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Langue disponible : anglais
A Bratislavan composer and author of medical texts, Peter Lichtenthal, did much to popularize the music of Wolfgang Amadeus Mozart in his adopted Italy, notably through his transcription for string quintet of the Symphony No. 40 in G minor and a piano reduction of the opera Idomeneo. His version for string quartet of the Requiem in D minor, which he trimmed down to fit the ensemble’s four parts, is less an artful transcription than a practical rendering, often alternating between the salient features of the orchestral parts and the vocal and choral passages, while revealing the limitations of reducing a complex score to a chamber setting. In a sense, this was a necessary solution for both professional and amateur musicians who wanted to get some idea of Mozart’s unfinished masterpiece, and Lichtenthal based his version closely on the completion by Franz Xaver Süssmayr. The Pandolfis Consort performs this arrangement on period strings, and their attempt to convey the spirit of the Requiem is valid, though the music itself is somewhat thin in sound quality. Gramola’s recording seems untouched by studio enhancements, so the group is exposed and a bit gritty in texture, far from the rich textures of the original. Yet listeners in the early 19th century likely heard such arrangements with the understanding that much was missing, and no doubt expected an amateur performance to be a little unpolished. A fascinating curio for Mozart fans, Lichtenthal’s take on Mozart’s final masterpiece demonstrates how music was usually consumed by the public in the age before recordings.
© TiVo
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Requiem in D Minor, K. 626 (arr. P. Lichtenthal for string quartet) (Wolfgang Amadeus Mozart)
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Wolfgang Amadeus Mozart, Composer - Peter Lichtenthal, Composer - Pandolfis Consort, Ensemble, MainArtist
(C) 2019 Gramola Records (P) 2019 Gramola Records
Chronique
A Bratislavan composer and author of medical texts, Peter Lichtenthal, did much to popularize the music of Wolfgang Amadeus Mozart in his adopted Italy, notably through his transcription for string quintet of the Symphony No. 40 in G minor and a piano reduction of the opera Idomeneo. His version for string quartet of the Requiem in D minor, which he trimmed down to fit the ensemble’s four parts, is less an artful transcription than a practical rendering, often alternating between the salient features of the orchestral parts and the vocal and choral passages, while revealing the limitations of reducing a complex score to a chamber setting. In a sense, this was a necessary solution for both professional and amateur musicians who wanted to get some idea of Mozart’s unfinished masterpiece, and Lichtenthal based his version closely on the completion by Franz Xaver Süssmayr. The Pandolfis Consort performs this arrangement on period strings, and their attempt to convey the spirit of the Requiem is valid, though the music itself is somewhat thin in sound quality. Gramola’s recording seems untouched by studio enhancements, so the group is exposed and a bit gritty in texture, far from the rich textures of the original. Yet listeners in the early 19th century likely heard such arrangements with the understanding that much was missing, and no doubt expected an amateur performance to be a little unpolished. A fascinating curio for Mozart fans, Lichtenthal’s take on Mozart’s final masterpiece demonstrates how music was usually consumed by the public in the age before recordings.
© TiVo
À propos
- 1 disque(s) - 12 piste(s)
- Durée totale : 00:43:33
- 1 Livret Numérique
- Artistes principaux : Pandolfis Consort
- Compositeur : Various Composers
- Label : Gramola Records
- Genre : Classique Musique de chambre
(C) 2019 Gramola Records (P) 2019 Gramola Records
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