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Veteran historical-performance conductor Philippe Herreweghe and his Collegium Vocale Gent might seem a questionable choice for Antonín Dvorák's lushly Romantic Stabat Mater. And the booklet essay, which assigns the motivation for the work to Dvorák's 1870s employment at a church that favored pure Palestrina choral style, may further lead you to expect (or fear) a radically stripped-down reading of the work. But actually Herreweghe, like other performers who came of age in the historical-performance movement, has been ...

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