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Mozart - Requiem / Herbert von Karajan / 50 minute HD
| Adaugat de madam | 18.01.2013 |  Adauga
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1.445 vizualizari Nota film: 0 / 5 (0 voturi ) |
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din favoriteWolfgang Amadeus Mozart Herbert von Karajan Full HD 1080p Full Concert Soundtrack Complete Requiem greatest concert memorable The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5.
Whether one is an admirer or a critic of Herbert von Karajan, it is possible for most listeners to find this recording of Wolfgang Amadeus Mozart's Requiem in D minor excessively drawn out, turgid, and unnecessarily heavy. Having previously recorded the Requiem in analog with the Berlin Philharmonic Orchestra, Karajan turned to the Vienna Philharmonic Orchestra for this 1986 digital recording, and with the Wiener Singverein, delivered an interpretation that almost rivals performances of Verdi's Requiem for operatic flair, having so many drawn out passages that the music seems especially melodramatic. The quartet of singers -- soprano Anna Tomowa-Sintow, contralto Helga Muller Molinari, tenor Vinson Cole, and bass Paata Burchuladze -- is particularly theatrical in its delivery, as if their solos and quartets were borrowed directly from one of Mozart's operas. Undoubtedly, Karajan really wanted to make a big impression with this performance, for in addition to the scene-like presentation of the Tuba Mirum, Recordare, and Benedictus, the choruses are rather like severe choral commentary from opera seria, and the whole work has a Romantic sweep that seems uncalled for in a Classical sacred work. Because Karajan used the commonly heard Sussmayr completion, without any textual modifications from period scholarship, his exaggerated reading makes the flaws in the edition stand out, perhaps most egregiously in the Domine Jesu Christe, where the sentimentalized chorus is almost stifling, and in the Sanctus, which is bombastically hammered out. Deutsche Grammophon's sound is big and spacious, but this aural splendor tends to blur the counterpoint and makes the textures of the VPO inordinately muddy.
Requiem for soloists, chorus, and orchestra, K. 626
Requiem aeternam
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:24
2 Kyrie
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 2:38
3 Dies irae
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 1:53
4 Tuba mirum
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:53
5 Rex tremendae
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 2:21
6 Recordare
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:10
7 Confutatis
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 2:24
8 Lacrimosa
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:08
9 Domine Deus
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:50
10 Hostias
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 4:34
11 Sanctus
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 1:51
12 Benedictus
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:29
13 Agnus Dei
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:40
14 Lux aeterna
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:53
A completion by Franz Xaver Sussmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Sussmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own.
Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze.
A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ).
The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
Whether one is an admirer or a critic of Herbert von Karajan, it is possible for most listeners to find this recording of Wolfgang Amadeus Mozart's Requiem in D minor excessively drawn out, turgid, and unnecessarily heavy. Having previously recorded the Requiem in analog with the Berlin Philharmonic Orchestra, Karajan turned to the Vienna Philharmonic Orchestra for this 1986 digital recording, and with the Wiener Singverein, delivered an interpretation that almost rivals performances of Verdi's Requiem for operatic flair, having so many drawn out passages that the music seems especially melodramatic. The quartet of singers -- soprano Anna Tomowa-Sintow, contralto Helga Muller Molinari, tenor Vinson Cole, and bass Paata Burchuladze -- is particularly theatrical in its delivery, as if their solos and quartets were borrowed directly from one of Mozart's operas. Undoubtedly, Karajan really wanted to make a big impression with this performance, for in addition to the scene-like presentation of the Tuba Mirum, Recordare, and Benedictus, the choruses are rather like severe choral commentary from opera seria, and the whole work has a Romantic sweep that seems uncalled for in a Classical sacred work. Because Karajan used the commonly heard Sussmayr completion, without any textual modifications from period scholarship, his exaggerated reading makes the flaws in the edition stand out, perhaps most egregiously in the Domine Jesu Christe, where the sentimentalized chorus is almost stifling, and in the Sanctus, which is bombastically hammered out. Deutsche Grammophon's sound is big and spacious, but this aural splendor tends to blur the counterpoint and makes the textures of the VPO inordinately muddy.
Requiem for soloists, chorus, and orchestra, K. 626
Requiem aeternam
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:24
2 Kyrie
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 2:38
3 Dies irae
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 1:53
4 Tuba mirum
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:53
5 Rex tremendae
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 2:21
6 Recordare
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:10
7 Confutatis
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 2:24
8 Lacrimosa
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:08
9 Domine Deus
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:50
10 Hostias
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 4:34
11 Sanctus
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 1:51
12 Benedictus
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:29
13 Agnus Dei
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 3:40
14 Lux aeterna
Wolfgang Amadeus Mozart Herbert von Karajan / Anna Tomowa-Sintow 5:53
A completion by Franz Xaver Sussmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Sussmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own.
Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze.
A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ).
The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
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