Requiem - Wolfgang Amadeus MOZARTby Beirut768
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November 04, 2008:
Herbert von Karajan, the septuagenarian conductor of this recording has been ebullient and full of life as ever. Karajan took full command of the Berliner Phihamoniker orchestra demonstrating his long artistic experience about the blissful meaning of this Requiem as though he were also the author, the musician, and the composer.
This Requiem is a happy one. Mozart did his work in a mood of friendly reception of what is inevitably coming. The composer genius never feared the event of dying or departure from life, it was not scaring to his character. The teachings of certain short-tempered and intransigent dictatorial clerics that made death dreaded and hated gave Mozart welcome opportunity to defeat this credo and show his mettle as an erudite musician. A dedicated member of the Lodge, Mozart was totally involved with the Masonic theories and philosophies of `'death'' and their symbolic relationship to the `'Master Mason Degree"; on April 4, 1787 Mozart wrote to his father ""As death is the real purpose of our life, for several years I have become so closely acquainted with this true and best friend of our life, that his image is not only no longer terrifying to me, but rather something very soothing and comforting! And I thank God for affording me, in His grace, the opportunity (you understand me) of realizing that he is the key to our happiness. I never lie down in bed without thinking that (young as I am) I may not live to see the next day - and yet no one, especially among those who know me, can say that in daily life I am stubborn or sad - and for this happiness I give thanks to my Creator every day and wish every man the same from the bottom of my heart ......""
Both Mozart/Karajan could see this eye to eye with each other. Karajan altered not an iota in any note, the happy notes are apparent in the violins. In fact I am inclined to say Mozart and Karajan performed as if they were close contemporaries, inhabited the same spiritual world and always succeeded in speaking the same language.
In 1791 Wolfgang Amadeus Mozart composed The Requiem Mass (K 626).
Karajan has been able to make vibrate Mozart's musical spirit and with it bring the audience to affectionate delight. Berliner Philharmoniker is superb, so are the singers' voices and harmoniousness with one another.
We are unfortunate, though, that this masterpiece remains unfinished... forever.
Far from the bestby Anonymous
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April 10, 2002:
I wouldn't go here for a first exposure to the Mozart Requiem. Or for any other exposure, for that matter. Only the Recordare and the Benedictus manage to convey the emotional range resident in the compositions themselves. Aside from those, the interpretations presented here are dull, dull, dull! The Rex Tremendae is almost unlistenable...the labored tempo made me feel like I was drowning in molasses, and the drama of the Last Judgment inherent in the text and the music doesn't begin to come through. The Lacrimosa was equally horrible; the pathos inherent in Mozart's portrayal is completely stifled by a chorus and orchestra who clearly don't get it. If you love the Mozart Requiem, get your credit cards out and order online, NOW, Robert Shaw's version with the Atlanta Symphony. Compare the differences, specifically in the movements I mentioned, and you'll hear the work as it's supposed to sound.
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