogwood and the Academy of Ancient Music do it full justice - well, I think they do; I can't imagine it sounding better - great voices and a lovely bright full instrumental soune.
Mozart leaps forward with his Sacred music with the recording on this release with the Coronation Mass with Emma Kirkby as soprono, Cathrine Robbin as alto, John Mark Ainsley again as tenor and Micheal George as bass. Once again we get the Choir of Winchester Cathedral Winchester Collage Quiristers and Acadamy of Ancient Music with Christopher Hogwood. This time the recording is from 1993. Hogwood gives us good timing with good effect. There is good pace in the Gloria, and plenty of energy in the Credo. Although the Osnna is a little racey. (or was it supposed to be? I suspect not). The Benedictus should be noted too as being very poinuent and sweet. Emma Kirkby is very expressive and sensuous in this recording. She is in her element in this grand composition. Micheal George is solid in the bass. The opening Kyrie is deeply contemplative in mood. The sound is excellent and the Stereo seperation gives ecclesiastic ambience. The whole recording is on authentic istruments from the Acadamy of Ancient Music and it is a glorious representation of these two great works. The whole recording will be a great pleasure to those that love Mozart.