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Paul L. Althouse
American Record Guide, October 2000

"These are good, perfectly respectable performances of some of Mozart's finest sacred music. The chorus is well trained and sings beautifully and sensitively in all the pieces; they do Mozart gently and musically, not aggressively."

Terry Williams
Classic CD, August 2000

"'Solemn' Vespers by name only, as there is little that is solemn or mournful about Mozart's settings. Contemplative and often moving, certainly, but newcomers shouldn't be put off by the title of this disc. There is some quite extraordinary music here, written for Salzburg Cathedral with which both Mozart and his father were closely associated.

"Patrick Peire directs beautifully scaled, intimate performances. Capella Brugensis is ideal in this music offering pure tone and a lovely blend of voices. Naxos have a special knack for producing fine choral discs, and I'd rate this as one of their best. It makes ideal late night listening. As a taster, try track 6, 'Laudate pueri', from K339. Irresistible, I'd say. Sound quality is spacious but clear. Yet again we are in Naxos's debt for offering first class performance and recording at a (thankfully) ridiculous price."

Jan Smaczny
BBC Music Magazine, August 2000

"The Vesperae solennes de confessore is best known, of course, for the quasi-operatic soprano aria 'Laudate Dominum', which soloist Greta De Reyghere delivers here with assurance and taste. ...The remaining settings are highly varied, with a relatively small proportion of solo interjections freshening up the choral and orchestral textures. Mozart shows his increasing mastery in producing a sequence of inventive, often brilliant movements whose prime objective (at least as far as the Archbishop was concerned) was the clear exposition of the texts.

"All four soloists, choir and orchestra provide light and graceful music-making that is expertly balanced by conductor Patrick Peire, whose attention to momentum is constant but who never presses wilfully onwards. The period instrument players are notable for their skill (the brass are absolutely secure) and the choir for its crisp delivery."

David Vernier

"It's tempting to relegate much of Mozart's Salzburg church music to the "nice to know it's there" category, and then never really explore any of it beyond the "Coronation" Mass. Fortunately, ensembles and labels such as the ones represented here believe that we should actually hear--and enjoy hearing--some of these works. And if these are not the ideal or even the most technically assured performances of Mozart's three vesper settings, they certainly are highly recommendable for their infectious spirit and irresistible enthusiasm--besides which, these are first rate performers who obviously believe that church music doesn't have to be boring or stodgy or even solemn. You may be surprised that some of the best music--at least as this excellent chorus, orchestra, and conductor present it--is the two-movement K. 193, written when Mozart was 18 years old. (How many times have you, as a listener, felt energized by recorded vesper service music?) The other two works, which are complete vesper settings, are more mature and fully developed works with foreshadowings of the Requiem. K. 339 features the famous Laudate Dominum, which soprano Greta De Reyghere finds much more suitable for her voice and technique than the florid, operatic style of the same movement in K. 321. …with performances this fun and exciting—it really is 18th-century church music!—we can imagine Mozart giving a thumbs-up, saying, 'Yes, they do get it!' And so will you. "

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