MOZART Requiem
Jordi Savall, La Capella Reial de Catalunya, Le Concert des Nations
17,99€
ALIA VOX
AVSA9953
Total: 44’54
WOLFGANG AMADEUS MOZART
1756-1791
WOLFGANG AMADEUS MOZART
1756-1791
Requiem en Ré mineur, KV 626 (1791)
1. I. Introitus
Requiem æternam (Adagio) 4’06
2. II. Kyrie (Allegro) 2’26
III. Sequentia
3. 1. Dies iræ (Allegro assai) 1’50
4. 2. Tuba mirum (Andante) 3’07
5. 3. Rex tremendæ 1’47
6. 4. Recordare 5’07
7. 5. Confutatis (Andante) 2’22
8. 6. Lacrimosa (Larghetto) 2’59
IV. Offertorium
9. 1. Domine Jesu Christe (Andante con moto) 3’13
10. 2. Hostias (Andante – Andante con moto) 3’14
V. Sanctus
11. Sanctus (Adagio – Allegro) 1’22
VI. Benedictus
12. Benedictus (Andante – Allegro) 4’32
VII. Agnus Dei
13. Agnus Dei 3’32
VIII. Communio
14. Lux æterna [Adagio] (Allegro – Adagio) 5’14
Rachel Redmond · Marianne Beate Kielland · Mingjie Lei · Manuel Walser
La Capella Nacional de Catalunya
LE CONCERT DES NATIONS
Manfredo Kraemer premier violon
Direction : JORDI SAVALL
Enregistrement réalisé du 11 au 13 mai 2022 à la Collégiale du Château de Cardona (Catalogne)
Enregistrement, Montage et Mastering SACD : Manuel Mohino
LUX ÆTERNA
The course of my whole life would undoubtedly have been very different if, one October evening in 1955, I had not had been fortunate enough to hear a live rehearsal of Mozart’s Requiem. A few months earlier, on 1st August, I had turned 14, and luck would have it that my teacher, Joan Just (a composer, and the director of the Conservatoire in my home town of Igualada), decided to prepare the work with the choir of the local Schola Cantorum. That evening I was on my way to the Conservatoire to attend my usual counterpoint and harmony lessons with him; for some reason, I didn’t receive the message telling me that classes had been cancelled due to a rehearsal of the Requiem.
So I discreetly sat in on the rehearsal at the back of the hall, where the choir of the Schola Cantorum was accompanied by just an organ and a string quartet. From the very first notes, I was totally fascinated by the incredible beauty of the work and the expressive power of the melodies, by every movement, by the originality of the various themes and the perfection of the counterpoint and the richness of the modulations. By the time the final bars sounded, I had been profoundly moved by this extraordinary experience, which transported me to a dimension I had never experienced before. I felt overwhelmed by this veritable “lux aterna” (eternal light) and the great power of consolation that emanated from this majestic piece. As I walked home, I said to myself that if music could touch a person’s soul so powerfully, I wanted to be a musician.
A few days later, I went to Barcelona to buy a second-hand cello. On my way home, I tried to play a little and, after the first few moments of hesitation, I suddenly felt a great affinity with the instrument. The fingers of my left hand positioned themselves and moved easily and deftly on the neck of the instrument, while, with little effort, my right hand was quickly able to control the quality of the sound with the bow. In short, I had the wonderful feeling of being able to sing again and I felt completely at home! It was then that I understood the unique feeling described by Mark Twain when he said that “The two most important days of your life are the day you are born and the day you find out why.” And so it was that after hearing Mozart’s Requiem and my first few attempts at playing the cello, I was absolutely certain about the path I would follow: from that moment, I would always work to master and share that light which gives meaning to life and nourishes our soul.
JORDI SAVALL
Salzburg, 31st January, 2023
Critics
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Jordi Savall presenta un nou disc dedicat al Rèquiem de Mozart.Es tracta de la segona versió que Jordi Savall, al capdavant de La Capella Reial de Catalunya, i Le Concert des Nations han fet del Rèquiem de Wolfgang Amadeus Mozart. És un àlbum del segell Àlia Vox.
CATALUNYA RADIO 26.05.2023
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Les veus impressionen per l’agilitat i la claredat amb què apareixen, refulgents […] La interpretació del Concert des Nations assoleix una gran expressivitat gràcies a les interaccions i eloqüents intervencions d’uns músics que fan un bon treball de precisió …
SONOGRAMA, 29/05/2023 Marçal Borotau
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Mozarts dodenmis is al goed geweest voor honderden opnamen en artistieke benaderingen. Jordi Savall brengt hier een contrastrijke visie, die je binnen luttele minuten van hel naar hemel laat opvaren en je dan weer in de diepten stort. Savall zoekt niet naar het menselijke in de dood, maar vangt de ongrijpbaarheid van het hiernamaals. Nooit lagen dood en leven, hemel en hel zó in elkaars verlengde. Neem het ‘Confutatis’: de lage stemmen klinken bij Savall kwaadaardig, alsof ze genieten van het vurige vonnis dat ze de ongelukkigen opleggen. En dan lost alles op als een nachtmerrie in de ochtend; koper en pauken vallen weg en laten alleen nog een galant vioollijntje over, waarboven sopranen en alten als nevel opstijgen.
NCR 15 best Albums of 2023
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Dem katalonischen Dirigenten Jordi Savall ist mit seiner Capella Nacional de Catalunya und dem auf Originalinstrumenten spielenden Concert des Nations eine unglaublich kraftvolle Interpretation gelungen. Eine der schönsten, die ich kenne. Sehr straight, absolut unsentimental, aber hoch emotional.
BR KLASSIK. 01.07.2023 von Bernhard Neuhoff
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