MOZART - Requiem In D Minor KARAJAN & BPO + VIENNA Singverein

Posted By: galmuchet

MOZART - Requiem In D Minor KARAJAN & BPO + VIENNA Singverein

Release Date: 16 May, 1990 Label: Deutsche Grammophon UP (high quality)

Requiem for Soloists, Chorus, and Orchestra, K. 626
Composé par Wolfgang Amadeus MOZART
Interprété par BERLIN Philharmonic Orchestra / VIENNA Singverein Avec Agnes BALTSA, Jose Van DAM, Werner KRENN, Rudolf SCHOLZ, Anna TOMOWA-SINTOW
Dirigé par Herbert von KARAJAN

Sorry no Cover... File .ape & .cue to burn (I used Nero 7, you can find in Software section) I think this is not the same source than joshua

Agnes BALTSA (Alto), José Van DAM (Basse), Wolfgang Amadeus MOZART (Compositeur), Herbert von KARAJAN (Chef d'orchestre), BERLINER Philharmoniker (Orchestre), WIENER
Singverein (Orchestre), Rudolf SCHOLZ (Orgue), Anna TOMOWA-SINTOW (Soprano), Werner KRENN (Ténor)

01. Requiem, Kv 626 : Introitus
02. Requiem, Kv 626 : Kyrie
03. Requiem, Kv 626 : Sequenz : Dies Irae
04. Requiem, Kv 626 : Sequenz : Tuba Mirum
05. Requiem, Kv 626 : Sequenz : Rex Tremendae
06. Requiem, Kv 626 : Sequenz : Recordare
07. Requiem, Kv 626 : Sequenz : Confutatis
08. Requiem, Kv 626 : Sequenz : Lacrimosa
09. Requiem, Kv 626 : Offertorium : Domine Jesu
10. Requiem, Kv 626 : Offertorium : Hostias
11. Requiem, Kv 626 : Sanctus
12. Requiem, Kv 626 : Benedictus
13. Requiem, Kv 626 : Agnus Dei
14. Requiem, Kv 626 : Communio : Lux Aeterna

Country of Origin: VIENNA, Austria
Period: Classical
Written: 1791
Language: Latin

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Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the
soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid. Ted Libbey