Dvořák's Requiem has always struggled to secure a place in the repertoire, but it made a significant impression on two prominent Czech composers, Josef Suk and Bohuslav Martinů. Both composers incorporated its central cyclical motif into key works - Suk in his "Asrael" Symphony and Martinů in his 3rd and 6th Symphonies.
A really underrated requiem that nobody talks about is Michael Haydn’s (brother of Joseph Haydn) Requiem. Despite it being shorter than Mozart’s, Cherubini’s Verdi’s and Dvorak’s Reuqiem it sort of set the stage for those pieces especially Mozart’s . Joseph Haydn also had a special place for this piece of course even though he didn’t write a requiem.
I bought this cd many, many years ago aged around 23. Was discovering classical music. Got home, played it - and WOW!!!!!! I'd never heard anything like it. I was literally unable to move for emotion.
Listening to it now for the first time and it really is marvellous. Thank you for another wonderful recommendation. I’ve loved the Verdi and Fauré requiem masses for a long time and now Dvořák’s might become another favourite
This the Dvorak Requiem recording I imprinted on, first on LP and then on CD. Since then I added Ancerl’s and I like both equally. Agree this is one of the greatest settings of the requiem mass and it boggles the mind that it isn’t as popular as the other requiems you mentioned. Incidentally, my copy of the Kertesz also includes thrilling performances of Kodaly including the best Psalmus Hungaricus ever!
I like the "quam olim Abrahae promisisti et semini ejus" setting where the music has a cascading effect-an effective musical depiction of a theological point.
I recall purchasing this recording (and score) with great enthusiasm ('73); and whereas I absolutely agree that it's a fabulous recording (and very enterprising, as you say), I cannot..to this day...appreciate the work itself. There are wonderful passages, some as lovely as anything Dvorak ever wrote, but I just cannot "get into" Dvorak in his deep, dark, dramatic idiom, as if he were trying very earnestly to write in a style that was not the "real" Dvorak. In fact, I just listened again to this recording (2 weeks ago), with no better results. I'm still trying, though (and everyone is welcome to tell me I'm full of it...) In November of '74, I attended a rehearsal of the Requiem with Dorati and the National Symphony (in D.C.); he conducted the entire work from memory, and when they finished, he had only a single comment (to the harpist: in the Hostias: the player was one measure off..."either one bar early or one bar late, I forget", he said). After the rehearsal, I walked with the 4 soloists back to their hotel (the Watergate); tenor was the Met's Raymond Gibbs (who still teaches voice, I believe, at a church in suburban Chicago) and my hero, John Shirley-Quirk. Two very nice gentlemen. PS- wasn't Ancerl's recording released on DGG? I remember almost buying it, before opting for Kertesz. LR
The Ancerl recording was actually made by Supraphon. DG licensed it for release in the West. I agree that Dvorak in his non folkish idiom is so different from the Dvorak we all know and love that it's initially hard to 'get into'. Play the proverbial 'drop the needle' test with this work and I doubt anyone who doesn't know it would guess the composer. I bought this recording about a year after it was released because it was in the discount bin at my local record retailer as it didn't sell. I've heard it 4-5 times over the years and have gone from 'it's interesting' to respect and admiration for Dvorak's achievement but not yet to love. However, the performance and the engineering (vintage Decca Kingsway Hall sound) are both splendid.
While this work does contain a small amount of Dvorak’s less inspired moments, overall I find it magnificent and having listened numerous times I actually prefer it to the more famous Verdi and certainly way above Faure.
Yup, certanly one of the greatest recordings, and what a fabilous work the Dvorak requiem is! Off topic, but I just saw that Decca will be releasing a Christoph von Dohnanyi box! I was so happy, UNTIL I saw, that it will be only the Cleveland recordings. I don't know about you, but I think this is just incredibly stupid! He did some of his best work with the Vienna philharmonic - his Stravinsky, Mendelssohn, a lot of his 12 tone recordings, a lot of his R. Strauss and so on... so I was increadibly disapointed, that they didn't include all of his recordings for the label. I really hope that they will release a second box, including the rest of his legacy, but I haven't seen an announcement of such plans yet. I really hope that they don't just "forget" about these performances and never rerelease them, because they are already out of print and impossible to find. Do you have any information about a possible second von Dohnanyi box, and if not what do you think are the chances that they rerelease his Vienna recordings in some way now that they are doing this Cleveland set? (God, I just wish they did a complete von Dohnanyi on Decca box ☹)
Tiny point: the Requiem was actually recorded in December 1968. It makes zero difference to anything you said, with which I wholeheartedly agree; and I realise they don't exactly make that sort of data easily or readily accessible; and the "(P) 1969" date is inevitably misleading. But it's one of the few bits of data I collect about recordings, so I thought I'd share anyway!!
