Unlimited Streaming
Listen to this album in high quality now on our apps
Start my trial period and start listening to this albumEnjoy this album on Qobuz apps with your subscription
SubscribeEnjoy this album on Qobuz apps with your subscription
Digital Download
Purchase and download this album in a wide variety of formats depending on your needs.
Most music lovers are familiar with the story of Mozart's Requiem, or at least some version of it, most likely that as transmitted in the film Amadeus. Comparatively few would be aware that similarly, death claimed Mozart's closest friend among composers, Michael Haydn, with a Requiem sitting on his desk, the ink yet wet on the page, but the end nowhere in sight. Haydn's Requiem in B flat major was not even as far along as Mozart's was, consisting of only the opening Requiem aeternam, Kyrie, and a few measures of the Dies Irae, about 13 minutes of music for a service that normally lasts close to an hour. Helmuth Rilling, it should be mentioned, has previously recorded this Requiem in the form that it is left to us. Thankfully Haydn had composed an earlier Requiem in 1771, the so-called "Schattenbach" Requiem, that was used to fill in for the remainder of the mass when it was performed at Haydn's own funeral service in 1706. Jump cut ahead 33 years, and one finds provincial Biedermeier master Gunther Kronecker deciding to do the departed composer a favor by completing the work in "Haydn's spirit and style, with which Gunther was familiar." This is what is represented in Carus Verlag's SACD Johann Michael Haydn: Requiem in B, featuring the KammerChor Saarbrücken under Georg Grün and a stellar rank of soloists. The performance is prepared from the edition that Carus has published of this Requiem, as is typical with its releases, being the recording arm of a publishing concern located in Germany.
From the start, one can easily see why it would be desirable for the younger Haydn's late Requiem to come to full liturgical bloom, as it begins so winningly. It opens with a widely spaced chord that spreads out, surprisingly, into a tritone leap in an 11th apart, and gradually works into a "galant fugue," a highly unusual idea that, owing to Haydn's contrapuntal skill, works out beautifully. Once Haydn's 13 minutes are up and Kronecker's 34 begin, it is a whole new ballgame. Kronecker filled out the remaining movements utilizing Haydn's earlier Requiem, Mozart's Requiem (which Haydn himself seems to have been referring to in writing the original piece) and a Requiem once thought to belong to Haydn but now known to have been written by his contemporary Georg Pasterwiz. Given his Biedermeier heritage and limited skill set, Kronecker managed to produce a pastiche of Haydn's Requiem that is markedly inferior in comparison to the source work, and does not sound like Haydn's "spirit and style" at all. Some parts of it are hysterically funny, particularly the "Confutatis" that Kronecker modeled from Mozart. While Mozart's harmonic underpinnings are utilized, the texture is reset with foursquare rhythms, unimaginative vocal entrances, and stale melodic ideas, educating us as to how Mozart might have sounded if he had not been a genius.
The disc is filled out with four brief choral works of Mozart, ranging from "God is Our Refuge, KV 20," written when he was nine, to his last sacred piece, "Ave verum corpus, KV 618." They're okay, but performance-wise this Carus disc is somewhat below its typical standard; while the soloists in the Requiem are very good, even when singing badly composed music, the chorus really isn't that sharp, particularly the women, and there seems to be no consensus among them as to how to pronounce consonants. The chorus sounds mushy and indistinct, despite the fact that this is an SACD. However, this Haydn Requiem will make for a great party record for your friends who are savvy with eighteenth century sacred music, so in the end it isn't all bad, eh?
© TiVo
You are currently listening to samples.
Listen to over 100 million songs with an unlimited streaming plan.
Listen to this playlist and more than 100 million songs with our unlimited streaming plans.
