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A recent piano CD series was entitled Reicha Rediscovered, which neatly reflected the shambolic nature of the legacy. Reicha resisted publishing his work and the opus numbers subsequently assigned are a muddle. He started the Requiem in Vienna, where he had studied with Salieri and Albrechtsberger, and resumed it some time later when settled in France, in line with his theoretical interest in doubling choral and vocal lines with instrumental sections. It is seen as the link between Mozart’s Requiem and Berlioz’s Grande messe des morts, and like the latter was not intended for liturgical purposes. Properly reconstructed in the 1980s by Stanislav Ondráček, revised by Amy Goodman, it still has no developed performance or recording history, but Klauda’s forces seem undeterred and deliver a suitably plain articulation of the Latin text, with excellent solo parts and tightly controlled orchestral accompaniment.

BRIAN MORTON Read the full review on Agora Classica

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