Indeed the sonic splendour of this Decca recording gives the older Ancerl recording (1959) a run for the money. The drawback of Ancerl’s recording is congestion in the louder climaxes (perhaps the bells were omitted for engineering reasons), that said there’s a compensating warmth to this venerable recording which is captured on my budget 1997 DG twofer CD (Vinyl! Valve amp! nah!). Although the soloist and chorus in Kurtesz’s more viscerally exciting account are excellent Ancerl’s are EVEN BETTER !
You mentioned the other day the few chamber music pieces represented in "The Greatest Recordings Ever!" I´ve just listened to a Haydn String Quartet, and each time I compare the various versions I own, the Tatrai Quartet stands out from the rest. I believe it's a remarkable collection that deserves to be included in the series.
@DavesClassicalGuide I know. As well other best recording ever. It is inevitable. I couldnt find a review, yours or in the internet, of theirs MOzart String Quintets
I have been a serious classical music listener for over 60 years now and have never heard this work. I did start listening to it once, many years ago, but only got about 10 minutes into it before deciding I wasn't in the mood (I guess). I think I had low expectations for it. No one had recommended it, or even said much about it. I assumed it was something Dvorak had composed because he was expected to, and not because he really wanted to. Anyway, I will definitely give it another try. Thanks for the enthusiastic recommendation.
Dave, have you seen that a new Complete Erato Recordings for Paavo Jarvi is about to released? The Paart recordings are outstanding in my opinion. Hope we get an RCA box soon, though maybe his recordings at Chandos and BIS were slightly more interesting. What do you think?
I’ve only heard it once - last year - and I was astonished! I’m surprised that such a severe and serious work was a success in Birmingham but at the time their festival was very adventurous and all kinds of important people were there. Perhaps the magnificent CBSO and chorus will do it again soon.
Am I wrong but I don't think the CBSO performed this work last year? The CBSO was founded in 1920. The Dvořák Requiem is from 1890 and was performed by a Birmingham Festival Orchestra. I am a proud Brummie, musician, and committee member of The Dvořák Society for Czech and Slovak music.
@@johnbeale1102 sorry, I meant I heard a recording last year. I don’t think it’s been done in Birmingham for a long time. Perhaps the CBSO has never done it.
Love the much neglected Requiem by Dvorak. This Decca recording has long been my favourite though Ancerl’s recording of around 10 years earlier is probably as good though I prefer the soloists on the Kertesz performance.
Kertész' recording of this unjustly neglected masterwork certainly was fine - and the one I imprinted on. But "the greatest recording EVER", if you take into account the excellently led Sawallish recording with the Czech Philharmonic and Chorus with the unbeatable lineup of soloists: Benackova, Fassbaender, Moser and Rootering? I wholeheartedly ascribe to your evaluation of the Kertész recordings historic importance, but, this seems to me, together with its publication on a major label and its overall availability, to rather place it in the category of being the reference recording of the piece, than hailing it as the greatest recording ever!,
Dave reviewed a newer recording on Naxos with Antoni Wit of the Dvorak Requiem. I have both the Wit and Kertaz, but the sonics on the Naxos recording is superior in my opinion. It was my introduction to the piece.
Perfect pronounciation for Erzsébet Komlóssy btw. Somehow I still don't get the piece. Yet I love his Stabat Mater and D major mass. But I will need give another try. Also my recording has the Psalmus Hungaricus coupling (that happens to be one of the best recording of that piece).
Now that’s an incredibly hot take. Mozart’s Requiem is like the ultimate “choral piece” right up there with Mass in B Minor, St Matthews Passion and Messiah.
Yikes! People want over $300 for that set now that it's out of print. There seems to be a more reasonably priced CD only set that I'll have to settle for.
As of writing the is no scarcity of the 1996 double Decca budget releases on the market going for around £5 on amazon UK. Moreover that release was very well mastered (The later and more expensive Decca Legend master not so good)
You listed requiems and I add Duruflé's one which is beautiful, specially in the organ version with a cello for the Pie Jesu.
Dvořák's Requiem has always struggled to secure a place in the repertoire, but it made a significant impression on two prominent Czech composers, Josef Suk and Bohuslav Martinů. Both composers incorporated its central cyclical motif into key works - Suk in his "Asrael" Symphony and Martinů in his 3rd and 6th Symphonies.
