Mozart - Requiem KV 626 / NEW MASTERING (rf.record.: Hermann Scherchen, Wiener Staatsoper 1958) 

Mozart: Requiem in D minor, K. 626 by Hermann Scherchen 🎧 Qobuz (Hi-Res) bit.ly/3EKOGBw Apple Music (Lossless) apple.co/46nfvI3 🎧 Deezer (Hi-Fi) bit.ly/3EOjqSe Tidal (Hi-Fi) bit.ly/4508gom 🎧 Amazon Music (Hi-Fi) amzn.to/3ENuy1H Idagio (Hi-Fi) (soon) 🎧 Spotify (mp3) spoti.fi/3RxBXtE RU-vid Music (mp4) bit.ly/3sZGXgp 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic日本… Wolfgang Amadeus Mozart (1756-1791) - Requiem KV 626. COMPLETE PLAYLIST : COMING SOON Soprano: Sena Jurinac Alto: Lucretia West Tenor: Hans Löffler Bass: Frederick Guthrie Vienna State Opera Chorus & Orchestra Conductor: Hermann Scherchen Recorded in 1958, at Vienna New mastering in 2023 by AB for CMRR 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr The genesis of Mozart's "Requiem" is shrouded in legend. The mysterious circumstances surrounding the commissioning of this work gave rise to a whole literature in the 19th century, and were embellished by a certain romanticism, whereas the real circumstances were soon perfectly well known. Count von Walsegg-Stuppach, in Lower Austria, had the singular habit of auditioning works commissioned from foreign musicians and passing them off as his own. Thus, after the death of his wife in February 1791, he commissioned a Requiem from Mozart. Since, for obvious reasons, the Count wished to remain anonymous, he passed the commission on to an intermediary - either a chancellery employee of one of his friends, a lawyer in Vienna, or one of Walsegg's administrators. The latter would later appear in literature as the "messenger in gray" (der graue Bote). Without revealing the Count's identity, he immediately offered Mozart a fee of 50 ducats half his fee, which is said to have finally persuaded Mozart, in perpetual financial disarray, to accept the commission. When Mozart died on December 5, 1791, only the "Requiem aeternam" and the Kyrie (no. 1) had been completed, as well as the vocal parts and basso continuo of the "Dies irae" sequence (nos. 2-7) up to the eighth bar of the "Lacrimosa", plus a few orchestral indications. The two Offertory pieces ("Domine Jesu" and "Hostias") were presented in the same way. The rest, namely the Sanctus, Benedictus, Agnus Dei and Communion "Lux aeterna", were completely missing. The fragmentary state of the work made it impossible for the widow to deliver it. So she asked Franz Xaver Süssmayr to complete it. Süssmayr created the instrumentation for the Sequence and Offertory according to Mozart's indications, completed the "Lacrimosa" from the ninth bar onwards, and recomposed the last four parts, for which he probably had Mozart's sketches at his disposal. For the Communion, he referred to the Requiem and Kyrie. Finally, in order to present the work as homogeneously as possible, he copied the first two movements, which had already been completed, in their entirety. This copy still exists and bears the title "Requiem composto dal conte Walsegg". It was used on the day of the performance of "his" work, which he conducted in Wiener-Neustadt on December 14, 1793. Mozart was neither a religious composer nor a church musician. He was a universal composer to whom the Church offered the opportunity to express himself. Mozart: Requiem in D minor, K.626 by Hermann Scherchen (1953) 🎧 Qobuz bit.ly/2WosE4J Apple Music apple.co/3AxBSKJ 🎧 Amazon Music amzn.to/3MnQP9J Tidal bit.ly/3f6pB7X 🎧 Deezer bit.ly/2WutdtZ Spotify spoti.fi/2TDKP5s 🎧 RU-vid Music bit.ly/3MW6uil SoundCloud bit.ly/3bKIL12 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...

An awesome rendition, somber and majestic with marvelous voices.

