dlb@stcvax.UUCP (David Black) (02/21/85)
Can anyone tell me which recordings of the Requiem are particularly good? and why? David
jcp@osiris.UUCP (Jody Patilla) (02/21/85)
> Can anyone tell me which recordings of the Requiem > are particularly good? and why? > > David The best recording I have heard is on L'Oiseau Lyre by Christopher Hogwood, with Emma Kirkby. The score has been carefully researched to include as much of what is thought to be Mozart's work and his dictated directions as possible, without additional work by his student. This is also available on CD, and the sound is wonderful - it will give you shivers. jcpatilla
gadfly@ihu1m.UUCP (Gadfly) (02/25/85)
> Can anyone tell me which recordings of the Requiem > are particularly good? and why? > > David Get Hogwood's's rendition on original instruments with singers well- versed in pre-operatic style, including the incomparable Emma Kirkby, soprano. It's so refreshing to hear real pitches instead of the semitone (or worse) wavers so inappropriately called "bel canto". All the harmonies and rich texture of those beatific suspensions shine right through. -- *** *** JE MAINTIENDRAI ***** ***** ****** ****** 25 Feb 85 [7 Ventose An CXCIII] ken perlow ***** ***** (312)979-7188 ** ** ** ** ..ihnp4!iwsl8!ken *** ***
greg@oliven.UUCP (Greg Paley) (02/27/85)
Of recent recordings of the Mozart "Requiem", I've been particularly impressed by the one conducted by Peter Schreier on a Philips CD (also available on LP). The solo and choral singing is outstanding and remarkable for the clarity of the individual lines, achieved without loss of cohesiveness. Of historic "mono" recordings, I find the 1954 version conducted by Bruno Walter with Seefried, Simoneau and Tourel (I forget who was the bass soloist) particularly beautiful. - Greg Paley
dep@allegra.UUCP (Dewayne Perry) (02/27/85)
<my first job was eating up original instruments> While I agree that Hogwoods version has much to recommend it, and while I also am not crazy about shaky sopranos, the characterization of the singers as "pre-operatic" just doesn't wash. First, pre-operatic could only really apply to music before about 1600, when the first operas appeared. Second, the singers for Church music had the same requirements placed on them technically as was required for opera (in fact, Oratorios in one sense are merely sacred operas - operas were banned during the lenten season, eg, when oratorios were sung instead). Check out the difficulty of some of Mozart's sacred arias compared to his operatic operas. Third, I suspect that the standard performance practices were the same in both genres - the ornamentation, the singing technique, etc. How well present day singers capture that part of the performance is a different matter. To see the difference, check out some of the different performances of Handel's Messiah: on the one hand, you get no ornamentation at all (not at all authentic), while in some, you get a small flavor of what might have been performed. The important thing is: does it come off as a convincing performance?? Down with sloppy musicians - Dewayne