A really underrated requiem that nobody talks about is Michael Haydn’s (brother of Joseph Haydn) Requiem. Despite it being shorter than Mozart’s, Cherubini’s Verdi’s and Dvorak’s Reuqiem it sort of set the stage for those pieces especially Mozart’s . Joseph Haydn also had a special place for this piece of course even though he didn’t write a requiem.
I bought this cd many, many years ago aged around 23. Was discovering classical music. Got home, played it - and WOW!!!!!! I'd never heard anything like it. I was literally unable to move for emotion.
Listening to it now for the first time and it really is marvellous. Thank you for another wonderful recommendation. I’ve loved the Verdi and Fauré requiem masses for a long time and now Dvořák’s might become another favourite
This the Dvorak Requiem recording I imprinted on, first on LP and then on CD. Since then I added Ancerl’s and I like both equally. Agree this is one of the greatest settings of the requiem mass and it boggles the mind that it isn’t as popular as the other requiems you mentioned. Incidentally, my copy of the Kertesz also includes thrilling performances of Kodaly including the best Psalmus Hungaricus ever!
I like the "quam olim Abrahae promisisti et semini ejus" setting where the music has a cascading effect-an effective musical depiction of a theological point.
I recall purchasing this recording (and score) with great enthusiasm ('73); and whereas I absolutely agree that it's a fabulous recording (and very enterprising, as you say), I cannot..to this day...appreciate the work itself. There are wonderful passages, some as lovely as anything Dvorak ever wrote, but I just cannot "get into" Dvorak in his deep, dark, dramatic idiom, as if he were trying very earnestly to write in a style that was not the "real" Dvorak. In fact, I just listened again to this recording (2 weeks ago), with no better results. I'm still trying, though (and everyone is welcome to tell me I'm full of it...)
In November of '74, I attended a rehearsal of the Requiem with Dorati and the National Symphony (in D.C.); he conducted the entire work from memory, and when they finished, he had only a single comment (to the harpist: in the Hostias: the player was one measure off..."either one bar early or one bar late, I forget", he said). After the rehearsal, I walked with the 4 soloists back to their hotel (the Watergate); tenor was the Met's Raymond Gibbs (who still teaches voice, I believe, at a church in suburban Chicago) and my hero, John Shirley-Quirk. Two very nice gentlemen.
PS- wasn't Ancerl's recording released on DGG? I remember almost buying it, before opting for Kertesz. LR
Yes, I said it was on DG.
Maybe my computer experienced a Google-style audio "glitch" at 4:54.
The Ancerl recording was actually made by Supraphon. DG licensed it for release in the West. I agree that Dvorak in his non folkish idiom is so different from the Dvorak we all know and love that it's initially hard to 'get into'. Play the proverbial 'drop the needle' test with this work and I doubt anyone who doesn't know it would guess the composer. I bought this recording about a year after it was released because it was in the discount bin at my local record retailer as it didn't sell. I've heard it 4-5 times over the years and have gone from 'it's interesting' to respect and admiration for Dvorak's achievement but not yet to love. However, the performance and the engineering (vintage Decca Kingsway Hall sound) are both splendid.
While this work does contain a small amount of Dvorak’s less inspired moments, overall I find it magnificent and having listened numerous times I actually prefer it to the more famous Verdi and certainly way above Faure.
The Ancerl recording was a co-production between DG and Artia-Prag (Supraphon). It was much more widely released and distributed by DG
Yup, certanly one of the greatest recordings, and what a fabilous work the Dvorak requiem is!
Off topic, but I just saw that Decca will be releasing a Christoph von Dohnanyi box! I was so happy, UNTIL I saw, that it will be only the Cleveland recordings. I don't know about you, but I think this is just incredibly stupid! He did some of his best work with the Vienna philharmonic - his Stravinsky, Mendelssohn, a lot of his 12 tone recordings, a lot of his R. Strauss and so on... so I was increadibly disapointed, that they didn't include all of his recordings for the label. I really hope that they will release a second box, including the rest of his legacy, but I haven't seen an announcement of such plans yet. I really hope that they don't just "forget" about these performances and never rerelease them, because they are already out of print and impossible to find.
Do you have any information about a possible second von Dohnanyi box, and if not what do you think are the chances that they rerelease his Vienna recordings in some way now that they are doing this Cleveland set? (God, I just wish they did a complete von Dohnanyi on Decca box ☹)
Tiny point: the Requiem was actually recorded in December 1968. It makes zero difference to anything you said, with which I wholeheartedly agree; and I realise they don't exactly make that sort of data easily or readily accessible; and the "(P) 1969" date is inevitably misleading. But it's one of the few bits of data I collect about recordings, so I thought I'd share anyway!!
