The version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on Süßmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's Requiem is followed by Neukomm's Respond Libera me, Domine - and for musical, liturgical and chronological reasons, the programme begins with Mozart's Vesperae solennes de Confessore KV 339 (1780), composed of psalms from the Old Testament as well as the Magnificat from the Gospel of St Luke and composed for the liturgical festival of a holy confessor. Howard Arman has prepended Mozart's movements for the festival vespers with antiphons taken from the vespers de Confessore Pontifici (for a confessor who was a bishop) of the Gregorian Liber usualis, and has also composed his own organ intonations to enhance the antiphons. Although it remained incomplete as Mozart's last work, the Requiem in D minor (1791) ranks as one of the most important settings of the Latin Mass for the Dead ever written. Immediately after Mozart's all too premature death, his pupil Franz Xaver Süßmayr elaborated a completed version that is still appreciated and regularly performed to this day because of it's close proximity to the original - and this despite a number of new adaptations created over the years that sometimes add cautious improvements to the Süßmayr version or instead follow their own lights entirely. - Mozart's Requiem KV 626 from 1791 is followed by Sigismund von Neukomm's Libera me, Domine, the Respond from the Liturgy of Exequies composed by Neukomm in 1821 as a liturgical completion of Mozart's Requiem for a performance in Rio de Janeiro (the Salzburg composer Neukomm had emigrated to Brazil in 1816).
The version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on Süßmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's Requiem is followed by Neukomm's Respond Libera me, Domine - and for musical, liturgical and chronological reasons, the programme begins with Mozart's Vesperae solennes de Confessore KV 339 (1780), composed of psalms from the Old Testament as well as the Magnificat from the Gospel of St Luke and composed for the liturgical festival of a holy confessor. Howard Arman has prepended Mozart's movements for the festival vespers with antiphons taken from the vespers de Confessore Pontifici (for a confessor who was a bishop) of the Gregorian Liber usualis, and has also composed his own organ intonations to enhance the antiphons. Although it remained incomplete as Mozart's last work, the Requiem in D minor (1791) ranks as one of the most important settings of the Latin Mass for the Dead ever written. Immediately after Mozart's all too premature death, his pupil Franz Xaver Süßmayr elaborated a completed version that is still appreciated and regularly performed to this day because of it's close proximity to the original - and this despite a number of new adaptations created over the years that sometimes add cautious improvements to the Süßmayr version or instead follow their own lights entirely. - Mozart's Requiem KV 626 from 1791 is followed by Sigismund von Neukomm's Libera me, Domine, the Respond from the Liturgy of Exequies composed by Neukomm in 1821 as a liturgical completion of Mozart's Requiem for a performance in Rio de Janeiro (the Salzburg composer Neukomm had emigrated to Brazil in 1816).
4035719009262

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Format: CD
Label: BR KLASSIKS
Rel. Date: 10/02/2020
UPC: 4035719009262

