Mozart: Requiem (repost)

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.

1. Requiem in D Minor: I. Introitus - Requiem
2. Requiem in D Minor: II. Kyrie
3. Requiem in D Minor: III. Sequenz - No.1 - Dies irae
4. Requiem in D Minor: III. Sequenz - No. 2 - Tuba mirum
5. Requiem in D Minor: III. Sequenz - No. 3 - Rex tremendae
6. Requiem in D Minor: III. Sequenz - No. 4 - Recordare
7. Requiem in D Minor: III. Sequenz - No. 5 - Confutatis
8. Requiem in D Minor: III. Sequenz - No. 6 - Lacrimosa
9. Requiem in D Minor: IV. Offertorium - No. 1 - Domine Jesu
10. Requiem in D Minor: IV. Offertorium - No. 2 - Hostias
11. Requiem in D Minor: V. Sanctus
12. Requiem in D Minor: VI. Benedictus
13. Requiem in D Minor: VII. Agnus Dei
14. Requiem in D Minor: VIII. Communio - Lux aeterna

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