This is a strong addition to the available recordings of a work that was profoundly admired by Beethoven and even by Berlioz, normally grudging and unfair where Cherubini was concerned. It would be an oversimplification to suggest that Matthew Best emphasizes the Beethoven rather than the Berlioz aspect of the work; but he does seem less interested in the fascinating use of colour as an element in the actual invention than in the rugged moral strength and the force of the statements. The recording reflects this emphasis, and is firm and clear without being especially subtle over orchestral detail. The choir deliver the Dies irae powerfully, and much dramatic vigour is discovered in the fugue traditionally reserved for “Quam olim Abrahae”. Presumably this idea derives from the suggestion of generation upon generation of Abraham’s children inheriting God’s promise: whoever first thought of it, many composers have fastened upon the device. Berlioz, however, was satirical about Cherubini’s fugues, and saved his admiration for the wonderful long decrescendo that ends the Agnus Dei. This is beautifully controlled here.
Like Christoph Spering and the Cologne Chorus Musicus, who give a more colourful, ‘Berliozian’ performance, Best includes the tremendous Marche funebre. There was inspiration here again for Berlioz (especially in his Hamlet funeral march). Best handles this superbly, opening with a merciless percussion crash and sustaining the pace and mood unrelentingly. In his hands, it sounds more original than ever, a funeral march that, rather than mourn or honour, rages against the dying of the light.'