Mozart, W.A.: Requiem In D Minor, K.626
Anna Tomowa-Sintow, Agnes Baltsa, Werner Krenn, José van Dam, Berliner Philharmoniker, Herbert von Karajan, Wiener Singverein
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Requiem In D Minor, K.626 - Compl. By Franz Xaver Süssmayer
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1.1
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1. Introitus: Requiem
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Anna Tomowa-Sintow; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
5:41 | |||
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1.2
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2. Kyrie
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
2:48 | |||
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1.3
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3. Sequentia: Dies irae
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
1:51 | |||
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1.4
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3. Sequentia: Tuba mirum
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Anna Tomowa-Sintow; Agnes Baltsa; Werner Krenn; José van Dam; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz |
4:13 | |||
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1.5
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3. Sequentia: Rex tremendae
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
2:26 | |||
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1.6
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3. Sequentia: Recordare
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Anna Tomowa-Sintow; Agnes Baltsa; Werner Krenn; José van Dam; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz |
5:17 | |||
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1.7
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3. Sequentia: Confutatis
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
2:25 | |||
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1.8
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3. Sequentia: Lacrimosa
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Wiener Singverein; Helmut Froschauer |
3:19 | |||
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1.9
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4. Offertorium: Domine Jesu
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Anna Tomowa-Sintow; Agnes Baltsa; Werner Krenn; José van Dam; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
3:47 | |||
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1.10
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4. Offertorium: Hostias
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
4:29 | |||
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1.11
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5. Sanctus
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
1:46 | |||
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1.12
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6. Benedictus
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Anna Tomowa-Sintow; Agnes Baltsa; Werner Krenn; José van Dam; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
5:16 | |||
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1.13
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7. Agnus Dei
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
3:35 | |||
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1.14
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8.Communio: Lux aeterna
Wolfgang Amadeus Mozart; Anonymous; Franz Xaver Süssmayr; Anna Tomowa-Sintow; Berliner Philharmoniker; Herbert von Karajan; Rudolf Scholz; Wiener Singverein; Helmut Froschauer |
6:17 | |||
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Digital Booklet
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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.
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -1.85 -9.03 to -0.20 | -21.73 -31.35 to -17.53 | -17.54 -27.80 to -14.30 | 12 11 to 14 | |
| 1 | 1. Introitus: Requiem | -1.31 | -20.83 | -16.1 | 12 |
| 2 | 2. Kyrie | -1.18 | -19.04 | -16.1 | 11 |
| 3 | 3. Sequentia: Dies irae | -0.83 | -18.10 | -15.0 | 12 |
| 4 | 3. Sequentia: Tuba mirum | -9.03 | -31.35 | -27.8 | 14 |
| 5 | 3. Sequentia: Rex tremendae | -0.94 | -20.02 | -15.5 | 12 |
| 6 | 3. Sequentia: Recordare | -5.23 | -26.74 | -23.0 | 14 |
| 7 | 3. Sequentia: Confutatis | -2.11 | -23.61 | -16.8 | 12 |
| 8 | 3. Sequentia: Lacrimosa | -1.12 | -21.78 | -17.0 | 12 |
| 9 | 4. Offertorium: Domine Jesu | -1.31 | -20.78 | -16.8 | 12 |
| 10 | 4. Offertorium: Hostias | -0.21 | -20.91 | -16.8 | 12 |
| 11 | 5. Sanctus | -0.44 | -17.53 | -14.4 | 11 |
| 12 | 6. Benedictus | -1.69 | -23.99 | -20.5 | 14 |
| 13 | 7. Agnus Dei | -0.31 | -20.12 | -14.3 | 12 |
| 14 | 8.Communio: Lux aeterna | -0.20 | -19.40 | -15.5 | 12 |