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Mozart: Requiem, K. 626
Nikolaus Harnoncourt
Classical - Released October 22, 2021 | Warner Classics
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Mozart: Requiem Realisations
Academy of Ancient Music
Classical - Released April 8, 2013 | Kings College Cambridge
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Wolfgang Amadeus Mozart : Requiem
Accentus - Laurence Equilbey
Masses, Passions, Requiems - Released September 29, 2014 | naïve classique
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5 clés de sol d'Opéra
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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: 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
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
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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Mozart: Requiem
Philippe Herreweghe
Sacred Vocal Music - Released October 10, 1996 | harmonia mundi
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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 & 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
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Mozart: Requiem in D Minor, K. 626 mit Werkeinführung (Live)
Markus Vanhoefer
Classical - Released October 2, 2020 | BR-Klassik
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The version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on Süßmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's Requiem is followed by Neukomm's Respond Libera me, Domine – and for musical, liturgical and chronological reasons, the programme begins with Mozart's Vesperae solennes de Confessore KV 339 (1780), composed of psalms from the Old Testament as well as the Magnificat from the Gospel of St Luke and composed for the liturgical festival of a holy confessor. Howard Arman has prepended Mozart’s movements for the festival vespers with antiphons taken from the vespers De Confessore Pontifici (for a confessor who was a bishop) of the Gregorian Liber usualis, and has also composed his own organ intonations to enhance the antiphons. Although it remained incomplete as Mozart’s last work, the Requiem in D minor (1791) ranks as one of the most important settings of the Latin Mass for the Dead ever written. Immediately after Mozart's all too premature death, his pupil Franz Xaver Süßmayr elaborated a completed version that is still appreciated and regularly performed to this day because of its close proximity to the original – and this despite a number of new adaptations created over the years that sometimes add cautious improvements to the Süßmayr version or instead follow their own lights entirely. – Mozart’s Requiem KV 626 from 1791 is followed by Sigismund von Neukomm's Libera me, Domine, the Respond from the Liturgy of Exequies composed by Neukomm in 1821 as a liturgical completion of Mozart's Requiem for a performance in Rio de Janeiro (the Salzburg composer Neukomm had emigrated to Brazil in 1816). © BR-Klassik
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Mozart: Requiem
Carlo Maria Giulini
Classical - Released September 13, 2010 | Warner Classics
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Mozart: Requiem in D Minor, K. 626
Bach Collegium Japan
Classical - Released November 3, 2014 | BIS
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Because Mozart left his Requiem in D minor unfinished at the time of his death in 1791, various completions have been attempted to make it performable, in some way reflecting his intentions and style. The most frequently used version in modern times was completed by Mozart's assistant, Franz Xaver Süssmayr, and despite some compositional errors and clumsy orchestration, its form is widely accepted to accord with Mozart's final instructions. Another completion was started by Mozart's friend, Joseph Eybler, at the request of Constanze Mozart, though he was unable to finish it. Other restorers have typically modified Süssmayr's orchestration, added the fragmentary (and somewhat speculative) Amen fugue to the end of the Sequence, or recomposed parts of the Offertory, Agnus Dei, and Benedictus, which are Süssmayr's handiwork. In this stunning performance by Masaaki Suzuki and the Bach Collegium Japan, the scholarly completion by Masato Suzuki is performed, which closely follows Mozart's autograph and incorporates Süssmayr's better additions with elements by Eybler, as well as some changes to the orchestration that correspond to Mozart's practices. As a result of this careful sifting of material, the Requiem seems to have shed a lot of historical baggage, both in its textures and its sound, and this brilliantly recorded hybrid SACD offers clarity and balance, which enhance the effect of this leaner and tighter Requiem. But much of this newfound transparency is due to the alert performance by Suzuki's choir and original instruments orchestra, which give the Requiem lucid parts and exciting sonorities. This recording also includes the Vesperae Sollennes de confessore, a work Mozart composed ten years before the Requiem. Thanks to the predominance of major keys and the lighter mood of the music, it provides a good balance to the much darker-hued Requiem. On a bonus track, an alternate version of the Tuba mirum is provided. This BIS recording is highly recommended.© TiVo
