Mozart : Requiem - Lacrimosa 

Love the harpsichord one of my favorite instruments

A masterpiee that displays the power as well as the delicacy of the instrument, the piece and the performer. I am extremely grateful for your performances.

Very poignant and moving. Sweet sorrow. Marvelous instrument and performance.

😢 Sad but somehow majestic. Wonderful performance.

Did not know the name of this instrument until today while randomly looking up period instruments on Wikipedia. Had to check out some examples of how it sounds, and wow! It's a quite an impactful sound. I like it.

I hope you make it to 1M subscribers, Bruno.

Bela transcrição numa interpretação maravilhosa! Parabéns Bruno !!!

Incredibly interpreted!

Dude you deserve at least 100k subscribers

Linda interpretação, Bruno! Amo esse movimento do Réquiem do Mozart. Tem uma passagens harmônicas belíssimas.

Loved it ! Very tasteful playing

Je suis sans voix, ça me prend aux tripes❤❤❤❤❤❤❤❤❤ Merci Bruno

Lovely transcription.

Outstanding.

I'm rediscovering this piece. Thanks.

I’ve been wanting to do the same with Bachs mass in b minor good work

R.I.P. Wolfgang Amadeus Mozart (1756-1791)

Uma das melhores transcrições da Lacrimosa que já vi, conseguindo tendo um excelente balanço entre o ostinato e as linhas do coro, parabéns!

Amazing. Thanks.

Maravilhoso

Клавесин не передаёт всю печаль этого произведения,но делает его особенным каким -то

I'm quite sure that Beethoven found inspiration in this piece for his "Moonlight" Sonata.

Unfortunately M. only was able to write out by 20 Nov 1791 the first 8 bars (4 vocal parts consisting of Canto, Alto, Tenore e Basso and the bassline) of the Lacrymosa in a fair copy of his Requiem Mass K. 626 - with a two bar scor’d string introduction) / NB : bars 9-22 must have existed in ‘Skizze’ (‘rough sketch’) form at least in the Canto upper voice & Basso line - these bars betray Mozart’s ‘authentic voice’ whereas the ‘middle voices of the ‘completion’ (beginning in bar 9) & most of the orchestration were carried out by Franz Surssmayr (1766-1801) Mozart’s copyist and sometime pupil (later of Salieri) as far as b. 22 bas’d on these skizze -but if the Berlin Sketch (Sept 1791) is anything to go by, these skizze were written in a very difficult-to-decipher Mozartean shorthand ‘doodles’ and may have contain’d parts of more than one composition on the same page This ‘Berlin Sketch’ written on a Prague paper type from Sept/Oct 1791 & contains an opening 8 bars of an ‘allegro in F’ next to a piece of the ouverture to Die Zauberfloete and the canonic mid-section for the Rex Tremendae with 16-bars in 4 vocal parts of an ‘Amen double fugue in d-minor’ in 3/8 time which was meant to close out the ‘Dies Irae’ trope [aka ‘Sequentia’] section which poor Suessmayr ignor’d (Mozart’s Widow Constanza wrote : after Eybler gave up on the score mid January 1792, I handed Herr Suessmayr a stack of ‘zettelschen mit Musik’ (‘scraps of paper with musical jottings written all over them’) but what exact use Mr Suessmayr made of the stack I have no idea…’ At any rate the left hand accompaniment is mainly Suessmayr’s sometimes shoddy handiwork (the inner vocal parts also betray lack of contrapuntal & voice leading mastery)-but it was evidently a ‘rush job’ for him since Constanza had the compleated Requiem in the hands of copyists by 4 March 1792-giving the student-composer only about 45 days [?] to get the score into the hands of Wallsegg’s lawyer Sortschen who handl’d the contract for 100 dukats ‘anonymously’ [the fact that Sortschen look’d like Dragwlya apparently freak’d M. out when he was first approached by him ‘drest all in grey’ with contract in hand c. 4 August 1791-thinking he was ‘a daemon emissary from that Other World’-at least to hear Constanza tell it years later … At the time of Sortschen’s surprise visit, M. was up to his eyes in composing La Clemenza di Tito K. 621 for Guardasoni’s operatic troop in Prague for part of the coronation festivities for Leopold II whose shrewish wife absolutely hated German composers - M. was not even given the names of the singers until 18 days before the premiere on 6 Sept 1791 & had to re-write the ‘naturae voci’ male solo parts for Sesto & Annio for two castrati - so he could not begin serious work on the Requiem until 1 October 1791 at the earliest - and by 19 November most of the Codex 17.561a currently in the Vienna Hofbibliothek (with additions by Suessmayr in the 1st 2 movements and some orchestration of the Dies Irae sequentia in the hand of theorist teacher Albrechtberger’s star pupil Josef Eybler …) Any Klavier transcription should stick to ‘plain full chords’ in the Lacrymosa completion to avoid Suessmayr’s clumsy overpainting - the harmonic sequences are often terrifying - especially if the instrument is ‘tun’d down to true Mozartean pitch’ of c. A= 425Hz (i.e. tun’d down from yo-day’s modern A= 440Hz) to judge from his father’s TWO metallic tuning forks found amongst the remains of Leopold’s Salzburg Estate -

I performed Brandenburg 5 on a friend's von Nagel instrument-best harpsichord I ever played.

Beautiful, never heard it on harpsichord before, thank you 🥰 you’re cute too 😊

Super bello .... Amo el Clavesin

2:30 I did not know that the harpsichord can do that 😮

Amazing! Will you be sharing the score you used?

Merci beaucoup

Where is the score for this? Bravo!

yeaaaaaaaahhhhhhhh

😢 Sad part is 'this was last'

Nice

Wow

And the Amen?

I think I would've speed the tempo Edit : I take back what I said

👏👏👏👏🎹😁