Beginning of the Revolution — Hunterian Museum, Glasgow — The Herald Review

★★★★
Keith Bruce, The Herald

Its [the music’s] intricacies were in good hands here, starting with the delicious interplay between the viols of Jonathan Manson and Alison McGillivray on a Jenkins’s Pavane and later including a virtuoso and melody-packed sonata by Benedetto Marcello played by Manson. Butt was in his solo element on Kuhnau’s David and Goliath, the Old Testament story depicted in some of the earliest programme music we know.

Read the full review here.

Bach Magnificat — Wigmore Hall, London — The Independent Review

★★★★★
Michael Church, The Independent

The Dunedin Consort, under John Butt’s historically-informed direction, gave a typically dazzling performance of Bach at his most ravishing. The second Orchestral Suite and the fourth Brandenberg Concerto, conveyed by just eight players, emerged with all the detail meticulously clear, while each of the eight voices in the motet “Singet dem Herrn ein neues Lied” contributed characterfully to that intricate work’s florid exultation.

Read the full review here.

Bach Magnificat — Wigmore Hall, London — The Guardian Review

★★★★★
Tim Ashley, The Guardian

There can’t be many better ways of ringing in 2019 than with the Dunedin Consort performing Bach. Their New Year’s Eve concert, under musical director John Butt, was an evening of reflection and joy…

Wonderful, every second of it.

Read the full review here.

Messiah — Glasgow, City Halls — The Herald Review

★★★★
Keith Bruce, The Herald

An interpretation of Handel’s Messiah that makes the listener aware of both the work’s musical and liturgical sophistication is a special thing, yet that is what the Dunedin Consort routinely achieves under artistic director John Butt. For the award-winning Scottish baroque vocal and instrumental ensemble, Messiah has become their Stairway to Heaven or Bohemian Rhapsody.

Read the full review here.

Handel Ode for St Cecilia’s Day — Gramophone Review

Richard Wigmore, Gramphone

[Carolyn Sampson’s] poised, invariably graceful contributions are among the disc’s prime pleasures: from her radiant sense of wonder in the sarabande aria ‘What passion cannot music raise and quell!’, in dialogue with Jonathan Manson’s musingly eloquent cello; through the wistful ‘The soft complaining flute’, where Sampson veils her naturally bright tone (a word, too, for Katy Bircher’s poetic flute-playing); to the scintillating coloratura of her final hornpipe aria…

Read the full review here

Handel Ode for St Cecilia’s Day — AllMusic Review

All Music by Blair Sanderson

Such sunny numbers as the chorus, ‘From Harmony’, the tenor’s martial aria, ‘The Trumpet’s Loud Clangour’, and the famous March, with its popular trumpet solo, give a clear indication of the predominantly joyous nature of the Ode. The Concerto Grosso in A minor, Op. 6, No. 4, also composed in 1739, is an elegant filler piece that rounds out the disc, and emulates Handel’s inclusion of concertos and other music in the first performance of the Ode. Linn Records provides a robust and rich sound, and the forward placement of the musicians gives them remarkable presence in this 2018 release.

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Handel Ode for St Cecilia’s Day — Financial Times Review

The Financial Times

Soprano Carolyn Sampson and tenor Ian Bostridge are engaging soloists, Sampson sounding especially luminous. The Polish Radio Choir sings Dryden’s text with impressive clarity and the Dunedin Consort shines in the solo opportunities for cello, trumpet, flute and organ with which Handel hymns music’s sacred spheres.

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Handel Ode for St Cecilia’s Day — Presto Classical Editor’s Choice

Presto Classical, Editor’s Choice

Augmented by the Polish Radio Choir, this full-blooded reading of Handel’s great hymn to the patron saint of music plays out on a larger scale than we’re perhaps used to from Butt and his Dunedin forces, to powerful and frequently moving effect: there’s a sardonic glint behind Bostridge’s apparent paeon to the bellicose effects of martial music, whilst Sampson provides balm with a beautifully fluid account of ‘What passion cannot music raise and quell!’.

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Handel Ode for St Cecilia’s Day — The Sunday Times Review

The Sunday Times, 11 November 2018

Written to celebrate the patron saint of music on November 22, 1739, the Ode for St Cecilia’s Day contains some of Handel’s most affecting work, turning his attentions verse by verse to a particular instrument. Butt’s reading with the Dunedins and the Polish choir has irresistible sweetness, with the tenor Ian Bostridge and the soprano Carolyn Sampson on top form.

Read the full review here

Handel Ode for St Cecilia’s Day — Classical Source Review

Classical Source ★★★★

The Dunedin Consort’s interpretation of Handel’s Ode (setting words by John Dryden that revel in the role of music within the cosmic order) brings the work to life with enthusiasm, charm, and wit…

Read the full review here

Armonico Tributo (Kendal) — Westmorland Gazette

Westmorland Gazette, 22 October 2018

Movements from [Muffat’s] Armonico Tributo were striking in the range of tempi, instrumental colours and dynamics. The consort played with obvious affection for this music and, particularly in the final passacaglia, demonstrated virtuosic technique.

Read the full review here.

Armonico Tributo (Glasgow) — The Herald

The Herald, 22 October 2018
★★★★

The finest compositions of the concert, perhaps unsurprisingly, were by Heinrich Biber. Truscott revelled in the menagerie of animal impressions that is his Sonata Representativa, with cellist Jonathan Manson assisting in the portrayal of birds, frogs and cats – a gentler side to his better-known Battalia pictorialism.

Read the full review here.

Handel Ode for St Cecilia’s Day — The Observer

The Observer

…one of the greatest moments in all of Handel, superbly realised by Carolyn Sampson and the Dunedin Consort under John Butt, working here with the Polish Radio Choir. Ian Bostridge adds his plangent imagination to Dryden’s vivid conjuring of music as the power that raises chaos into harmony, while Sampson’s “What passion cannot music raise and quell” is vividly touching.

Read the full review here

Handel Ode for St Cecilia’s Day — The Scotsman

The Scotsman ★★★★★

Here is a performance that draws every ounce of emotive symbolism and sublime inference from Handel’s poetically refined score. It features John Butt’s excitingly precise Dunedin Consort, whose instrumentalists are idiomatically stylish to the last

…Yet another Baroque tour de force from Butt, who has a simple knack of turning highly informed intelligence and curiosity into performances fired by spontaneous combustion.

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Handel Ode for St Cecilia’s Day — The Herald

The Herald

The work packs a powerful punch in these hands, and nowhere more so than when Bostridge combines with the chorus in the aria hymning “the double, double, double beat/Of the thund’ring drum”.

Read the full review here.