The first movement, Lacrymosa, is measured, but powerful. The second movement, Dies Irae, is when this performance pulls out all the stops and goes for the throat (…) Recording quality is superb. So are the performances!
– Bill Dodd, NativeDSD Senior Reviewer
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Celebrating the work of Benjamin Britten, this album combines three of the composer’s enduringly popular, yet vastly distinctive works. Sir Simon Rattle and the London Symphony Orchestra lead us on an unexpected journey through this diverse collection of masterpieces.
Written shortly after the outbreak of World War II, Sinfonia da Requiem meditates in part on the political populism which had, for the second time in just a few decades, plunged the world in to an existential crisis. In this piece, Britten’s rich, yearning harmonies reveal a sombre and dramatic warning of the cost of conflict.
From the darkness of war, we move towards the light with Britten’s choral Spring Symphony. With its mysterious reimagining of traditional English folk song and verse, the work depicts the gradual reawakening of the natural world when winter ebbs away, and spring begins to triumph.
Britten let his imagination catch fire in The Young Person’s Guide to the Orchestra. This brilliantly original showpiece is one of the composer’s best-known pieces, and draws the album to a close.
Note: Sinfonia da Requiem and Spring Symphony were recorded in DSD 256. The Young Person’s Guide to the Orchestra was recorded in PCM 96kHz
London Symphony Orchestra
Sir Simon Rattle, Conductor
Alice Coote – mezzo-soprano
Allan Clayton – tenor
Tiffin Boys’ Choir, Tiffin Children’s Chorus, The Tiffin Girls’ School Choir
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:19:31
Additional information
| Label | |
|---|---|
| SKU | LSO0830 |
| Qualities | DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 32 Bit, DXD 24 Bit |
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| Original Recording Format | |
| Release Date | April 19, 2024 |
Press reviews
MusicWeb International
Rattle’s reading of this extremely powerful score, and the LSO’s playing of it, is, as you would expect, of a very high quality, with all three movements characterised vividly. No Britten enthusiast should be disappointed, for the textures are balanced to perfection, while all the colours of the orchestration – it’s hard to believe that this is Britten’s first large-sale orchestral work – shine out brilliantly.
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