I like to feel the emotional purity of the classical music. In each instrument is joined the ideal of the musical beauty and the spirit of creativity in the present instant. It's a beautiful harmony when the doing and the saying go it together. Music gives meaning to sound, from meaning to sound, is born emotion. *Lucien*
This is the only virtually compete movement fully orchestrated by M. himself in his Requiem Mass K. 626 (compos’d between c. Sept-Dec 1791) which has a tempo marking in his own hand (Codex 1756.1a in the Wiener Hofbibliothek) as ‘Adagio’ whereas this conductoress has scrap’d & scrambl’d through it and rushing the performers too fast (as if fleeing a burning building) nearly 25% too fast according to M.’s specific tempo markings - to correct this gross insult to the memory of this great composer YT listeners would have to tap the spok’d wheel icon in the upper right hand corner of their screens & adjust the playing speed down to 75% - only then can the audience appreciate the depth of emotion this unfinish’d masterpiece actually contains…
I think the conductoress is very well aware of the tempo assigned by Mozart and the tempo she is playing now. This is the same tempo that many famous conductors are assigning to the Requiem in later times. My idea is that they increase the tempo in order to take this masterpiece of Requiem out of the funeary clasification every Requiem has to have. So, 'Adagio' tempo might be good for a real requiem mass, but for a concert, this faster tempo is more apropriate for the audience. That is in my case.
@@cuitlahuacrivas2930 M. was a ‘Virgo-ascendant’ (27 Jan 1756 8:05 pm Salzburg local time) - and was known to be extraordinarily picky & lapidary about his own music - and when he writes ADAGIO in his own handwriting he MEANS ‘ADAGIO’ - and he does NOT mean ‘allegro moderato’ - so the conductoress was ‘way out of line’ in terms of the speed with which she chose to conduct the ‘Introitus’ of his unfinished Reqiiem fragment [drafted between 1 October 1791 through the end of November of that same fateful year…] Moreover M. himself would not have ever have had his Requiem Mass (or any of his 23 other surviving completed Missae) perform’d in a concert-halo setting - a Mass for the Dead after all is meant to be perform’d ‘for the Divine Service’ and not, say, in a ‘secular’ opera house or concert hall - Long story short-your argument about his Requiem Tempi (whenever indicated in autograph, see his actual handwritten entries into Codex 17.561a in the Vienna Hofbibliothek) fails on many points - I would strongly advise you to go away and THINK about what you just wrote-which is not in alignment with known & establish’d fact regarding ‘sacred’ music - Now…having said this, if we had been talking about ‘secular’ music v.g. a horn concerto written ‘for that arch-donkey Leutgeb’ his old Salzburg family friend we’d be singing a whole other tune … Clear as mud ?
@@theophilos0910I have been listening to Mozart's Requiem performances time and time again since 1975 when I discovered it and have even sung some parts of it, and I know how much effect the tempo has on emotions. Second, Mozart didn't know this was going to be his last opus, but because of the will of destiny this was his last masterpiece and so Mozart didn't have the chance to leave to posterity an opus he intended for that, like was the case with Handel, Bach, Beethoven and others. Professional sacred music singers comment that a Requiem is not appropriate for a public gala concert, but given that people love Mozart and this was his last masterpiece, we have no other choice than to go to gala concerts to listen to it, and we thank anybody that lightens the funerary tone of a requiem, even if it is done by raising the tempo.
