Mozart Requiem K.626 Marie Mc Laughlin soprano Maria Ewing mezzosoprano Jerry Hadley tenore Cornelius Hauptmann basso Chor des Bayerischen Rundfunks Symphonieorchester des Bayerischen Rundfunks Conductor Leonard BERNSTEIN
In spite of the fact that he never quite finished writing it, the Requiem shines among Mozart's many masterpieces. This is a unique and glorious interpretation by Bernstein. Where so many other conductors focus on the solemnity, the technical perfection, and the sheer essential force of the music, especially in this passage, Bernstein allows it to expand , to flower and bloom, and has his musicians and singers sensuously luxuriating in the sheer beauty, magnificence and mystery of each phrase. What sounds like a summons in many other interpretations becomes an invitation, what sounds like a warning becomes an annunciation and a joyous celebration. Thank you Lenny, we still miss you!
I totally agree with Mr. Renato Mazza. This is a Mass and into a Mass we must always have profound moments of silence and meditation. That is exactly what Mr. Bernstein do for us.
Yep, Jerry made the tenor part very slow. I don't know whose idea it was - his or the conductor's. I can understand it, because he had (before his death) much to offer and it doesn't make any sense to pick up such a great tenor for such short notes and he wanted to make it longer. But sometimes you can't do it, because you're spoiling the whole piece. Anyway Jerry had a tremendous voice.
Can't believe the bass soloist took an extra breath in between 'spargens' and 'sonum'..... Even with the rather elaborate ornamentation at the end of the phrase and the slow tempo that should be easy in one breath
+Lucas Sebastião de Almeida Castro Right. Now try it with full orchestra, no amplification, with a crescendo right through the Bb with a flourish at the end!
Yes. You have no justification for complaining about the break except what? Did the heavens part? Did the ceiling fall in? It was necessary and consideration for the space, orchestra, tempo...it's a reasonable solution
Well, the tempo is meant to be like that.... Grave, I think it was.. for this part, at least.. Anyways, I think the tempo is depicted by Leonard Bernstein and not him...
If you look at the original delivery score, it is Andante (Mozart underlined it to put extra emphasis) and in 2/2 time, making it much faster. I believe Mozart intended to add extra orchestration to make it actually fit the lyrics in this tempo. But, the completion of the Tuba Mirum by Sussmayr and Beyer gives it a totally different feeling, which I feel Bernstein made perfectly.
