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The history of Mozart’s Requiem is so universally familiar that only a few general remarks are necessary. As Christoph Wolff rightly says, on page 10 of his study of the Requiem*: “by circa 1800, the history of the Requiem was already essentially familiar in its major outlines, and since that time – once we have added a few details which have been subsequently established – it can be summarized in an largely objective account.” This is the essence of that account: Franz Graf Walsegg zu Stuppach commissioned Mozart to compose a Requiem for his wife, who had died young. He paid the composer a fee of 50 ducats. Mozart began work, but because of illness and his early death (5 December 1791), he could not complete the composition. In fact, not a single movement of the Requiem has come down to us as Mozart intended. The composer, as he always did in his vocal compositions, began by writing out the vocal parts and instrumental bass line, with scanty indications for string and woodwind parts. He laid out an orchestration consisting of two basset horns, two bassoons, two trumpets, three trombones, timpani, strings, and organ. That does not necessarily mean that Mozart might not have added other instruments to some of the movements, for example by substituting clarinets for the basset horns, or adding parts for flutes or oboes in some movements. (The wide-ranging differences in orchestration throughout Die Zauberflte, completed in September 1791, support this assumption).
B+W 803 diamond series
Audio Lab Holland
Rens Heijnis custom made
Bruel & Kjaer, Schoeps
DCS DSD AD/DA converter
van den Hul
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De muziek is afwisselend levendig en gedragen, waarbij de instrumenten op steeds verschillende manieren met elkaar communiceren. De musici brengen deze gevarieerde interactie met een natuurlijke soepelheid en een groot gevoel voor subtiele nuances. Doordat ze perfect naar elkaar luisteren, zijn ensemble gesprekken ook werkelijk ensemble gesprekken, dialogen ook echt dialogen en komen imitiatieve passages zeer overtuigend over. () Luister ()
De uitvoering is fraai, dramatisch en ook erg transparant. Hier hoort men de uitzonderlijke traditie van de NBV in muziek van vr Mozart
This is about as enjoyable a version of the Mozart Requiem as I have ever encountered. All four soloists sing beautifully Fanfare
The soloists are excellent Stereophile
very carefully and lovely prepared, the phrasing as unanimous as one could wish, the little refinements of rhythm tellingly placed () () the solo singing is admirable, especially the resonant bass and the soprano, Marie-Nolle de Calattay, whose full warm and bright sound and musicianly shaping of the music gives much pleasure () Gramophone
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