Mozart: Requiem
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Music CD Cover
Performer: Jos? van DamComposer: Wolfgang Amadeus Mozart
Conductor: Herbert von Karajan
Orchestra: Berliner Philharmoniker
Performer: Rudolf Scholz
Performer: Anna Tomowa-Sintow
Performer: Werner Krenn
Edition: Music CD
CD Release Date: 1990-05-16
Music Label: Deutsche Grammophon
Soundtracks:
- Requiem in D Minor: I. Introitus - Requiem
- Requiem in D Minor: II. Kyrie
- Requiem in D Minor: III. Sequenz - No.1 - Dies irae
- Requiem in D Minor: III. Sequenz - No. 2 - Tuba mirum
- Requiem in D Minor: III. Sequenz - No. 3 - Rex tremendae
- Requiem in D Minor: III. Sequenz - No. 4 - Recordare
- Requiem in D Minor: III. Sequenz - No. 5 - Confutatis
- Requiem in D Minor: III. Sequenz - No. 6 - Lacrimosa
- Requiem in D Minor: IV. Offertorium - No. 1 - Domine Jesu
- Requiem in D Minor: IV. Offertorium - No. 2 - Hostias
- Requiem in D Minor: V. Sanctus
- Requiem in D Minor: VI. Benedictus
- Requiem in D Minor: VII. Agnus Dei
- Requiem in D Minor: VIII. Communio - Lux aeterna
Free Music Notes for Mozart: Requiem
Free Music Review: Requiem - Wolfgang Amadeus MOZART
Hit: 5 Stars
Herbert von Karajan, the septuagenarian conductor of this recording has been ebullient and full of life as ever. Karajan took full command of the Berliner Phihamoniker orchestra demonstrating his long artistic experience about the blissful meaning of this Requiem as though he were also the author, the musician, and the composer.
This Requiem is a happy one. Mozart did his work in a mood of friendly reception of what is inevitably coming. The composer genius never feared the event of dying or departure from life, it was not scaring to his character. The teachings of certain short-tempered and intransigent dictatorial clerics that made death dreaded and hated gave Mozart welcome opportunity to defeat this credo and show his mettle as an erudite musician. A dedicated member of the Lodge, Mozart was totally involved with the Masonic theories and philosophies of `'death'' and their symbolic relationship to the `'Master Mason Degree"; on April 4, 1787 Mozart wrote to his father ""As death is the real purpose of our life, for several years I have become so closely acquainted with this true and best friend of our life, that his image is not only no longer terrifying to me, but rather something very soothing and comforting! And I thank God for affording me, in His grace, the opportunity (you understand me) of realizing that he is the key to our happiness. I never lie down in bed without thinking that (young as I am) I may not live to see the next day - and yet no one, especially among those who know me, can say that in daily life I am stubborn or sad - and for this happiness I give thanks to my Creator every day and wish every man the same from the bottom of my heart ......""
Both Mozart/Karajan could see this eye to eye with each other. Karajan altered not an iota in any note, the happy notes are apparent in the violins. In fact I am inclined to say Mozart and Karajan performed as if they were close contemporaries, inhabited the same spiritual world and always succeeded in speaking the same language.
In 1791 Wolfgang Amadeus Mozart composed The Requiem Mass (K 626).
Karajan has been able to make vibrate Mozart's musical spirit and with it bring the audience to affectionate delight. Berliner Philharmoniker is superb, so are the singers' voices and harmoniousness with one another.
We are unfortunate, though, that this masterpiece remains unfinished... forever.
Mozart: Requiem Poster
Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid. --Ted LibbeyClassical Music CDs
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