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Arguably Pachelbel's masterpiece, "Apollo's Lyre" is a series of six arias, each of which consists of a set of highly contrasted variations on the initial theme. As a composer, Pachelbel was perhaps most interested in the variation principal, in direct contrast to his great successor, Bach, who used the form only rarely (but then typically wrote the greatest variation work ever–the "Goldberg Variations"). The musical argument is easy to follow, and the tunes themselves simple and memorable. John Butt frames the work with two mighty chaconnes. A chaconne is basically the same thing as a passacaglia, namely a series of variations over a constantly repeating bass line. Try this disc. You're in for a pleasant surprise.

The Dunedin Consort, led by John Butt, has moved into the niche of recording original or obscure versions of Baroque choral masterworks using forces as close as possible to those of the original performances. Its 2006 performance of the Dublin version of Messiah is one of the liveliest and refreshingly intimate recordings of the work, and won a Gramophone Award for Best Baroque Vocal Album of the year. Here the group turns its attention to a much earlier Handel work, the 1718 pastoral oratorio Acis & Galatea. Through ingenious musical detective work, Butt has reconstructed the most likely constitution of the ensemble that originally performed the piece while the composer was employed at Cannons House in Middlesex.

Dunedin Consort continues to apply its pioneering approach to recordings by releasing two alternative performing versions of one of Handel’s greatest dramatic works, Samson. This is the Full Chorus Version.
This version employs an authentic Handelian chorus, comprising both boy trebles from the Tiffin Boys' Choir and solo sopranos – a sonority largely unheard in the modern age.

Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.

With its 2012 release of Handel's Esther, the Dunedin Consort continues its admirable series of recordings of little known or recently reconstructed versions of Baroque oratorios, begun in 2006 with its award-winning Dublin version of Messiah. There have been other reconstructions of the early version of Esther, Handel's first English oratorio, but the impetus behind this one, "the first reconstructable version, 1720" comes from research published in 2010 by musicologist John H. Roberts that clarifies which music reflects Handel's intentions for a private 1720 performance at Cannons, the residence of James Bridges, who became Duke of Chandos, and which was added for its 1732 revival.

Saucy blues-rockers Juicy Lucy formed in 1969 from the ashes of cult-favorite garage band the Misunderstood, reuniting vocalist Ray Owen, steel guitarist Glenn "Ross" Campbell, and keyboardist Chris Mercer; with the additions of guitarist Neil Hubbard, bassist Keith Ellis, and drummer Pete Dobson, the group immediately notched a U.K. Top 20 hit with their reading of the Bo Diddley perennial "Who Do You Love," with their self-titled debut LP falling just shy of the Top 40. Ex-Zoot Money singer Paul Williams, guitarist Mick Moody, and drummer Rod Coombes replaced Owen (who exited for a solo career), Hubbard, and Dobson for 1970's Lie Back and Enjoy It, with bassist Jim Leverton assuming Ellis' duties for the follow-up, 1971's Get a Whiff a This.

The Dunedin Consort, under the direction of John Butt, follows its award-winning recording of the Messiah with J.S. Bach's Matthew Passion. This recording cements the Dunedin Consort's reputation as a group with particular expertise in Baroque music and performance practice. The Dunedin Consort has established a reputation for performing familiar works from the Baroque era in ways which shed fresh light on the original performance: this new recording presents the Matthew Passion for the first time with Bach's final revisions of scoring, as performed around 1742 (its most familiar form is the 1736 version).

This recording of J.S. Bach's John Passion gives listeners a refreshing outlook, shining a new light into one of the best known pieces of the choral repertoire. John Butt recreates the Good Friday vesper liturgy of a passion performance during Bach's time at Leipzig; in addition to the Dunedin Consort performance of Bach's composition, this recording features music from an original Leipzig hymn book with works by Jacob Händl, J. H. Schein and J. Crüger performed by a congregational choir and the University of Glasgow Chapel Choir. John Butt takes centre stage to perform organ chorale preludes by Bach and Schütz on the Collins organ at Greyfriar's Kirk in Edinburgh, where the recording took place.

John Butt and the Dunedin Consort are familiar to many listeners for their exquisite recordings of Baroque choral masterworks, such as Handel's Messiah and Bach's Mass in B minor, but this set of Bach's six Brandenburg Concertos is the first instrumental outing for the Scottish period ensemble. Playing original instruments or modern copies, and using a lower tuning of A = 392hz, the group recreates Bach's music with a lively combination of extemporaneous ornamentation and propulsive rhythms that is invigorating for its lack of preciosity. The music is by turns brusque and gentle, and at times quite raucous, as it should be in the Concerto No. 1 in F major with its echoing horn calls, chattering oboes, and buzzing bassoon, and vigorous in the Concerto No. 3 in G major, with its energetic string playing.