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Requiem. Mozart, Fauré, Brahms, Duruflé, Verdi
Michel Corboz
Classical - Released October 22, 2021 | Warner Classics
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Mozart: Requiem
Mariss Jansons
Classical - Released April 4, 2014 | Royal Concertgebouw Orchestra
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In this era of minimally sized ensembles performing Mozart, it's almost refreshing to hear the composer's swan song, the unfinished Requiem in D minor, K. 626, performed by the sizable Royal Concertgebouw Orchestra of Amsterdam under conductor Mariss Jansons. The recording is part of a series of live performances of major requiem masses, with those by Brahms and Verdi following this one. Indeed, Jansons' reading of Mozart's mass seems to look forward to the other two; it has a broad Romantic feel and an operatic tinge in the solo parts, ably supported by a quartet of soloists including the mighty contralto Bernarda Fink. Operatic is probably the way to go in Mozart when dealing with a large orchestra, and in general this is a strong example of a rather old-fashioned way of doing Mozart, one that still has plenty of mileage. Sample the opening Introitus and its extremely unusual and very effective pacing quality. The Netherlands Radio Choir's contributions in the explosive Dies Irae and other large sections are outstanding, with power married to contrapuntal precision. The sound from the engineering team associated with the orchestra's in-house label is excellent; there's many a studio recording that can only aspire to this level of clarity and fidelity. This is, in short, an exceptional Mozart Requiem for anyone with any sympathy for what the 19th century brought to the work.© TiVo
![Genia Kühmeier Mozart: Requiem in D Minor, K. 626 Missa pro defunctis (Completed by F.X. Süßmayr) [Live]](https://static.qobuz.com/images/covers/5b/9f/bwmtx6waj9f5b_100.jpg)
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Mozart: Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr) [Live]
Genia Kühmeier
Classical - Released November 5, 2021 | BR-Klassik
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Mozart: Requiem - Bruckner: Te Deum
Daniel Barenboim
Classical - Released September 1, 2008 | Warner Classics
Even though EMI counts Daniel Barenboim's 1971 recording of Wolfgang Amadeus Mozart's Requiem in D minor among the Great Recordings of the Century, it may not suit all listeners: whether one agrees with the choice or not depends on receptivity to the style of playing and the vintage of the recording. Bearing in mind that Barenboim leads the John Alldis Choir and the English Chamber Orchestra in the standard edition by Franz Xaver Süssmayer, and delivers a fairly conventional reading with few concessions to Classical period practice, this is a solid performance with few new revelations. In a time when recordings of scholarly editions and alternate completions of the Requiem are readily available, this reissue seems aimed at a more traditional audience that wants no fussing over the possibilities of what Mozart might have done. Since this rendition offers fine vocal solos from such greats as soprano Sheila Armstrong, mezzo-soprano Janet Baker, tenor Nicolai Gedda, and baritone Dietrich Fischer-Dieskau, with hearty singing from the choir and crisply articulated playing from the orchestra, it might appeal more to fans of the performers than to serious students of Mozart's final work. However, everyone should be aware that the analog sound has a fair amount of hiss that digital mastering could not quite eliminate, and that the high end of the register is boosted, sometimes to an overly bright effect. The filler piece, Anton Bruckner's Te Deum, was performed by Barenboim and the New Philharmonia Chorus & Orchestra in 1969, and features soprano Anne Pashley, contralto Birgit Finnilä, tenor Robert Tear, and bass Don Garrard. This declamatory work fits rather well with the Requiem because it shares the same somber religious mood, but it is of secondary importance in musical substance, especially when compared with Mozart's masterpiece. The recording of the second performance is warm, clean, and somewhat more pleasant in sound quality than the main work. However, some out-of-tune humming -- perhaps Barenboim's? -- is detectable in several spots.© TiVo
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Mozart: Requiem, K. 626
Nikolaus Harnoncourt
Choral Music (Choirs) - Released February 1, 1984 | Warner Classics International
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