@@cuitlahuacrivas2930 - unfortunately Mozart himself told his wife c. 23 November 1791 - ‘I feel as if someone has poisoned me with Acqua Toffana-my energy is being inexplicably drain’d-I have often thought I am composing this Requiem for MY OWN FUNERAL ! Why, I have the taste of Death on my lips even now !’ So it seems clear that M. must have felt death approaching close at times when composing his Requiem in d-minor K. 626… For ‘internal musical evidence’ of this idea, for example, notice the ‘fond fairwell’ accompaniment motif in the string body of the very weird harmonies of the ‘Oro Supplex’ (Codex 17.561a) in Mozart’s (not Eybler’s) own handwriting which is a string accompaniment for ‘good-by’s’ in his late operas (v.g. ‘Addio’ sung several times in a row by ‘Fiordiligi & Dorabella’ saying good bye to their fiancées in Act I of Cosi fan Tutte from November 1789) - Moreover the same orchestral string motif occurs in the ‘death scene’ of the Commendatore (also in d-minor) in D: Giovanni (c. April 1787) - So long story short - listening to the Requiem fragment very very very closely reveals that it seems to me that M. certainly must have imagin’d in his musical memory speciff ff IX death scenes having to do with ‘departure’ or of ‘leaving’ - surely you must have noticed this if you know anything at all about Mozart’s ‘late’ operas ? If not, buy a copy of the scores of these vocal masterpieces and see for yourself to what I am referring here… Or as he told Sophie Haebel his soprano-singjng sister in law c. 30 November 1791- ‘I have before me half of a Requiem Mass awaiting its finishing touches -Sophie, this Mass is going to be my Schwanegesang [‘swan-song’, a bird that was thought to ‘sing proudly & loudly immediately before dying] - and how I am constrain’d to have it completed before my death-as I always wanted to leave posterity something Wurdig [‘worthy-valuable-exceptinally revered] in Musick before leaving this Earth…’ Clear as mud ?
Increasing the tempo to soften the funerary athmosphere of a requiem is not an insult to the memory of Mozart. I think the Master will understand and agree. This faster tempo is the same that many famous conductors are assigning to the Requiem in later times. So, 'Adagio' tempo might be good for a real requiem mass where people are grieving, but for a concert, this faster tempo is more apropriate for the audience. That is in my case.
Great performance and excellent recording. Very much looking forward to hearing the whole series!
I like to feel the emotional purity of the classical music. In each instrument is joined the ideal of the musical beauty and the spirit of creativity in the present instant. It's a beautiful harmony when the doing and the saying go it together. Music gives meaning to sound, from meaning to sound, is born emotion. *Lucien*
A famous concert by Pieter Jan Leusink in 2015 at the Concertgebow in Amsterdam has the same tempo.
Es una versión? Nunca la he escuchado así.
❤
Ça devrait aller encore plus vite...................................
This is the only virtually compete movement fully orchestrated by M. himself in his Requiem Mass K. 626 (compos’d between c. Sept-Dec 1791) which has a tempo marking in his own hand (Codex 1756.1a in the Wiener Hofbibliothek) as ‘Adagio’ whereas this conductoress has scrap’d & scrambl’d through it and rushing the performers too fast (as if fleeing a burning building) nearly 25% too fast according to M.’s specific tempo markings - to correct this gross insult to the memory of this great composer YT listeners would have to tap the spok’d wheel icon in the upper right hand corner of their screens & adjust the playing speed down to 75% - only then can the audience appreciate the depth of emotion this unfinish’d masterpiece actually contains…
I think the conductoress is very well aware of the tempo assigned by Mozart and the tempo she is playing now. This is the same tempo that many famous conductors are assigning to the Requiem in later times. My idea is that they increase the tempo in order to take this masterpiece of Requiem out of the funeary clasification every Requiem has to have.
So, 'Adagio' tempo might be good for a real requiem mass, but for a concert, this faster tempo is more apropriate for the audience. That is in my case.