Requiem D-Moll 626 (2pk)
Artist: Howard Arman
Format: CD
New: In Stock - Orders filled within 2-3 business days 19.99
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DISC: 1
MP3
1. Ecce Sacerdos Magnus - Organ Intonation (Live)
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2. Vesperae Solennes De Confessore, K. 339: I. Dixit Dominus (Live)
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3. Ecce Sacerdos Magnus (Live)
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4. Non Est Inventus - Organ Intonation (Live)
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5. Vesperae Solennes De Confessore, K. 339: II. Confitebor (Live)
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6. Non Est Inventus (Live)
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7. Ideo Jurejurando - Organ Intonation (Live)
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8. Vesperae Solennes De Confessore, K. 339: III. Beatus Vir (Live)
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9. Ideo Jurejurando (Live)
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10. Sacerdotes Dei - Organ Intonation (Live)
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11. Vesperae Solennes De Confessore, K. 339: IV. Laudate Pueri (Live)
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12. Sacerdotes Dei (Live)
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13. Serve Bone Et Fidelis - Organ Intonation (Live)
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14. Vesperae Solennes De Confessore, K. 339: V. Laudate Dominum (Live)
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15. Serve Bone Et Fidelis (Live)
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16. Dum Esset Summus Pontifex - Organ Intonation (Live)
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17. Vesperae Solennes De Confessore, K. 339: VI. Magnificat (Live)
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18. Dum Esset Summus Pontifex (Live)
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19. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): I. Introitus. Requiem Aeternam [Live]
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20. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): II. Kyrie Eleison [Live]
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21. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iiia. Sequenz. Dies Irae [Live]
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22. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iiib. Sequenz. Tuba Mirum [Live]
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23. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iiic. Sequenz. Rex Tremendae [Live]
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24. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iiid. Sequenz. Recordare [Live]
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25. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iiie. Sequenz. Confutatis [Live]
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26. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iiif. Sequenz. Lacrimosa [Live]
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27. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Iva. Offertorium. Domine Jesu [Live]
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28. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Ivb. Offertorium. Hostias [Live]
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29. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): Ivc. Offertorium. Quam Olim Abrahae [Live]
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30. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): V. Sanctus [Live]
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31. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): VI. Benedictus [Live]
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32. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): VII. Agnus Dei [Live]
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33. Requiem In D Minor, K. 626 (Completed By H. Arman & F.X. Süssmayr): VIII. Communio. Lux Aeterna [Live]
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34. Libera Me, Domine: Libera Me, Domine (1) [Live]
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35. Libera Me, Domine: Tremens Factus Sum Ego (Live)
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36. Libera Me, Domine: Quando Coeli Movendi Sunt (Live)
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37. Libera Me, Domine: Dies Illa (Live)
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38. Libera Me, Domine: Requiem Aeternam (Live)
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39. Libera Me, Domine: Libera Me, Domine (2) [Live]
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DISC: 2
Digital download
MP3
1. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 1 "Tod Und Verklärung": Eine Neue Vervollständigung
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2. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 1 "Tod Und Verklärung": Die Tragische Tonart
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3. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 1 "Tod Und Verklärung": Der Graue Bote
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4. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 1 "Tod Und Verklärung": Der Wahre Endzweck Unseres Lebens
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5. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 1 "Tod Und Verklärung": Dokument Des Verschwindens
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6. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 2 "Lückenfüller": Anonymus
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7. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 2 "Lückenfüller": Das Fragment
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8. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 2 "Lückenfüller": Klangfarben Als Symbol
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9. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 2 "Lückenfüller": Remplissage
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10. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 2 "Lückenfüller": Herausforderung Fuge
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11. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 2 "Lückenfüller": Berufliche Perspektiven
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12. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 3 "Mythos Und Manuskript": Süßmayr
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13. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 3 "Mythos Und Manuskript": Eybler
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14. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 3 "Mythos Und Manuskript": Urschrift Und Erstdruck
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15. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 3 "Mythos Und Manuskript": Der Requiemstreit
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16. Wege Zur Musik, Mozart Requiem In D Minor, K. 626, Teil 3 "Mythos Und Manuskript": Libera Me
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More Info:

The version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on Süßmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's Requiem is followed by Neukomm's Respond Libera me, Domine - and for musical, liturgical and chronological reasons, the programme begins with Mozart's Vesperae solennes de Confessore KV 339 (1780), composed of psalms from the Old Testament as well as the Magnificat from the Gospel of St Luke and composed for the liturgical festival of a holy confessor. Howard Arman has prepended Mozart's movements for the festival vespers with antiphons taken from the vespers de Confessore Pontifici (for a confessor who was a bishop) of the Gregorian Liber usualis, and has also composed his own organ intonations to enhance the antiphons. Although it remained incomplete as Mozart's last work, the Requiem in D minor (1791) ranks as one of the most important settings of the Latin Mass for the Dead ever written. Immediately after Mozart's all too premature death, his pupil Franz Xaver Süßmayr elaborated a completed version that is still appreciated and regularly performed to this day because of it's close proximity to the original - and this despite a number of new adaptations created over the years that sometimes add cautious improvements to the Süßmayr version or instead follow their own lights entirely. - Mozart's Requiem KV 626 from 1791 is followed by Sigismund von Neukomm's Libera me, Domine, the Respond from the Liturgy of Exequies composed by Neukomm in 1821 as a liturgical completion of Mozart's Requiem for a performance in Rio de Janeiro (the Salzburg composer Neukomm had emigrated to Brazil in 1816).