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by: John Rutter, Caroline Ashton, Donna Deam, Cambridge Singers

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Customer Reviews
Average Rating: Rating: - A Soaring, Graceful Requiem Why write another review when there are already so many? Because The Rutter Requiem is one of the most beautiful pieces of modern sacred music composed, and the Cambridge Singers execute it with graceful, soaring perfection. Rather than being about death, the Rutter Requiem is really composed for those left living. It is comforting, melodic, and uplifting. This recording is conducted by the composer, which makes it particularly interesting. Rutter is one of the few composers who really conducts well. He frames his modern and sometimes dissonant harmony with masterful phrasing. The Cambridge Singers and London Sinfonia are responsive, and work together well. Some reviewers have criticized Caroline Ashton's Pie Jesu, but I disagree. The Pie Jesu movement of a requium is traditionally plantive, asking Christ's blessing, and Ashton's clear, light sound works quite well. Perhaps my favorite movement is "The Lord is my Shepherd" with an exquisite oboe solo by Quentin Poole. This recording is like sitting in church, listening to a particularly good choir and orchestra perform a beautiful work, and it is well worth buying. Rating: - Great Works and Great Performance Two of John Rutter's best works, the Requiem and the Magnificat, are performed on this CD in a brilliant way by the composer himself conducting the Cambridge Singers. The Requiem is one of the best settings of the Mass for the Dead by any composer. This is not a strict setting of the Roman Catholic Requiem Mass, but it also have inserts from the 1682 Book of Common Prayer. As a whole, the piece is a reflection on the issues of death and eternal life, combining soothing moments as the ethereal Kirie to rousing choruses like the Sanctus. The performance of the Cambridge Singers is, as always, near perfection. It is specially noteworthy the ethereal performance of soprano Caroline Ashton in the beautiful Pie Jesu. The Magnificat, on the other hand, is an exultant setting of Mary's canticle. Again Rutter, blends the original text with lovely additions, like the beautiful English poem 'Of a Rose', the Gregorian setting of the Sanctus and the moving prayer 'Sancta Maria'. Soprano Patricia Forbes is radiant and soaring in her three solos. The City of London Sinfonia brings an expert playing to the superlative singing, ably conducted by John Rutter. Both the Requiem and the Magnificat are meditative and joyful reflections on some of the most beautiful and meaningful beliefs of the Christian tradition. Rating: - The Composer conducts When a composer conducts his own music you get his real intentions for the way it should sound. Having personally performed the Requiem just a month ago, I can say that the score and the recording are in line with each other (i.e. Rutter's performance does not vary (significantly) from what he wrote in the score). This recording features fine singers and instrumentalists as well. My only quibble is that the pieces sound a bit "studio"-like. There is great precision, blend, balance, etc., but sometimes the emotion seems stiffled or flat. But perhaps this is as Rutter intended... Don't misunderstand me, this is a fine recording of some very nice (even great) music. It is probably the best recording of these pieces in existence. As far as the compositions go, I personally like the Requiem more. It is more "serious" in style. It is less "Rutter-like" in the sense that it does not have the "pop" feel that is common in much of his work. The Requiem also contains some VERY lovely melodies (Kyrie eleison, Pie Jesu, The Lord is My Shepherd), and some elegantly understated orchestration. I agree with the other reviewers who believe it is Rutter's best work. The Magnificat is very upbeat and more popular in feel. It is a joyful piece which brings a smile to my heart. This recording is an excellent way to experience Rutter's larger works, though a live performance might give you some of the spark that I felt was a bit lacking.

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