Indeed the sonic splendour of this Decca recording gives the older Ancerl recording (1959) a run for the money. The drawback of Ancerl’s recording is congestion in the louder climaxes (perhaps the bells were omitted for engineering reasons), that said there’s a compensating warmth to this venerable recording which is captured on my budget 1997 DG twofer CD (Vinyl! Valve amp! nah!). Although the soloist and chorus in Kurtesz’s more viscerally exciting account are excellent Ancerl’s are EVEN BETTER !
Of course it is. My version and always has been, through several physical incarnations. And definitely one of my top-10 choral works.
You mentioned the other day the few chamber music pieces represented in "The Greatest Recordings Ever!" I´ve just listened to a Haydn String Quartet, and each time I compare the various versions I own, the Tatrai Quartet stands out from the rest. I believe it's a remarkable collection that deserves to be included in the series.
I talked about that series elsewhere.
@DavesClassicalGuide I know. As well other best recording ever. It is inevitable. I couldnt find a review, yours or in the internet, of theirs MOzart String Quintets
I have been a serious classical music listener for over 60 years now and have never heard this work. I did start listening to it once, many years ago, but only got about 10 minutes into it before deciding I wasn't in the mood (I guess). I think I had low expectations for it. No one had recommended it, or even said much about it. I assumed it was something Dvorak had composed because he was expected to, and not because he really wanted to. Anyway, I will definitely give it another try. Thanks for the enthusiastic recommendation.
Dave, have you seen that a new Complete Erato Recordings for Paavo Jarvi is about to released? The Paart recordings are outstanding in my opinion. Hope we get an RCA box soon, though maybe his recordings at Chandos and BIS were slightly more interesting. What do you think?
I’ve only heard it once - last year - and I was astonished! I’m surprised that such a severe and serious work was a success in Birmingham but at the time their festival was very adventurous and all kinds of important people were there. Perhaps the magnificent CBSO and chorus will do it again soon.
Am I wrong but I don't think the CBSO performed this work last year? The CBSO was founded in 1920. The Dvořák Requiem is from 1890 and was performed by a Birmingham Festival Orchestra. I am a proud Brummie, musician, and committee member of The Dvořák Society for Czech and Slovak music.
@@johnbeale1102 sorry, I meant I heard a recording last year. I don’t think it’s been done in Birmingham for a long time. Perhaps the CBSO has never done it.
Love the much neglected Requiem by Dvorak. This Decca recording has long been my favourite though Ancerl’s recording of around 10 years earlier is probably as good though I prefer the soloists on the Kertesz performance.
Ironically enough, one of the two big record magazines gave this issue a full-page spread headed "A Requiem of Consolation".
Kertész' recording of this unjustly neglected masterwork certainly was fine - and the one I imprinted on. But "the greatest recording EVER", if you take into account the excellently led Sawallish recording with the Czech Philharmonic and Chorus with the unbeatable lineup of soloists: Benackova, Fassbaender, Moser and Rootering?
I wholeheartedly ascribe to your evaluation of the Kertész recordings historic importance, but, this seems to me, together with its publication on a major label and its overall availability, to rather place it in the category of being the reference recording of the piece, than hailing it as the greatest recording ever!,
Sorry, not nearly as exciting as Kertesz.
Dave reviewed a newer recording on Naxos with Antoni Wit of the Dvorak Requiem. I have both the Wit and Kertaz, but the sonics on the Naxos recording is superior in my opinion. It was my introduction to the piece.
Perfect pronounciation for Erzsébet Komlóssy btw.
Somehow I still don't get the piece. Yet I love his Stabat Mater and D major mass. But I will need give another try. Also my recording has the Psalmus Hungaricus coupling (that happens to be one of the best recording of that piece).
D major mass
@@johnbeale1102thanks for the correction
Why don't you include Cherubini's c minor (1815) in the list of the great choral settings of the Requiem? I think, it's better than the Mozart.
I agree, but it's not well known.
I totally agree. And it has a lot of tam tam in it.
Cherubini composed two Requiems.
Now that’s an incredibly hot take. Mozart’s Requiem is like the ultimate “choral piece” right up there with Mass in B Minor, St Matthews Passion and Messiah.
@@DavesClassicalGuide if not for Muti it wouldn’t be known at all ( ie. outside of academe, Italian musicologists ect.)
Yikes! People want over $300 for that set now that it's out of print. There seems to be a more reasonably priced CD only set that I'll have to settle for.
As of writing the is no scarcity of the 1996 double Decca budget releases on the market going for around £5 on amazon UK. Moreover that release was very well mastered (The later and more expensive Decca Legend master not so good)
And it includes the Mass in D (Choir of Christ Church Cathedral, Oxford, Simon Preston)