The work is fluent, imaginatively orchestrated with impressive contrapuntal writing…This enjoyable, well recorded rendition, with lovely solo singing, has clear passionate advocacy; notwithstanding the odd rough edge the performance does Dussek’s mass proud.

Dussek himself could scarcely have hoped for a performance as fine as this one, with the Academy on top form, a well-drilled choir of 20 clearly in thrall to Egarr’s infectious enthusiasm for the work and four finely matched soloists imparting plenty of personality...It’s a fascinating work and an important project, impressively recorded, exquisitely presented and enthusiastically recommended.

This superb world premiere recording of Dussek’s late masterpiece will hopefully inspire a few enterprising groups to continue Egarr’s sterling work in putting this glorious piece back on the map – and what a case he and the AAM make for it here, the period brass instruments alternately glowing and blazing, and the choral singers making light of the scintillating fugue of the Credo. Of a fine quartet of soloists, Helen Charlston’s assertive, characterful mezzo stands out, whilst Stefanie True’s perfectly-placed top Cs are a marvel.

Egarr’s enthusiasm for Dussek is infectious and justified by this fine performance from the well-balanced quartet of soloists and superb work from the AAM players and choir. A hugely worthwhile discovery of an unknown work by one of Mozart’s most gifted younger contemporaries.