From kr133,33/month
Requiem in B-Flat Major, MH 838 (Michael Haydn)
Michael Haydn, ComposerLyricist - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Julian Pregardien, Tenor, MainArtist, AssociatedPerformer - Jens Hamann, MainArtist, AssociatedPerformer, Bass (Vocal) - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Julian Pregardien, Tenor, MainArtist, AssociatedPerformer - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Jens Hamann, MainArtist, AssociatedPerformer, Bass (Vocal) - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Julian Pregardien, Tenor, MainArtist, AssociatedPerformer - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Jens Hamann, MainArtist, AssociatedPerformer, Bass (Vocal) - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Julian Pregardien, Tenor, MainArtist, AssociatedPerformer - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Jens Hamann, MainArtist, AssociatedPerformer, Bass (Vocal) - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Julian Pregardien, Tenor, MainArtist, AssociatedPerformer - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Jens Hamann, MainArtist, AssociatedPerformer, Bass (Vocal) - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Jens Hamann, MainArtist, AssociatedPerformer, Bass (Vocal) - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Manami Kusano, Alto, MainArtist, AssociatedPerformer - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Lydia Teuscher, Soprano, MainArtist, AssociatedPerformer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Michael Haydn, ComposerLyricist - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Wolfgang Amadeus Mozart, Composer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Wolfgang Amadeus Mozart, Composer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Wolfgang Amadeus Mozart, Composer - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Wolfgang Amadeus Mozart, Composer - Anonymous, Author - Georg Grun, Conductor, MainArtist - KammerChor Saarbrücken, Choir, MainArtist - Kammerphilharmonie Mannheim, Ensemble, MainArtist
℗ 2006 Carus
Album review
Most music lovers are familiar with the story of Mozart's Requiem, or at least some version of it, most likely that as transmitted in the film Amadeus. Comparatively few would be aware that similarly, death claimed Mozart's closest friend among composers, Michael Haydn, with a Requiem sitting on his desk, the ink yet wet on the page, but the end nowhere in sight. Haydn's Requiem in B flat major was not even as far along as Mozart's was, consisting of only the opening Requiem aeternam, Kyrie, and a few measures of the Dies Irae, about 13 minutes of music for a service that normally lasts close to an hour. Helmuth Rilling, it should be mentioned, has previously recorded this Requiem in the form that it is left to us. Thankfully Haydn had composed an earlier Requiem in 1771, the so-called "Schattenbach" Requiem, that was used to fill in for the remainder of the mass when it was performed at Haydn's own funeral service in 1706. Jump cut ahead 33 years, and one finds provincial Biedermeier master Gunther Kronecker deciding to do the departed composer a favor by completing the work in "Haydn's spirit and style, with which Gunther was familiar." This is what is represented in Carus Verlag's SACD Johann Michael Haydn: Requiem in B, featuring the KammerChor Saarbrücken under Georg Grün and a stellar rank of soloists. The performance is prepared from the edition that Carus has published of this Requiem, as is typical with its releases, being the recording arm of a publishing concern located in Germany.
From the start, one can easily see why it would be desirable for the younger Haydn's late Requiem to come to full liturgical bloom, as it begins so winningly. It opens with a widely spaced chord that spreads out, surprisingly, into a tritone leap in an 11th apart, and gradually works into a "galant fugue," a highly unusual idea that, owing to Haydn's contrapuntal skill, works out beautifully. Once Haydn's 13 minutes are up and Kronecker's 34 begin, it is a whole new ballgame. Kronecker filled out the remaining movements utilizing Haydn's earlier Requiem, Mozart's Requiem (which Haydn himself seems to have been referring to in writing the original piece) and a Requiem once thought to belong to Haydn but now known to have been written by his contemporary Georg Pasterwiz. Given his Biedermeier heritage and limited skill set, Kronecker managed to produce a pastiche of Haydn's Requiem that is markedly inferior in comparison to the source work, and does not sound like Haydn's "spirit and style" at all. Some parts of it are hysterically funny, particularly the "Confutatis" that Kronecker modeled from Mozart. While Mozart's harmonic underpinnings are utilized, the texture is reset with foursquare rhythms, unimaginative vocal entrances, and stale melodic ideas, educating us as to how Mozart might have sounded if he had not been a genius.
The disc is filled out with four brief choral works of Mozart, ranging from "God is Our Refuge, KV 20," written when he was nine, to his last sacred piece, "Ave verum corpus, KV 618." They're okay, but performance-wise this Carus disc is somewhat below its typical standard; while the soloists in the Requiem are very good, even when singing badly composed music, the chorus really isn't that sharp, particularly the women, and there seems to be no consensus among them as to how to pronounce consonants. The chorus sounds mushy and indistinct, despite the fact that this is an SACD. However, this Haydn Requiem will make for a great party record for your friends who are savvy with eighteenth century sacred music, so in the end it isn't all bad, eh?
© TiVo
About the album
- 1 disc(s) - 19 track(s)
- Total length: 01:02:31
- 1 Digital booklet
- Main artists: Lydia Teuscher Manami Kusano Jens Hamann KammerChor Saarbrücken Kammerphilharmonie Mannheim Georg Grun
- Composer: Various Composers
- Label: Carus
- Genre: Classical
© 2006 Carus ℗ 2006 Carus
Improve album informationWhy buy on Qobuz...
-
Stream or download your music
Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions.
-
Zero DRM
The downloaded files belong to you, without any usage limit. You can download them as many times as you like.
-
Choose the format best suited for you
Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF...) depending on your needs.
-
Listen to your purchases on our apps
Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go.