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The recordings of German conductor Helmuth Rilling are sometimes unorthodox, especially when he goes beyond his central specialty: the music of J.S. Bach. These Haydn recordings exemplify both Rilling's strengths and his unorthodox qualities. As usual, Rilling uses modern instruments and fairly substantial choirs. Yet his approach to the Lord Nelson Mass seems informed by historical-performance minimalism. Rilling resolutely declines to turn the work into an impassioned peroration, beginning with a very restrained Kyrie and ...

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