Wolfgang Amadeus Mozart: Requiem (version Beyer) - CD, Choir Coach, multimedia | Carus-Verlag

Wolfgang Amadeus Mozart Requiem (version Beyer)

KV 626, 1791

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Ecouter (15)
  • Introitus
  • Kyrie
  • Dies irae
  • Tuba mirum
  • Rex tremendae
  • Recordare
  • Confutatis
  • Lacrimosa
  • Domine Jesu Christe
  • Hostias et preces
  • Sanctus
  • Benedictus
  • Agnus Dei
  • Lux aeterna
  • Cum Sanctis tuis
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S`exercer
    • Introitus (Choir Coach)
    • Introitus (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Dies irae (Choir Coach)
    • Dies irae (Choir Coach, Slow mode)
    • Rex tremendae (Choir Coach)
    • Rex tremendae (Choir Coach, Slow mode)
    • Confutatis (Choir Coach)
    • Confutatis (Choir Coach, Slow mode)
    • Lacrimosa (Choir Coach)
    • Lacrimosa (Choir Coach, Slow mode)
    • Domine Jesu Christe (Choir Coach)
    • Domine Jesu Christe (Choir Coach, Slow mode)
    • Hostias et preces (Choir Coach)
    • Hostias et preces (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Lux aeterna (Choir Coach)
    • Lux aeterna (Choir Coach, Slow mode)
    • Cum Sanctis tuis (Choir Coach)
    • Cum Sanctis tuis (Choir Coach, Slow mode)
    • Introitus (Choir Coach)
    • Introitus (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Dies irae (Choir Coach)
    • Dies irae (Choir Coach, Slow mode)
    • Rex tremendae (Choir Coach)
    • Rex tremendae (Choir Coach, Slow mode)
    • Confutatis (Choir Coach)
    • Confutatis (Choir Coach, Slow mode)
    • Lacrimosa (Choir Coach)
    • Lacrimosa (Choir Coach, Slow mode)
    • Domine Jesu Christe (Choir Coach)
    • Domine Jesu Christe (Choir Coach, Slow mode)
    • Hostias et preces (Choir Coach)
    • Hostias et preces (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Lux aeterna (Choir Coach)
    • Lux aeterna (Choir Coach, Slow mode)
    • Cum Sanctis tuis (Choir Coach)
    • Cum Sanctis tuis (Choir Coach, Slow mode)
    • Introitus (Choir Coach)
    • Introitus (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Dies irae (Choir Coach)
    • Dies irae (Choir Coach, Slow mode)
    • Rex tremendae (Choir Coach)
    • Rex tremendae (Choir Coach, Slow mode)
    • Confutatis (Choir Coach)
    • Confutatis (Choir Coach, Slow mode)
    • Lacrimosa (Choir Coach)
    • Lacrimosa (Choir Coach, Slow mode)
    • Domine Jesu Christe (Choir Coach)
    • Domine Jesu Christe (Choir Coach, Slow mode)
    • Hostias et preces (Choir Coach)
    • Hostias et preces (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Lux aeterna (Choir Coach)
    • Lux aeterna (Choir Coach, Slow mode)
    • Cum Sanctis tuis (Choir Coach)
    • Cum Sanctis tuis (Choir Coach, Slow mode)
    • Introitus (Choir Coach)
    • Introitus (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Dies irae (Choir Coach)
    • Dies irae (Choir Coach, Slow mode)
    • Rex tremendae (Choir Coach)
    • Rex tremendae (Choir Coach, Slow mode)
    • Confutatis (Choir Coach)
    • Confutatis (Choir Coach, Slow mode)
    • Lacrimosa (Choir Coach)
    • Lacrimosa (Choir Coach, Slow mode)
    • Domine Jesu Christe (Choir Coach)
    • Domine Jesu Christe (Choir Coach, Slow mode)
    • Hostias et preces (Choir Coach)
    • Hostias et preces (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Lux aeterna (Choir Coach)
    • Lux aeterna (Choir Coach, Slow mode)
    • Cum Sanctis tuis (Choir Coach)
    • Cum Sanctis tuis (Choir Coach, Slow mode)
plus
Acheter
disque compact Carus 83.207/00, EAN 4009350832077 CD dans un écrin
disponible
19,90 € / pièce
Album audio à télécharger, fichier zip, fichier mp3 Carus 83.207/00-110-000
disponible
8,99 € / pièce
  • As the son of the deputy Kapellmeister to the Salzburg Prince-Archbishop, Mozart was constantly surrounded by church music in his youth. On his travels Mozart became familiar with Italian church music, and later in Vienna he studied the works of Bach and Handel. After moving to Vienna he was faced with the new challenges of composing opera and piano concertos, and significantly the “C Minor Mass” KV 427, the greatest sacred work of the first Vienna years, remained unfinished. The last period of his life again shows a change of direction to church music: Mozart successfully applied to succeed the terminally ill Leopold Hoffmann as Kapellmeister at St Stephen's Cathedral, but he was unable to take up the position as he died before Hoffmann. A gem such as the “Ave verum” KV 618 and the incomplete Requiem KV 626 give us an idea of what Mozart might have achieved as a composer of sacred music if he had taken up this important position. Plus d'information sur la personne
  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Plus d'information sur la personne
  • The Barockorchester Stuttgart, which was founded by Bernius in 1985, specializes in 18th century music. The musicians are among the leading representatives of historical performance practice and perform exclusively on original instruments. The ensemble dedicates itself to a large extent to the revival of 18th century operas. It has performed at numerous international festivals, among others in Rome, Dresden and Göttingen. Plus d'information sur la personne
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Plus d'information sur la personne
  • Claudia Schubert began studying singing in 1986 at the Hochschule für Musik und Darstellende Kunst in Frankfurt with Elsa Cavelti and participated in master classes with Laura Sarti in London. From 1987 to 1991 she held a scholarship from the Studienstiftung des Deutschen Volkes. Since 1987 she has appeared in many important music centers in Europe, in Israel, Japan, Canada and the USA. At renowned festivals for early music she has collaborated with conductors such as Frieder Bernius, Frans Brüggen, Sir John Eliot Gardiner, Reinhard Goebel, Ton Koopman, Herrmann Max, and Jordi Savall. Her activities have been augmented with guest appearances at the opera houses in Frankfurt, Brussels and Salzburg. Plus d'information sur la personne

