REQUIEM

$15.99
Label
Coviello
Release Date
July 3, 2020
Format
Added to Cart! View cart or continue shopping.


    Featuring ⌄
    • COMPOSER
      MOZART, W.A.
    • PERFORMER
      Scherer, Vondung, Lichdi, Berndt, Chorwerk Ruhr, Concerto Koln, Helgath
    Product Details ⌄
    • RELEASE DATE
      July 03, 2020
    • UPC
      4039956920090
    • CATALOG NUMBER
      COV92009
    • LABEL
      Coviello
    • NUMBER OF DISCS
      1
    • GENRE
      Classical
    Works ⌄

    1. Introit: Requiem aeternam (Soprano, Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Performer: Gabriela Scherer

      Conductor: Florian Helgath

    2. Kyrie eleison (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    3. Sequence No. 1: Dies Irae (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    4. Sequence No. 2: Tuba mirum (Soprano, Alto, Tenor, Bass)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: Concerto Köln

      Performer: Gabriela Scherer, Anke Vondung, Tilman Lichdi, Tobias Berndt

      Conductor: Florian Helgath

    5. Sequence No. 3: Rex tremendae majestatis (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: Concerto Köln

      Conductor: Florian Helgath

    6. Sequence No. 4: Recordare, Jesu pie (Soprano, Alto, Tenor, Bass)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: Concerto Köln

      Performer: Gabriela Scherer, Anke Vondung, Tilman Lichdi, Tobias Berndt

      Conductor: Florian Helgath

    7. Sequence No. 5: Confutatis maledictis (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    8. Sequence No. 6: Lacrimosa dies illa (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    9. Offertory No. 1: Domine Jesu Christe (Soprano, Alto, Tenor, Bass, Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Performer: Gabriela Scherer, Anke Vondung, Tilman Lichdi, Tobias Berndt

      Conductor: Florian Helgath

    10. Offertory No. 2: Hostias et preces (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    11. Sanctus (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    12. Benedictus (Soprano, Alto, Tenor, Bass, Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Performer: Gabriela Scherer, Anke Vondung, Tilman Lichdi, Tobias Berndt

      Conductor: Florian Helgath

    13. Agnus Dei (Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath

    14. Communion: Lux aeterna (Soprano, Chorus)

      Composer: Wolfgang Amadeus Mozart

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Performer: Gabriela Scherer

      Conductor: Florian Helgath

    15. Libera me Domine

      Composer: Ignaz von Seyfried

      Ensemble: ChorWerk Ruhr, Concerto Köln

      Conductor: Florian Helgath


There is hardly any other major work in the history of music where there are as many secrets about it's genesis as in Mozart's Requiem: from the ominous masked client to the repeated criticism of the completion of the fragment by Mozart's pupil Süßmayr (which has nevertheless established itself as a common version in concert life) to the speculation that the composer knew that he was writing his own requiem mass. The source situation is confusing, perhaps there were other "completers" besides Süßmayr working at the mass, which the widow Constanze wanted to publish as one of Mozart's alone. Some stylistic breaks in the common version that are untypical of Mozart reinforce the doubts. After a thorough study of sources and comparative stylistic analyses, Michael Ostrzyga now presents a carefully corrected version, which brings him closer to the "most probable compositional solutions for November/December 1791" that Mozart would probably have chosen. Chorwerk Ruhr presents a first reference recording.