Though he earned vast riches during his lifetime as a virtuoso of the double bass, Bottesini’s versatility as a remarkably complete musician took him around the world on an unremitting schedule as a conductor too, while never apparently depriving him of time to compose 13 operas and a wealth of other work, including this Requiem to the memory of his brother. During a lifetime dominated by Verdi, his operatic style gained little critical enthusiasm, though the warmth of this performance, both choral and orchestral, suggests such neglect to be a great pity. © 2013 Choir & Organ

This work, in fourteen sections, deserves better as this lovingly performed reading goes to show. The music is lively and often inspired. It is tuneful, with some bel canto moments as in the Quid sum miser and the plangently cooling Lacrymosa. That aspect is offset by the influence of Mendelssohn and Schumann. The Dies Irae and the final Dies illa are gems of breathlessly feathery enthusiasm; not to be missed. There are even some grandly Beethovenian moments as in Quaerens me. The brash Sanctus has an Aida-like marching regality. The polished and serenely Mozartean Agnus Dei paves the way for the fugal terracing of the Requiem Aeternam and a wonderfully ethereal Libera me.