WOLFGANG AMADEUS MOZART Requiem
Netherlands Chamber ChoirOrchestra of the Eighteenth CenturyFrans Brüggen
Netherlands Chamber ChoirOrchestra of the Eighteenth Century Frans Brüggen
Mona Julsrud, soprano Wilke te Brummelstroete, alto Zeger Vandersteene, tenor Jelle Draijer, bass
Eugeen Liven D’Abelardo, plainchant leader
Recorded live in Tokyo (Metropolitan Art Space), on 20 March 1998 Engineered by NHK Television, Tokyo Executive producers: Sieuwert Verster & Carlos Céster Design: Valentín Iglesias Booklet essay: Stefano Russomanno English Français Deutsch Español
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WOLFGANG AMADEUS MOZART
1 Maurerische Trauermusik (KV 477)
2 Adagio for 2 clarinets and 3 basset horns (KV 411)
3-19 Requiem (KV 626)
About this CD
Much is known about the special and particular circumstances surrounding the composition of Mozart’s Requiem. 1791 was a tumultuous year, and before Mozart’s life was cut short at the start of December he had composed, among other works, Die Zauberflöte, La Clemenza di Tito, the Clarinet Concerto and evidently this Requiem, although it was left in an unfinished state. If the mist and mystery surrounding both the creation of the Requiem and Mozart’s death have been lifting in recent times, a certain myth still persists...
Complete with a new design Glossa reinstates into the catalogue now a recording which typifies the label’s endeavours as well as being a memorable reflection of the artistry of the Orchestra of the 18th Century and of its director Frans Brüggen. An extended and beautiful introduction to the principal work is created by performances of the Maurerische Trauermusik and the Adagio for two clarinets and three basset horns, before Brüggen directs a startling and impressive reading of the Requiem - which includes the Introit, Tract and the Offertory sung in plainchant - which has become one of the reference versions of this work. The Metropolitan Space of Tokyo surely experienced an occasion of true magic back in March 1998 which was perfectly captured by the NHK Television microphones and which now can be enjoyed once more.
How has the orchestra’s approach to the Beethoven symphonies evolved over the years?
This is a discussion that is very much alive in the orchestra: when we first started, we had no repertoire. So, with every piece that we were approaching we had to work and to discuss, in the old-fashioned way. For years we worked like this, never doing more than one Beethoven symphony in a year – and then we played it over and over again. So, it took us twelve years before we completed the cycle with the Ninth. If you play such pieces again after so many years, things start to change: tempi have changed and whereas we had always been arrogant about all those conductors, who after a certain period of time, decided to rerecord pieces, we – the orchestra members and me personally – now think that it is a good idea to do it again. [read more...]