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Göran Forsling
MusicWeb International, December 2016

Naxos’ ongoing series of music by Simon Mayr has been one of the revelations during the last few years, and the Requiem is so far the crowning glory. His melodic inventiveness is remarkably consistent and there are also powerful choral contributions. © 2016 MusicWeb International

Nicholas Sheffo
Fulvue Drive-in, July 2016

Simon Mayr: Requiem (2014) is one of our only CD sets here and its Sequentia takes most of both discs to perform with a large group of name artists pulling off in what turns out to be another world premiere recording. Mixing Italian and German opera sensibilities, the work tends to still have an identity of its own and all involved rightly make it into a true event. © 2016 Fulvue Drive-in Read complete review

Göran Forsling
MusicWeb International, April 2016

Let me maintain from the outset that I took Mayr’s music to my heart and am fully convinced that I will return to this work many times in the future for its freshness, its charm and its warmth…

…Mayr’s melodic inventiveness is remarkably consistent and there is great power in the choral passages. …Mayr handles the architecture of the work skilfully and there is a dramatic pulse that keeps the listener’s interest…

There is so much care, love and commitment behind this production. I would like to give a bunch of roses to everyone involved. © 2016 MusicWeb International Read complete review

Gregory Hamilton
American Record Guide, March 2016

No composer on earth can resist using brass for the Tuba Mirum, which Mayr sets quite nicely. The performances are quite good, with good soloists. © 2016 American Record Guide Read complete review on American Record Guide

Richard Osborne
Gramophone, February 2016

What is genuinely cheering about the set is the affection that Franz Hauk and his mainly Bavarian forces clearly have for the music of their fellow countryman. The performance has style and panache, and the recording is first-rate. © 2016 Gramophone Read complete review on Gramophone

Midwest Tape, January 2016

Johann Simon Mayr is increasingly recognized as one of the most intriguing and influential composers of his time. His Requiem in G Minor is shrouded in compositional obscurity, but it is clear that the published version is surpassed both in scale and instrumentation by the elaborate edition performed here. © 2015 Midwest Tape, December 2015

This Requiem is a work on a grand scale…and features some exceptionally fine vocal writing. …What is most interesting here, however, is how exceptionally clearly this work shows the transitional nature of Mayr’s style. The Kyrie eleison/Christe eleison has all the makings of bel canto material, with lovely flow and the requisite vocal acrobatics (although not too many, this being, after all, a mass for the dead). © 2015 Read complete review

David Denton
David's Review Corner, December 2015

To paraphrase the disc’s sleeve, the Requiem here recorded has been assembled from autograph manuscripts, and now surpasses anything previously published. I do not intend adding to that, as you can read all about its questionable history in the booklet. So what is it, and is it worthy of a ‘World Premiere Recording’? As I have written previously, Simon Mayr’s composing career was roughly divided into three sections, the early part, given to religious cantatas, followed by an operatic era which established him as a major composer. If this work dates from later than 1812, as the booklet suggests, then it was in his operatic period, and its content certainly suggests this. To speak kindly of it, it is a highly pleasing hotchpotch of a score, with sections trying to show the solemnity of the occasion sitting next to passages that could have come from a musical comedy composed by his pupil, Donizetti. Stylistically you would here often think that Mayr owed debts to both Berlioz and Verdi, though they would have only just been born when this was written. Indeed, are we sure it wasn’t the work of the young Donizetti and friends? It is certainly unusual in requiring nine solo singers—surely a bit extravagant for Mayr—though they are given some tasty moments shaped as operatic arias, the bass, Martin Berner, greatly enjoying the bouncy Tuba mirum. I was also much taken the Norwegian soprano, Siri Karoline Thornhill, who appears so much throughout the work, and is particularly pleasing in the Ingemisco. Mayr peppers the score with instrumental solos, and by and large most of them are here well played. Five days in the recording venue, care has obviously been taken in the preparation, and it shows in the surety the soloists display, and not least in the virile contribution of the Simon Mayr Chorus. So with thanks to the conductor, Franz Hauk, who has done so much in unearthing a work that we can sit back and enjoy, warts and all. © 2015 David’s Review Corner

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