The genesis of Mozart's "Requiem" is shrouded in legend. The mysterious circumstances surrounding the commissioning of this work gave rise to a whole literature in the 19th century, and were embellished by a certain romanticism, whereas the real circumstances were soon perfectly well known. Count von Walsegg-Stuppach, in Lower Austria, had the singular habit of auditioning works commissioned from foreign musicians and passing them off as his own. Thus, after the death of his wife in February 1791, he commissioned a Requiem from Mozart. Since, for obvious reasons, the Count wished to remain anonymous, he passed the commission on to an intermediary - either a chancellery employee of one of his friends, a lawyer in Vienna, or one of Walsegg's administrators. The latter would later appear in literature as the "messenger in gray" (der graue Bote). Without revealing the Count's identity, he immediately offered Mozart a fee of 50 ducats half his fee, which is said to have finally persuaded Mozart, in perpetual financial disarray, to accept the commission. When Mozart died on December 5, 1791, only the "Requiem aeternam" and the Kyrie (no. 1) had been completed, as well as the vocal parts and basso continuo of the "Dies irae" sequence (nos. 2-7) up to the eighth bar of the "Lacrimosa", plus a few orchestral indications. The two Offertory pieces ("Domine Jesu" and "Hostias") were presented in the same way. The rest, namely the Sanctus, Benedictus, Agnus Dei and Communion "Lux aeterna", were completely missing. The fragmentary state of the work made it impossible for the widow to deliver it. So she asked Franz Xaver Süssmayr to complete it. Süssmayr created the instrumentation for the Sequence and Offertory according to Mozart's indications, completed the "Lacrimosa" from the ninth bar onwards, and recomposed the last four parts, for which he probably had Mozart's sketches at his disposal. For the Communion, he referred to the Requiem and Kyrie. Finally, in order to present the work as homogeneously as possible, he copied the first two movements, which had already been completed, in their entirety. This copy still exists and bears the title "Requiem composto dal conte Walsegg". It was used on the day of the performance of "his" work, which he conducted in Wiener-Neustadt on December 14, 1793. Mozart was neither a religious composer nor a church musician. He was a universal composer to whom the Church offered the opportunity to express himself. 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr

Très belle interprétation, la musique sacrée est toujours très émouvante lorsque l'on perçoit dans l'interprétation le recueillement.Nous avons la même qualité vocale avec Michel Corboz. je n'avais pas encore entendu Scherchen, c'est magnifique. Merci à la personne qui a mis en ligne cette interprétation, elle mérite d'êtrere-connue, écoutée.

A deep touching rendition under the direction of Herman Scherchen. Thank you very much for the New Mastering !

오늘도 감사합니다❤

Até na morte,MOZART foi genial ❤❤❤ é o requiem mais lindo da história da música 🎶 🎶 🎶 🎶 🎶 🎶 🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹🇦🇹

Superb conducting, excellent trained voices, earcandy from the GOAt! Thank you for the fantastic remastering, sounding great!!! ( listen with headphones only!)

I feel guilty getting this one for free. Love the different tempos. I’ve probably heard a dozen Requiems. This one is unique.

Very energetic performance of Mozart's Requiem.

Une autre version, très émouvante. Le 626 autrement ! Merci Ami!

My favorite after Böhm's.

This is for me the best, the darkest one.

Je possède le CD avec Fritz Wunderlich, Walter Berry, Hilde Rössl-Majdan, Leontyne Price, sous Karajan 1960. Une merveille. Merci beaucoup de cette transmission et sincères salutations de Montréal, Qc, Canada

Magnifique !!Mille mercis.

Esecuzione meravigliosa !

That was amazing 😀

realy good!

Hello! I'd like to get some information about the cover photo.

Very in depth and penetrating performance.

1958 je naissais ,vous aimez bien Hermann Scherchen semble t-il moi aussi j'ai découvert ses tempos lents ,plus j'écoute plus je comprends pourquoi ;-) il se dégage une profondeur que je ressens comme intemporel

업데이트 할 때마다 챙겨 듣는데 팬이 되네요. 흥미가 돗네요. 누구신지.

Maravillosa versión, a la altura de la de Bohm.

At 31:53, there was a moment in my life when I listened to a version where the strings didn't play the notes D and C but C# and D. I don't remember who was playing, but it was totally awesome, strange, and different. Do you know anything about that version?

49:50 benedictus

Die Referenz für dieses Werk ist und bleiben bis heute die Einspielungen von Karl Böhm! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jlXqKGv0gEI.htmlfeature=shared

When I saw "1958", I first thought the recording equipment of those years would make lots of sounds inaudible and the interpretation meaningless. So, it was me who was meaningless! It's just the opposite! Such an amazing interpretation, performance, and recording! You should really spare time specially to listen to it. Of course, the work itself is beyond any meaningless comments...

Il miglior requiem e quello di VERDI