Tuesday, 12 November 2013 17:43

Wolfgang Amadeus Mozart - Requiem in D minor K626 [Hybrid SACD Muliti Channel]

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Scottish Chamber Orchestra, conducted by the late Sir Charles Mackerras

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Originally written in 2003, translated to English in 2013

By Mozart's vast compositional range are his vocal-based works among those I might have the greatest interest. His operas, and perhaps to an even greater extent choral works represent for me an unique position.

Mozart's "Requiem" plays a very important role in the latter part of the movie "Amadeus" from the mid 80's - by the way a great movie that should be in every movie collection. Requiem was written in the final months of Mozart's life, and was completed by his pupil Franz Josef Sussmayr. In this disc`s written material it is informed that the work is commissioned by Count Franz von Wallsegg. As far as I know it is far from consensus among music historians on this point, although it may be considered as the most likely occasion for work. It has, however circulated several more or less fanciful rumors about the plant's history, where the robber story related to his rival Antonio Sallieri in Amadeus movie maybe tops imagination, and hardly has particular reality.

In this recording there is an attempt to recapture most of Mozart's spirit in the recording, in parts where recent historical findings have suggested that Sussmayr may have overtaken some of Mozart's "Testament" associated with sketches for this work.

It is with mixed emotions and a lot of respect (or perhaps rather too little respect ...) I venture to comment on the interpretation of this classical recording.

That said, I must nevertheless convey that this recording from Linn Records is a record that musically are among the most interesting interpretations I've heard. The interpretation is characterized by great force and energy, especially for the "Dies Irae", "Rex", and particulary "Confutatis".

Another special feature I find excellent in this interpretation is that it in a masterly manner emphasizes dialogue (and in some cases pulsation) between different instrument groups / choirs. It provides greater feeling that this is not a large mass, but several musical events happening simultaneously, but not parallel (in the geometric sense). As various small roads winding up in the same landscape after its own free style, as opposed to a freeway with many lanes. For this latter phenomenon probably also the very good audio recording must share credit.

I would also like to highlight the superior musical dynamics of "Lacrimosa", and pulsations in the opening bars of the first, "Requiem". The latter gives the closest illusion of shortness of breath in its alternation between stroke groups. I have a somewhat special relationship with this opening, and have not found any inferences made earlier where this has been done quite the way I want it to be. It is very close, although I imagine a little slower pace.

As extras, we find "Adagio & Fugue in C Minor - K546". After the Q number to judge this should be composed in the late 80`s, Mozart died in 1791. Very interesting material, which, like much else Mozart wrote seems to have a much later date. This particularly applies to "Adagio", which I in my ignorance could easily positioned well into the 1800s.

The sound quality of this SACD is very good. My experience is that the larger choir is one of the most difficult to reproduce, on this recording, it works well. As indicated earlier, it is also very good resolution in the sound, which is a prerequisite for the richness of their performance to stand out. In the additional material sound quality appears if possible even a notch better.

5.1 mix is ​​"traditional", ie the surround channels are only used to reveal the acoustics. Anything else would in my view have been unthinkable in such a type of recording (this was originally written in 2003, and not nessecarily my opinion today). True, sometimes when performed in church, the choir is placed on the gallery, but as far as I know this does not count for more "live ferformance" as this is. When I had the pleasure of hearing this work performed in St. John's Church in Bergen, I found at lthe choir at ..... ehhh .... stage.

The recording is highly recommended.

 

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Karl Erik Sylthe

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