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Miroir(s) (Œuvres de Johann Sebastian Bach, Karol Beffa, Johan Farjot, Raphaël Imbert, Wolfgang Amadeus Mozart, Henry Purcell, Erik Satie, William Walker)

Ensemble Contraste

Jazz - Released September 16, 2013 | naïve classique

Hi-Res Booklet Distinctions 4 étoiles Classica
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Mozart 06: Lacrimosa (Arr. For Jazz Quartet)

Maximilian Geller Quartet

Jazz - Released August 19, 2008 | EDITION COLLAGE

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W. A. Mozart: Requiem in D Minor, K. 626

Jordi Savall

Classical - Released May 5, 2023 | Alia Vox

Hi-Res Booklet Distinctions Qobuz Album of the Week
Hearing rumours of great artists remastering their works several years after their release is sure to put you on your toes. Once the comparison between the different recordings is over, one is tempted to see them as snapshots of an aesthetic ethos, testaments to an artistic evolution. In this case, Jordi Savall offers us a fine gift: 30 years after his first version of the Requiem, here he is, conducting Mozart's masterpiece with an entirely new Concert des Nations. Savall’s gesture becomes all the more touching as he explains that it was motivated by a chance personal anecdote from when he was 14—his dazzling and unexpected confrontation with Mozart's quasi-testamentary work. In this new production, the Catalan master takes his obsession with detail and historically informed interpretation even further: from the exact Latin pronunciation employed in Vienna at the time, to the pitch 430, to the specific embouchures of the trombones. The ensemble also drew on the remarkable work of the musicologists Jean and Brigitte Massin. This Requiem is captivating in its fluidity. The soloists sparkle—the stunning soprano Rachel Redmond and the baritone Manuel Walser in particular. The choirs of the Capella Nacional de Catalunya form a solid rock with the Concert des Nations, each group embracing the asperities of the other in a play of contrasts and chiaroscuro touching on the mystery of Mozart's ambiguous relationship with the Christian faith. The recording culminates in the "Lacrymosa", which quietly devastates with its balance and the sensuality of its melodic lines. This new version is among the best in that it handles the mystery of Mozart's genius without ever distorting it. © Pierre Lamy/Qobuz
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Mozart: Requiem, K. 626

Nikolaus Harnoncourt

Classical - Released October 22, 2021 | Warner Classics

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Wolfgang Amadeus Mozart : Requiem

Accentus - Laurence Equilbey

Masses, Passions, Requiems - Released September 29, 2014 | naïve classique

Hi-Res Booklet Distinctions 5 clés de sol d'Opéra
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Mozart: Requiem Realisations

Academy of Ancient Music

Classical - Released April 8, 2013 | Kings College Cambridge

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Mozart: Requiem in D Minor, K. 626 - Neukomm: Libera me, Domine (Live)

Christina Landshamer

Classical - Released August 6, 2021 | BR-Klassik

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Given the fact that the work is incomplete, and given the weaknesses in Franz Xaver Süßmayr's work, there has been a widespread fashion in recent years among musicologists and performers to retouch, if not to entirely rewrite, certain parts of Mozart's Requiem. This new version conducted by Howard Arman is no exception.Rightly acknowledging that Süßmayr's work has become an integral part of the history of this masterpiece, Arman left Süßmayr's work untouched, instead tackling only those pages written by Mozart himself. In particular, the Lacrimosa, only the beginning of which is from the hand of Amadeus. In contrast to Süßmayr's modesty, Howard Arman ends this page with a fugue of his own, a rather conventionally written Amen in D minor, the theme of which is taken from a sketch which was in the possession of Constanze. Written "in all humility" (sic), this new page restores the Lacrimosa to the same proportions as the Requiem aeternam and the Kyrie at the beginning of the work, in a rather questionable attempt at coherence. Howard Arman's objective style of conducting is at odds with the romantic versions in the style of Karl Böhm that have raised Mozart's Requiem to stand alongside the greatest works of the genre. The material certainly gains in readability here, though not necessarily in emotion.While the sleeve text gives us an idea of the intentions behind Howard Arman's edition, it does not say a word about the Libera me, written by Sigismund Ritter von Neukomm around 1816, as a complement to Mozart's posthumous works. But the gesture was the same as the one that Arman has made more than two hundred years later, which shows that the mystery of Mozart's Requiem remains unresolved and continues to inspire the most diverse range of responses. © François Hudry / Qobuz
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Mozart : Requiem