@@cuitlahuacrivas2930 M. was a ‘Virgo-ascendant’ (27 Jan 1756 8:05 pm Salzburg local time) - and was known to be extraordinarily picky & lapidary about his own music - and when he writes ADAGIO in his own handwriting he MEANS ‘ADAGIO’ - and he does NOT mean ‘allegro moderato’ - so the conductoress was ‘way out of line’ in terms of the speed with which she chose to conduct the ‘Introitus’ of his unfinished Reqiiem fragment [drafted between 1 October 1791 through the end of November of that same fateful year…]
Moreover M. himself would not have ever have had his Requiem Mass (or any of his 23 other surviving completed Missae) perform’d in a concert-halo setting - a Mass for the Dead after all is meant to be perform’d ‘for the Divine Service’ and not, say, in a ‘secular’ opera house or concert hall -
Long story short-your argument about his Requiem Tempi (whenever indicated in autograph, see his actual handwritten entries into Codex 17.561a in the Vienna Hofbibliothek) fails on many points - I would strongly advise you to go away and THINK about what you just wrote-which is not in alignment with known & establish’d fact regarding ‘sacred’ music -
Now…having said this, if we had been talking about ‘secular’ music v.g. a horn concerto written ‘for that arch-donkey Leutgeb’ his old Salzburg family friend we’d be singing a whole other tune …
Clear as mud ?
@@theophilos0910I have been listening to Mozart's Requiem performances time and time again since 1975 when I discovered it and have even sung some parts of it, and I know how much effect the tempo has on emotions.
Second, Mozart didn't know this was going to be his last opus, but because of the will of destiny this was his last masterpiece and so Mozart didn't have the chance to leave to posterity an opus he intended for that, like was the case with Handel, Bach, Beethoven and others.
Professional sacred music singers comment that a Requiem is not appropriate for a public gala concert, but given that people love Mozart and this was his last masterpiece, we have no other choice than to go to gala concerts to listen to it, and we thank anybody that lightens the funerary tone of a requiem, even if it is done by raising the tempo.
@@cuitlahuacrivas2930 - unfortunately Mozart himself told his wife c. 23 November 1791 - ‘I feel as if someone has poisoned me with Acqua Toffana-my energy is being inexplicably drain’d-I have often thought I am composing this Requiem for MY OWN FUNERAL ! Why, I have the taste of Death on my lips even now !’
So it seems clear that M. must have felt death approaching close at times when composing his Requiem in d-minor K. 626…
For ‘internal musical evidence’ of this idea, for example, notice the ‘fond fairwell’ accompaniment motif in the string body of the very weird harmonies of the ‘Oro Supplex’ (Codex 17.561a) in Mozart’s (not Eybler’s) own handwriting which is a string accompaniment for ‘good-by’s’ in his late operas
(v.g. ‘Addio’ sung several times in a row by ‘Fiordiligi & Dorabella’ saying good bye to their fiancées in Act I of Cosi fan Tutte from November 1789) -
Moreover the same orchestral string motif occurs in the ‘death scene’ of the Commendatore (also in d-minor) in D: Giovanni (c. April 1787) -
So long story short - listening to the Requiem fragment very very very closely reveals that it seems to me that M. certainly must have imagin’d in his musical memory speciff ff IX death scenes having to do with ‘departure’ or of ‘leaving’ - surely you must have noticed this if you know anything at all about Mozart’s ‘late’ operas ? If not, buy a copy of the scores of these vocal masterpieces and see for yourself to what I am referring here…
Or as he told Sophie Haebel his soprano-singjng sister in law c. 30 November 1791- ‘I have before me half of a Requiem Mass awaiting its finishing touches -Sophie, this Mass is going to be my Schwanegesang [‘swan-song’, a bird that was thought to ‘sing proudly & loudly immediately before dying] - and how I am constrain’d to have it completed before my death-as I always wanted to leave posterity something Wurdig [‘worthy-valuable-exceptinally revered] in Musick before leaving this Earth…’
Clear as mud ?
Why is the tempo so fast?
Shocking choice of tempo. If a coach in sports screwed up so badly he would be sacked in the morning. This is insulting to the great work itself.
Increasing the tempo to soften the funerary athmosphere of a requiem is not an insult to the memory of Mozart. I think the Master will understand and agree.
This faster tempo is the same that many famous conductors are assigning to the Requiem in later times.
So, 'Adagio' tempo might be good for a real requiem mass where people are grieving, but for a concert, this faster tempo is more apropriate for the audience. That is in my case.
Too fast 🤢🤮
Forse un po' troppo veloce, il che fa perdere intensità e pathos