MOZART - Requiem In D Minor KARAJAN & BPO + VIENNA Singverein

MOZART - Requiem In D Minor KARAJAN & BPO + VIENNA Singverein Release Date: 16 May, 1990 Label: Deutsche Grammophon UP (high quality) Requiem for Soloists, Chorus, and Orchestra, K. 626 Composé par Wolfgang Amadeus MOZART Interprété par BERLIN Philharmonic Orchestra / VIENNA Singverein Avec Agnes BALTSA, Jose Van DAM, Werner KRENN, Rudolf SCHOLZ, Anna TOMOWA-SINTOW Dirigé par Herbert von KARAJAN Sorry no Cover... File .ape & .cue to burn (I used Nero 7, you can find in Software section) I think this is not the same source than joshua Agnes BALTSA (Alto), José Van DAM (Basse), Wolfgang Amadeus MOZART (Compositeur), Herbert von KARAJAN (Chef d'orchestre), BERLINER Philharmoniker (Orchestre), WIENER Singverein (Orchestre), Rudolf SCHOLZ (Orgue), Anna TOMOWA-SINTOW (Soprano), Werner KRENN (Ténor) 01. Requiem, Kv 626 : Introitus 02. Requiem, Kv 626 : Kyrie 03. Requiem, Kv 626 : Sequenz : Dies Irae 04. Requiem, Kv 626 : Sequenz : Tuba Mirum 05. Requiem, Kv 626 : Sequenz : Rex Tremendae 06. Requiem, Kv 626 : Sequenz : Recordare 07. Requiem, Kv 626 : Sequenz : Confutatis 08. Requiem, Kv 626 : Sequenz : Lacrimosa 09. Requiem, Kv 626 : Offertorium : Domine Jesu 10. Requiem, Kv 626 : Offertorium : Hostias 11. Requiem, Kv 626 : Sanctus 12. Requiem, Kv 626 : Benedictus 13. Requiem, Kv 626 : Agnus Dei 14. Requiem, Kv 626 : Communio : Lux Aeterna Country of Origin: VIENNA, Austria Period: Classical Written: 1791 Language: Latin 237 Mb http://rapidshare.de/files/10844195/recuit_par_herbert.part1.rar.html http://rapidshare.de/files/10844212/recuit_par_herbert.part2.rar.html http://rapidshare.de/files/10844061/recuit_par_herbert.part3.rar.html Pass : galmuchet Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid. Ted Libbey