Sir Colin Davis

Classical - Released November 9, 1991 | LSO Live

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Mozart: Requiem, K. 626 (Süssmayr - Dutron 2016 Completion)

René Jacobs

Classical - Released October 27, 2017 | harmonia mundi

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1791: a busy year for Mozart who, when he received a commission for a Requiem, was already working on Die Zauberflöte and had a deadline to deliver La clemenza di Tito. Everyone knows what happened next: the commission postponed, exhaustion and death, a work left unfinished and which, after several composers were approached, was finally completed by Süssmayr. This version gradually became established as the closest to Mozart’s intentions, but is not free of faulty part-writing and orchestration. In 2016 a young French composer, Pierre-Henri Dutron, persuaded René Jacobs to perform his own revision of the Requiem completed by Süssmayr. This new version was created with great success in a series of five concerts around Europe in November 2016. © harmonia mundi
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Mozart: Requiem in D minor, K.626

Hermann Scherchen

Classical - Released July 22, 2021 | Alexandre Bak - Classical Music Reference Recording

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Mozart, W.A.: Requiem In D Minor, K.626

Anna Tomowa-Sintow

Classical - Released January 1, 2007 | Deutsche Grammophon (DG)

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These performances of Wolfgang Amadeus Mozart's Requiem in D minor, K. 626, and his Mass No. 15 in C major, "Coronation," K. 317, date from September 1975, and though the recordings are decent for Deutsche Grammophon's analog technology of the time, listeners who are accustomed to the full digital experience may find they are a bit limited in range, soft-focused, and spatially shallow in this remastered edition. This doesn't really aid an appreciation of the performances by the Wiener Singverein and the Berlin Philharmonic, conducted by Herbert von Karajan, which already tend toward a rich, overly Romantic tone and heavy textures that have become quite thickened here. Of course, devotees of Karajan will be familiar with the fat sound and will want to have this disc in spite of its lack of crispness and its excessive weightiness. As part of the 2008 celebrations surrounding the centennial of Karajan's birth, this reissue is also included as the ninth volume in the 10-CD Master Recordings box set, so aficionados of the conductor will likely snap it up without question. Others may wish to have it for the vocals of soprano Anna Tomowa-Sintow, contralto Agnes Baltsa, tenor Werner Krenn, and bass José van Dam, who form a finely blended and warm quartet that brings some much-needed light and clarity to the otherwise ponderous and murky-sounding performances.© TiVo
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MozartReworked

Mao Fujita

Classical - Released May 5, 2023 | Sony Classical

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Mozart: Requiem

Philippe Herreweghe

Sacred Vocal Music - Released October 10, 1996 | harmonia mundi

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Mozart: Requiem in D minor, K. 626 by Hermann Scherchen

Hermann Scherchen

Classical - Released March 23, 2023 | Alexandre Bak - Classical Music Reference Recording

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Mozart: Requiem & Ave verum corpus

William Christie

Choral Music (Choirs) - Released July 1, 1995 | Warner Classics International

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Mozart: Requiem in D Minor, K. 626

MusicAeterna

Classical - Released March 14, 2011 | Alpha Classics

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This release stands out from among both the dozens or hundreds of available recordings of Mozart's Requiem in D minor, K. 626, and from among the recordings in the catalog of France's Alpha label. On the latter count, while most of Alpha's recordings have been historically oriented, this one falls into glorious Russian tradition of luxurious expression, and the usual art-historical essay included with Alpha's discs is missing here (although the packaging does bear some gorgeous Byzantine iconography). The recording pairs four western European soloists, who traveled all the way to Novosibirsk for the lengthy recording sessions, with the New Siberian Singers and the chamber orchestra MusicAeterna under its conductor, Teodor Currentzis. This is not a large choir (33 singers), but it has the rich sound associated with Russian opera choruses, which is what this group does as a general rule. If you're thinking this sounds a bit like Mozart as conducted by Rachmaninov, you're about right, especially in the sections where the dying Mozart seems to gaze into the fires of hell. The considerably more delicate soloists, especially alto Stéphanie Houtzeel, make a vivid contrast with the choir in this deeply colored, almost raw performance, which is nevertheless very carefully done in its details and sonically matched to the Novosibirsk opera house where it was recorded. By any measure this choir is a striking new talent.© TiVo
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Mozart: Requiem & Ave Verum

Riccardo Muti

Classical - Released February 28, 1988 | Warner Classics

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Mozart: Requiem in D Minor

Sergiù Celibidache

Classical - Released July 3, 2006 | Warner Classics