Mass No. 16 for soloists, chorus & orchestra in C major (missa solemnis), K. 337
Church sonata No. 17 for 2 violins, bass & organ in C major, K. 336 (K. 336d)
Regina coeli, antiphon for soprano, chorus & orchestra in C major, K. 108 (K. 74d)
Vesperae de Dominica, for soloists, chorus & orchestra, K. 321
Conductor Andrew Carwood, better known for his association with the Renaissance vocal ensemble the Cardinall's Musick, here steps to the helm of the all-male (men and boys) St. Paul's Cathedral Choir and St. Paul's Mozart Orchestra for a program of early- and middle-period Mozart works that lie somewhere in between chestnut and obscurity status. What you get might be called English-cathedral-style Mozart, and how you'll feel about it may depend on how you feel about the classic boychoir sound in general. The album was ...
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Conductor Andrew Carwood, better known for his association with the Renaissance vocal ensemble the Cardinall's Musick, here steps to the helm of the all-male (men and boys) St. Paul's Cathedral Choir and St. Paul's Mozart Orchestra for a program of early- and middle-period Mozart works that lie somewhere in between chestnut and obscurity status. What you get might be called English-cathedral-style Mozart, and how you'll feel about it may depend on how you feel about the classic boychoir sound in general. The album was recorded not at St. Paul's Cathedral but at the smaller St. Giles Cripplegate, and its engineering is one of its best features. The soloists and the organ, which is interpolated into the performance of the Mass in C major, K. 337 ("Missa Solemnis"), are a bit too distant, but the choir sounds like a million bucks (or pounds), with Hyperion's engineers having scored the rare hat trick of generating a spacious sound from a small group and keeping everything clear. The singing is delicate,...
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