Mozart's Requiem In D Minor, K 626 13/14 Communio Lux Aeterna

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• Description : WOLFGANG AMADEUS MOZART ( 1756 - 17...(more)91 ) Requiem K626 Emma Kirkby , soprano Carolyn Watkinson , contralto Anthony Rolfe-Johnson , tenor David Thomas , bass WESTMINSTER CATHEDRAL BOYS CHOIR (Chorus Master : David Hill) CHORUS & ORCHESTRA OF THE ACADEMY OF ANCIENT MUSIC on authentic instruments directed by : CHRISTOPHER HOGWOOD September 1983 Kingsway Hall VI Comunio : Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternam, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis Cum sanctis tuis Cum sanctis tuis in aeternam, quia pius es. Little information on the leading music creation.... The orchestration of the Requiem is by means of austerity, typical of this type during the late 18th century. Besides the established body of strings, the music is the involvement of other small bodies, but they involve special symbolism or inextricably linked to the tradition of church music. The group of wooden wind represented only by two and two fangotta corni di bassetto (this is a type of "alto" klarinettou faxes in particular felt that Mozart), this option gives a very clear emphasis on the dark timbre, while the shrill tone and a Aglaia oboe or a flute there is no place here. The bright and penetrating sound quality of both the trumpet and drums, however, then charged in two separate cases of religious music, either in a solemn function (missa solemnis), or - as in this case - a Requiem, in order to make the sense of deous depending primarily on the references to the day of the crisis in the Second Coming which constitute the backbone of functional text. The use of three trombones (alto, "tenor" and "bass"), on the other hand, was almost indispensable in the field of church music during the classical period, in that the institutions are strengthened for the most part the three lower voices of the choir, and in addition, the dark timbre of the trombone was identified with musical items were mourning for events such as Equali and certainly the Requiem. Self, finally, the church music was also the involvement of the "church" body as a body escort ACHIEVED continuous merits or simply increase the line of cello and kontrampasson. As for style, incorporated in the Mozart Requiem in several aspects of church music tradition, which give a very "archaic" quality in many parts of the project. The tools found here antistiktika very appropriate scope, as evidenced by the fougkes of the Kyrie and the outcome of the two parts of Offertorium ( "Quam olim Abrahae") or extracts imitative writing in the Introitus, Recordare, Confutatis and Domine Jesu - here should certainly be included and similar endings fougkettes in the Sanctus and Benedictus completed by Süßmayr. Other "traditional" information relating to the use of an operating member by way of the cantus firmus Introitus (and the same musical Lux aeterna), solistiki the emergence of a trombone in the Tuba mirum, subjected to parestigmena patterns of Rex tremendae, the accompanying figures of sighingly Lacrimosa principle or manifestly barokiki fougkas the convoy on the "Quam olim Abrahae" both sides of the Offertorium. Parallel course, the Mozart and Süßmayr could not circumvent the unanimity the style of the era, which spread to several parts of the choral Requiem, monodical nor the style of lyric theater, which is used primarily in the Tuba mirum soloists and Benedictus. (less)