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on 13 January 2014
The cavernous accoustic of St Pauls Cathedral and Colin Davis tendency to slow down in his old age make this a seriously slow and disappointing recording of a great piece of music. Colin Davis has recorded it several times in the past, and I was hoping for magic but for that you need to listen to his dvd from 1989 recorded in Regensburg Cathedral.
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on 6 June 2013
I have something of a soft spot for requim masses and came across this entirely by accident. My knowledge of classical music is not great but this piece has really gripped me and it never fails to grab my attention every time I listen to it. The wonderfully dynamic of the acoustic of the great volume of St Paul's Cathedral is perfectly suited for what is a large assembly of musicians and chorus and gives the piece a wonderful dignity so appropriate for such a work. Highly recommended.
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on 8 January 2014
I was stimulated by a recent BBC programme on Requiems to collect those mentioned and have found them to be beautiful and satisfying (I have not yet listened to them all though).
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on 18 May 2013
Fitting recorded memorial to Sir Colin Davis. A work only rarely.

Spacious sound and appropriate acoustics from St Pauls cathedral.
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on 25 February 2014
This was almost the last concert the late, great, Sir Colin Davis conducted: he sat for pretty much all of it. Had to buy it, as a momento of this marvellous man
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on 7 July 2013
I have the first recording Colin Davis made and sadly the St Pauls acoustic didn't help this later issue atall.
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on 24 June 2014
I first heard this performance live on Radio 3, entirely by accident while I was working in Spain. I had picked up BBC radio through the hotel Wi-Fi on my iPod in the hope of hearing something nice before going down to dinner. I came in during the Dies Irae and was absolutely captivated by the drama of the performance, which was amazingly sure footed in the massive acoustic of what I subsequently discovered was St. Paul's Cathedral. Dinner was late.

Sir Colin Davis demonstrates that a lifetime of immersion in Berlioz has made him truly a master interpreter of that curious man's work. What a great loss to music was his death only two months after recording this work and how grateful am I that he lived long enough to direct this stunning performance of Berlioz's massive requiem.

The huge orchestral and vocal forces are exquisitely handled in the reverberant acoustic of the cathedral with a skill that must be something like handling a Formula 1 car and a supertanker at the same time. You are aware that at any moment it could all go horribly wrong, but it all works perfectly. This is a live performance (in fact, an amalgam of two, recorded on consecutive days) and has all the immediacy you would expect from that, but with the benefit of great sound engineering and a very considerate audience.

If you want to feel the hairs stand up on the back of your neck, listen out for the brushed cymbals in the Sanctus. Pure magic!
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on 4 May 2013
I agree entirely with the comment regarding the first reviewers pointless discussion of the recording. What about the music?!!!! As one would expect, in such a setting, a broader approach must be obligatory to ensure clarity but this is not at the expense of the wealth of experience that this maestro has and this must be accorded the necessary respect. Go and play with lasers and multi channel sound elsewhere and save this sonic verbosity for a boys toys forum. Splendid and magnificent in every respect. A fitting testament indeed.
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on 17 August 2013
Prompted by a review by Paul McGowan of PS Audio who played this set on his new ultragazillion dollar sound system - I ordered this CD set and found that its sonics - despite Mr. McGowan's 5 star review of this - to be disappointing. While I play my Decca Sound, Mahler + SF Symphony and remastered Solti Ring CDs at a more than acceptable - e.g., wonderful, setting with my Marantz amp volume at 9pm, even at 1 am the Berlioz lacks sufficient volume in the quiet spots with the louder passages being okay. Playing it through my PS Audio/CJ system where the DAC is usually set at 75% and the CJ Preamp at 33, changing these settings to 85% and 38 respectively still leaves much of the content of these CDs at levels that are unsatisfactory - e.g., quiet pieces can only be heard with difficulty. Is there an audiophile out there who can explain to me why the Berlioz has such low volume? I understand soundstage - but if the Decca engineers on both the Decca Sound Box set and the Solti can get such good, uniform sound with techniques that are 50 years or so old - what happened with this 2012 LSO recording?
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on 28 April 2015
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