Customer Reviews

Mozart: Requiem, K.626

5 star:		(20)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

In the age of all-digital recording with all the advancements of sound technique, and even with some of the finest singers now available as soloists, this 1975 recording still beats every other one I've heard of Mozart's Requiem.

This work, so deep, impressive and so beautiful, tempts the soloists to go overboard, the chorus to boom and the orchestra (especially the brass section) to blare during the huge instrumental portions. Only the most masterful of conductors can completely reign in the exuberance and produce a crafted version of this monumental composition.

I bought this because I love Von Karajan and the soloists, in particular Van Dam and Tomowa-Sintow. Von Karajan, the German precisionist, constructed a well-balanced and perfect rendition of this work. Nothing I have listened to since comes close. The soloists are top-class, but here they are not performing separate works to show off their skill. And the chorus is clean and balanced, allowing the listener to hear the work as a whole blending of orchestra, singers and soloists. If you own only one Mozart's Requiem, this has to be the one.

Having listened to many recordings, and also having had the fortune to perform this work on several occasions, I feel that this recording stands out in its clarity of text, and the relay of emotion. A Requiem, being a mass for the dead, envokes strong emotions, and Mozart, in my humble opinion, knew how to bleed emotion out of music and the performers, as well as the listener. The pain and power of this work is extremely well demonstrated in this recording, and this recording is #1 in my library......Enjoy!

Undoubtly the Requiem is one of Mozart's greatest work, so I am only commenting on this particular recording. I enjoy Karajan's Beethoven in general, but I find it difficult to listen to his Mozart work. He enlarged both the orchestra and the choir, but the balance is more favor toward the orchestra, as he did in his Beethoven symphony no 9 recordings. Resulting that you can't hear the text very well. Possibly because being a choir member myself and I sing this work many times, I am more biased toward the conventional choral recordings. The tempo of the kyrie fugue is also a bit slow, which I consider it less powerful; and the texture of the fugue is buried behind the large sound of the orchestra. For people agreeing my opinion, I recommend Marriner and St Martin in the Fields' recording, which I consider the best I've listened to.

After having listened to myriad renderings of Mozart's Requiem, this particular album must stand out as the most powerful -- if not masterful -- rendition ever recorded.

The solemnity of the requiem mass, clear tenor and alto lines often indistinguishable in other recordings, well-measured pacing, and the perfect balance of orchestral and vocal emphases make this album an absolutely unquestionable choice.

You won't be disappointed in the least.

Ted Libbey's right--Karajan's 1975 version of the Requiem balances the orchestra and chorus masterfully, emphasizing the gravity of this composition. The orchestra is conducted with a preturnatural degree of precision, and the restraint in the singing seems just right, given that, for Mozart, this wasn't primarily an exercise in self-expression but--in my humble opinion--a declaration of the awful grandeur and bittersweet finality of death. The popular mythology about the writing of this piece (e.g. the film "Amadeus") is, of course, BS--but one wonders what Wolfgang would have done, what the kid had up his sleeve--this and the last 2 piano concertos contain moments of dissonance and spartan harmony the music world wouldn't know again until the day of Ives and Shostakovich.

If, like me, you're trying to find a definitive version of Requiem, you'll soon come across this and Marriner's excellent recording. They both have their merits, and you can't easily go wrong with either.
Karajan has produced a more forcefully 'Germanic', almost Wagnerian, sound where the singing and the orchestra are intense and oftentimes blended which I find makes it a much more emotional experience.
If you like a more exacting and 'English' interpretation that's a bit more ponderous (it's around 6min longer) and where you can actually hear most of the words that the choir is singing then you should give Marriner's St.Martin version a try.
Get them both and show your friends what a connoisseur you really are ;o)

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.

I would think Mozart's Requiem was his greatest work of all. As Mozart always did, he only brought pure happiness through his music, even before his miserable end of life. While listening to the requiem, you can only feel joy, peace and light of God. I already had two versions of this piece, one by Karl Bohm, another by Claudio Abbado. I am happy with both. I also respect Karajan, so why not give him a try? I got this CD and played it. I don't like it that much as his other work. The music is a little bit slow, especially when it played Confutatis. By contrast, Abbado choosed a fast, strong play of this part, which really bring the confused and hopeless fear of death. The chorus was OK, not exceptional. It is a good CD overall, but if you really want the spiritual touch, try Karl Bohm or Abbado.

Karajan is not the best conductor for Mozart. But this performance of the Requiem is just fantastic - here he did a great job! One of the very best recordings of this master piece!

This production is SUPERB. Its bargain price on DG makes it a 'must have' for any serious music lover's collection.