Mozart: Requiem in D minor, K626

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The two boy soloists acquit themselves admirably, with barely a hint of vulnerability in exposed moments such as the "Te decet hymnus" or the "Recordare", and combine well with the two men to... — Gramophone Magazine, October 2011 More…

Release Date: 31st May 2011
Catalogue No: NCR1383
Label: novum
Length: 48 minutes

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

Mozart: Requiem in D minor, K626

Work length48:36

$14.00

$18.20

Choir of New College Oxford, Orchestra of the Age of Enlightenment
Edward Higginbottom

Introit: Requiem aeternam (Chorus)

Track length4:27

$1.00

$1.30

Kyrie eleison (Chorus)

Track length2:37

$1.00

$1.30

Sequence No. 1: Dies Irae (Chorus)

Track length2:07

$1.00

$1.30

Sequence No. 2: Tuba miram (Soprano, Mezzo-soprano, Tenor, Baritone)

Track length3:06

$1.00

$1.30

Sequence No. 3: Rex tremendae majestatis (Chorus)

Track length2:05

$1.00

$1.30

Sequence No. 4: Recordare, Jesu pie (Soprano, Mezzo-soprano, Tenor, Baritone)

Track length5:22

$1.00

$1.30

Sequence No. 5: Confutatis maledictis (Chorus)

Track length2:51

$1.00

$1.30

Sequence No. 6: Lacrimosa dies illa (Chorus)

Track length2:42

$1.00

$1.30

Offertory No. 1: Domine Jesu Christe (Chorus)

Track length3:35

$1.00

$1.30

Offertory No. 2: Hostias et preces (Chorus)

Track length3:46

$1.00

$1.30

Sanctus (Chorus)

Track length1:34

$1.00

$1.30

Benedictus (Soprano, Mezzo-soprano, Tenor, Baritone)

Track length5:56

$1.00

$1.30

Agnus Dei (Chorus)

Track length2:54

$1.00

$1.30

Communion: Lux aeterna (Soprano, Chorus)

Track length5:34

$1.00

$1.30

About
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About

This distinctive recording of Mozart’s last great work can claim to be unique in two defining ways: the use of soloists drawn from the chorus, as in Mozart’s day – including young male singers for the soprano and alto solos – combined with a period orchestra. These are not idle historical gestures. The contemporary virtues of this approach are consistency in the sound-world between chorus and solo ensemble, and homogeneity of style between period ensemble (here the superlative Orchestra of the Age of Enlightenment) and period chorus.

The musical text employed is Süssmayr’s completion of Mozart’s unfinished score – what Christoph Wolff has called ‘the only document that represents the genuine musical truth of the unfinished work’.

Reviews

October 2011

The two boy soloists acquit themselves admirably, with barely a hint of vulnerability in exposed moments such as the "Te decet hymnus" or the "Recordare", and combine well with the two men to create a more truthfully "ecclesiastical" sound than is often the case with starrier projects. The choir is full-throated and admirably secure.

17th June 2011

Edward Higginbottom has opted to ignore the plethora of more recent completions in favour of Süssmayr's "official" version, his faithfulness extending to drawing individual soloists from the choir, even using male voices for the higher parts. It's an interesting exercise which perhaps pays greatest dividends in the "Benedictus" section employing just the quartet of soloists.

Mozart: Requiem in D minor, K626

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