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Wolfgang Amadeus Mozart|Mozart: Requiem

Mozart: Requiem

Helmut Koch, Berlin Radio Soloists, Berlin Radio Symphony Orchestra, Jutta Vulpius, Gertraud Prenzlow, Rolf Apreck, Theo Adam

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In a time when authentic Classical practices and scholarly editions of Wolfgang Amadeus Mozart's Requiem in D minor are considered de rigueur, it's instructive to hear how this work was sometimes performed in the middle of the 20th century, before the advent of historically informed performances. Helmut Koch led the Berlin Radio Symphony Orchestra and Chorus in this 1962 performance, and with an exaggerated sense of reverence and an emphatically serious expression, they gave this work a stodgy and weighty reading that many listeners will find dreadfully sluggish, particularly in comparison with most period-style recordings. Aside from the conventionally fast Kyrie (and corresponding Cum Sanctis), a stormy Dies Irae, and an uncharacteristically speedy Sanctus, the tempos are consistently slow to the point of turgidity, and the music never has a chance to rise to seraphic heights with the thickness of the choruses. Perhaps most egregious to modern ears is the soprano's excessive vibrato in the Introit and the Lux Aeterna, which makes her solos the least attractive passages in the recording. Add to the general heaviness of the performance the inferior recorded sound (which in fortissimo choral sections is overloaded and distorted) and most listeners will reject this as a poor option when there are so many cleaner and brighter recordings available.

© TiVo

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Mozart: Requiem

Wolfgang Amadeus Mozart

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Requiem in D Minor, K. 626 (Various Composers)

1
Requiem: Introitus - Kyrie: Adagio
Jutta Vulpius
00:09:25

Jutta Vulpius, Performer

2010 Edel Germany GmbH 2008 VEB Deutsche Schallplatten Berlin

2
Dies Irae: Allegro assai
Rundfunk Sinfonieorchester Berlin
00:01:47

Rundfunk Sinfonieorchester Berlin, Orchestra

2010 Edel Germany GmbH 2008 VEB Deutsche Schallplatten Berlin

3
Tuba Mirum: Andante
Jutta Vulpius
00:04:21

Jutta Vulpius, Performer

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

4
Rex Tremendae: Grave
Rundfunk Sinfonieorchester Berlin
00:03:12

Rundfunk Sinfonieorchester Berlin, Orchestra

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

5
Recordare: Andante
Jutta Vulpius
00:07:55

Jutta Vulpius, Performer

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

6
Confutatis: Andante
Rundfunk Sinfonieorchester Berlin
00:04:23

Rundfunk Sinfonieorchester Berlin, Orchestra

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

7
Lacrimosa: Larghetto
Rundfunk Sinfonieorchester Berlin
00:04:51

Rundfunk Sinfonieorchester Berlin, Orchestra

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

8
Domine Jesu: Andante con moto
Jutta Vulpius
00:04:17

Jutta Vulpius, Performer

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

9
Hostias: Andante
Rundfunk Sinfonieorchester Berlin
00:04:46

Rundfunk Sinfonieorchester Berlin, Orchestra

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

10
Sanctus: Adagio
Rundfunk Sinfonieorchester Berlin
00:01:22

Rundfunk Sinfonieorchester Berlin, Orchestra

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

11
Benedictus: Andante - Allegro
Jutta Vulpius
00:07:07

Jutta Vulpius, Performer

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

12
Agnus Dei
Jutta Vulpius
00:11:01

Jutta Vulpius, Performer

2010 Edel Germany GmbH 1964 VEB Deutsche Schallplatten Berlin

Chronique

In a time when authentic Classical practices and scholarly editions of Wolfgang Amadeus Mozart's Requiem in D minor are considered de rigueur, it's instructive to hear how this work was sometimes performed in the middle of the 20th century, before the advent of historically informed performances. Helmut Koch led the Berlin Radio Symphony Orchestra and Chorus in this 1962 performance, and with an exaggerated sense of reverence and an emphatically serious expression, they gave this work a stodgy and weighty reading that many listeners will find dreadfully sluggish, particularly in comparison with most period-style recordings. Aside from the conventionally fast Kyrie (and corresponding Cum Sanctis), a stormy Dies Irae, and an uncharacteristically speedy Sanctus, the tempos are consistently slow to the point of turgidity, and the music never has a chance to rise to seraphic heights with the thickness of the choruses. Perhaps most egregious to modern ears is the soprano's excessive vibrato in the Introit and the Lux Aeterna, which makes her solos the least attractive passages in the recording. Add to the general heaviness of the performance the inferior recorded sound (which in fortissimo choral sections is overloaded and distorted) and most listeners will reject this as a poor option when there are so many cleaner and brighter recordings available.

© TiVo

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