John Rutter's Requiem Mass of 1985 was not the first composition to show his mature style, but it served notice of his place in the rising neo-Romantic movement of the time with its unashamedly melodic idiom, drawn on that of Gabriel Fauré's Requiem (and performed with that work in its American premiere) and boiling it down to simple structures. Whether you like Rutter or not, you will concede that here he has not let the Devil have all the good tunes. The work has been one of Rutter's most successful and has been recorded ...
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John Rutter's Requiem Mass of 1985 was not the first composition to show his mature style, but it served notice of his place in the rising neo-Romantic movement of the time with its unashamedly melodic idiom, drawn on that of Gabriel Fauré's Requiem (and performed with that work in its American premiere) and boiling it down to simple structures. Whether you like Rutter or not, you will concede that here he has not let the Devil have all the good tunes. The work has been one of Rutter's most successful and has been recorded several times, but this release by Rutter's own Cambridge Singers and Aurora Orchestra marks the first under his baton since his 1985 recording. One of his stated reasons for recording the work again was to take advantage of the evolution of digital technology since those infant days, and here the recording succeeds solidly, with absolute textual clarity in the acoustically ideal All Hallows Church, Gospel Oak, in London. That also serves Rutter well in a second goal: that of...
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