Artist: Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin, Howard Arman
Album: Mozart: Requiem in D Minor, K. 626 – Neukomm: Libera me, Domine (Live)
Genre: Classical
Release Date: 2021
Audio Format:: FLAC (tracks) 24 bit, 48 kHz
Duration: 52:08
Total Tracks: 21
Total Size: 552 MB

Tracklist:

01. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: I. Introitus. Requiem aeternam (Live) (04:39)
02. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: II. Kyrie eleison (Live) (02:20)
03. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IIIa. Dies irae (Live) (01:51)
04. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IIIb. Tuba mirum (Live) (02:52)
05. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IIIc. Rex tremendae (Live) (01:44)
06. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IIId. Recordare (Live) (04:34)
07. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IIIe. Confutatis (Live) (02:17)
08. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IIIf. Lacrimosa (Live) (03:28)
09. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IVa. Offertorium. Domine Jesu Christe (Live) (03:27)
10. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IVb. Offertorium. Hostias (Live) (02:04)
11. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: IVc. Offertorium. Quam olim Abrahae (Live) (01:42)
12. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: V. Sanctus (Live) (01:21)
13. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: VI. Benedictus (Live) (04:40)
14. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: VII. Agnus Dei (Live) (02:44)
15. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Mozart: Requiem in D Minor, K. 626 “Missa pro defunctis”: VIII. Communio. Lux aeterna (Live) (05:07)
16. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Neukomm: Libera me, Domine (After Mozart’s K. 626): I. Libera me, Domine [Live] (01:32)
17. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Neukomm: Libera me, Domine (After Mozart’s K. 626): II. Tremens factus sum ego [Live] (00:55)
18. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Neukomm: Libera me, Domine (After Mozart’s K. 626): III. Quando coeli movendi sunt [Live] (00:38)
19. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Neukomm: Libera me, Domine (After Mozart’s K. 626): IV. Dies illa [Live] (00:54)
20. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Neukomm: Libera me, Domine (After Mozart’s K. 626): V. Requiem aeternam [Live] (01:28)
21. Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin & Howard Arman – Neukomm: Libera me, Domine (After Mozart’s K. 626): VI. Libera me, Domine [Live] (01:40)

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Mozart’s unfinished last composition, the Requiem in D minor from 1791, is one of the most famous compositions of the Latin Mass for the Dead. The version on this CD, submitted by Howard Arman for the Bavarian Radio Chorus, is based on Mozart’s sources and the additions by Franz Xaver S”ussmayr. CD 2 of this release offers an introduction to the work by Markus Vanhoefer (in German) from the series BR-KLASSIK WISSEN – Wege zur Musik.Given the fact that the work is incomplete, and given the weaknesses in Franz Xaver S”ussmayr’s work, there has been a widespread fashion in recent years among musicologists and performers to retouch, if not to entirely rewrite, certain parts of Mozart’s Requiem. This new version conducted by Howard Arman is no exception.

Rightly acknowledging that S”ussmayr’s work has become an integral part of the history of this masterpiece, Arman left S”ussmayr’s work untouched, instead tackling only those pages written by Mozart himself. In particular, the Lacrimosa, only the beginning of which is from the hand of Amadeus. In contrast to S”ussmayr’s modesty, Howard Arman ends this page with a fugue of his own, a rather conventionally written Amen in D minor, the theme of which is taken from a sketch which was in the possession of Constanze. Written “in all humility” (sic), this new page restores the Lacrimosa to the same proportions as the Requiem aeternam and the Kyrie at the beginning of the work, in a rather questionable attempt at coherence. Howard Arman’s objective style of conducting is at odds with the romantic versions in the style of Karl B”ohm that have raised Mozart’s Requiem to stand alongside the greatest works of the genre. The material certainly gains in readability here, though not necessarily in emotion.

While the sleeve text gives us an idea of the intentions behind Howard Arman’s edition, it does not say a word about the Libera me, written by Sigismund Ritter von Neukomm around 1816, as a complement to Mozart’s posthumous works. But the gesture was the same as the one that Arman has made more than two hundred years later, which shows that the mystery of Mozart’s Requiem remains unresolved and continues to inspire the most diverse range of responses. – Francois Hudry