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Label:
  Naxos - http://www.naxos.com/
Serial:
  6.110054
Title:
  Charpentier: Messe de Minuit pour Noël, Te Deum - Mallon
Description:
  Marc-Antoine Charpentier: Messe de Minuit pour Noël, Te Deum, Dixit Dominus

Archibald
Boer
Newman
Reynolds
Aradia Ensemble
Kevin Mallon
Details:
 
Genre:
  Classical - Vocal
Content:
  Stereo/Multichannel
Media:
  Hybrid
Recording type:
 
Recording info:
 

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Related titles: 2


 
Reviews: 2

Review by nickc December 27, 2004 (3 of 3 found this review helpful)
Performance:  Sonics:
Whether Charpentier is your thing is one matter what I will say is this disc puts forward a convincing case for these works. The Midnight Mass is the most famous work, a mixture of noels, Huron and 17th. century French songs - the first track of the Mass is almost Vivaldian in its use of one voice with a simple yet magical droning bass accompaniment. I personally find this type of music a bit "pretty", though I'm sure Parisians around 1690 would have loved it!
The Aradia Ensemble are a Toronto based original instrument orchestra plus choir. This is the first disc I have heard from them and I was impressed. They have a brighter sound than the King's Consort (though that may be their tuning, I'm not sure if the King's tune at 415 hz).
The sound in MC is excellent with the rears expanding the sound through the church where the disc was recorded. Voices are smooth and well spread over the soundstage.

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Review by beardawgs January 18, 2005 (2 of 2 found this review helpful)
Performance:  Sonics:
French baroque is an acquired taste, for me at least. This disc is at least nicely balanced between exuberant and more serene music: famous ‘Eurovision’ Te Deum always sounded like a full on assault to all my senses, while the ‘Messe de Minuit’ is my second favourite Charpentier (first being ‘Messe pour les trepasses’). This disc is nevertheless a fine account in every respect – Kevin Mallon, his choir and orchestra are not trying to ‘reinvent’ anything; they know very well what this music is all about, (especially the brass players in Te Deum!) and what we have here is a fine and authentic account of French baroque.

My main problem with Charpentier is lack of variety of orchestral colours and vocal combinations, but Mallon’s forces kept me alert with their precise execution. The recording is naturally balanced with plenty of church acoustics preserved, but it is not particularly wide – I had impression that I’m sitting quite behind in a long and narrow space, but everything is still crystal clear and transparent.

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