Mozart - Requiem KV 626 / NEW MASTERING (.: Hermann Scherchen, Wiener Staatsoper 1953)
Wolfgang Amadeus Mozart (1756-1791) - Requiem KV 626.
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*Click to activate the English subtitles for the presentation* (00:00-01:22)
00:00 Introitus: Requiem Aeternam
06:28 I. Kyrie
09:44 II. Dies Irae
11:26 III. Sequentia _ Tuba Mirum
16:21 IV. Sequentia _ Rex Tremendae
18:08 V. Sequentia _ Recordare
25:27 VI. Sequentia _ Confutatis
27:55 VII. Sequentia _ Lacrimosa
30:41 VIII. Offertorium _ Domine Jesu Christe
35:11 IX. Offertorium _ Dominehostias
39:22 X. Sanctus
40:50 XI. Benedictus
46:46 XII. Agnus Dei, Lux Aeterna
Sopran : Magda László
Alt : Hilde Rössl-Majdan
Tenor : Petre Munteanu
Bass : Richard Standen
Wiener Akademie Kammerchor
Wiener Staatsoper
Conductor: Hermann Scherchen
Recorded in 1953
New mastering in 2021 by AB for CM//RR
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Everything was thought out so that the work would be like death itself: at once pathetic and terrifying, calm and terrible. Written for four soloists (soprano, alto, tenor and bass), a choir and a symphony orchestra, Mozart removed all the high-pitched wind instruments (flute and oboe), judged too joyful, and kept only the basset horn, ancestor of the clarinet, with a more subdued tone. Grave and solemn, the orchestra is perfectly suited to a mass for the dead, and Mozart’s writing is itself sober, even austere: no brilliant effects or great virtuoso solos.
The spectacular is elsewhere: the choir takes center stage and lets its power burst forth. In the Dies Irae, the moment of the Last Judgment, a formidable storm arises: the terrible calls of the choir represent sometimes the divine anger that falls on men, sometimes attempts to soften this anger, sometimes cries of terror... Everything trembles with anguish, fever and impatience. Mozart’s ultimate composition touches the sublime.
Bach - Musical Offering / Das Musikalische Opfer / L’Offrande Musicale (.: Hermann Scherchen):
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