Critiques

Im Kleide des ausgehenden zwanzigsten Jahrhunderts

Im Kleide des ausgehenden zwanzigsten Jahrhunderts

Es ist populär wie eh und je: W.A. Mozarts Requiem. Die große unvollendete und sagenumwobene Totenmesse des Wiener Meisters zählt zweifelsohne zu den bedeutendsten Werken der Chorliteratur und das trotz oder vielleicht auch wegen der theatralisch ausgestatteten Sequenz vom göttlichen Zorn und den Ereignissen am Tag des jüngsten Gerichtes im Zentrum des Werkes. Dieses „Dies irae” (Tag des Zorns) war inzwischen sogar der katholischer, Kirche ein Dorn im Auge und ist mittlerweile aus der Liturgie verbannt worden - ein Umstand, der leider wenig bekannt ist. Dennoch zählt Mozarts Vertonung dieser Furcht einflößenden mittelalterlichen Dichtung zu seinen eindrücklichsten Hinterlassenschaften, obwohl der Komponist nur die Vokalstimmen dieses Abschnittes vollendet hat, die Instrumentierungen sind das Werk seines Schülers Franz Xaver Süßmayr. Vor allem dieser Sachverhalt ist denn auch Anlass für verschiedene Interpretationen des Mozartschen Requiems, von denen das Barockorchester und der Kammerchor Stuttgart unter der Leitung von Frieder Bernius eine neue vorlegen. Mit technischer und stimmlicher Brillianz bieten die schwäbischen Künstler eine vorzügliche künstlerische Leistung, die vor allem durch Transparenz in den polyphonen Abschnitten besticht. [ ]
Auf jeden Fall bietet Frieder Bernius mit seinen hervorragenden Musikern ein interessantes und durchweg hörenswertes Requiem auf höchstem künstlerischen Niveau!

Quelle: Cantate 1/2001, S. 40

 

Von innen erschlossen

So alt wie Mozarts Requiem ist auch die Frage seiner Authentizität: Hat Mozarts Schüler Süßmayr für das unvollendet gebliebene Werk nun wirklich Sanctus, Benedictus, Communio und das Agnus Dei „völlig neu” dazukomponiert, oder gab es doch schon mozartsche Skizzen dafür? Sicher ist jedenfalls, dass Süßmayrs Instrumentation auch jener Teile, für die es mit Sicherheit schon Vorlagen gab, nicht immer besonders mozartisch geraten ist. Dieser Umstand hat schon vor fast dreißig Jahren Franz Beyer dazu veranlasst, die süßmayrsche Instrumentation zu revidieren, so hat er beispielsweise den Tonsatz des Dies Irae mit seinen etwas Effekt heischend klingenden Pauken und Trompeten beträchtlich verschlankt.
Dies wäre aber allein noch kein Grund, sich eine weitere Aufnahme des Requiems zuzulegen. Wohl aber die Neueinspielung der beyerschen Fassung mit dem Stuttgarter Kammerchor und dem Barockorchester Stuttgart, die der Dirigent Frieder Bernius nun vorgelegt hat. Sicher gibt es Aufnahmen des Requiems, die mächtiger und üppiger klingen. Aber kaum eine, die feiner gezeichnet ist und mehr Nuancen aufweist.
Bernius ist nicht an Äußerlichkeiten interessiert: Er erschließt die Musik von innen heraus, aus ihrer Polyphonie, aus der Textdeklamation und vor allem aus dem Klang. Auch wer meint, das Requiem schon gut zu kennen, sollte sich doch einmal diese CD anhören. Man hört hier vieles wie zum ersten mal. Die Klangqualität der Live-Aufnahme aus der Stuttgarter Liederhalle ist obendrein fantastisch.

Quelle: Stuttgarter Zeitung

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