• BIS2091 Katalognummer
  • 7318599920917 EAN
  • 2014 Utgivelsesår

Bach Collegium Japan | Masaki Suzuki

Masaki Suzuki

Sampson, Carolyn | Kielland, Marianne Beate | Sakurada, Makato | Immler, Christian

Mozart, Wolfgang Amadeus



Mozart, Wolfgang Amadeus:

Requiem in D minor, K626:
Introit: Requiem aeternam (Chorus)
Kyrie eleison (Chorus)
Sequence No. 1: Dies irae (Chorus)
Sequence No. 2: Tuba mirum (Soprano, Mezzo-soprano, Tenor, Baritone)
Sequence No. 3: Rex tremendae majestatis (Chorus)
Sequence No. 4: Recordare, Jesu pie (Soprano, Mezzo-soprano, Tenor, Baritone)
Sequence No. 5: Confutatis maledictis (Chorus)
Sequence No. 6: Lacrimosa dies illa (Chorus)
Sequence No. 7: Amen (Chorus)
Offertory No. 1: Domine Jesu Christe (Chorus)
Offertory No. 2: Hostias et preces (Chorus)
Sanctus (Chorus)
Benedictus (Soprano, Mezzo-soprano, Tenor, Baritone)
Agnus Dei (Chorus)
Communion: Lux aeterna (Soprano, Chorus)

Vesperae solennes de confessore in C, K339:
Dixit Dominus
Beatus vir
Laudate Pueri
Laudate Dominum

Excerpt: Requiem in D minor, K626: Sequence No. 2: Tuba mirum (alternative version)
(completed by Masato Suzuki, J. Eybler and F.X. Sussmayr)

Før: 199 NOK

: 139 NOK

Rabatt: 30 %


A new performing edition by Masato Suzuki, based on the autograph by Mozart and taking account of earlier completions by Eybler and Sussmayr. He has composed a new “Amen Fugue” to close the “Sequentia”, based on the sketch discovered in Berlin in 1960.

“Taking its place as one of the finest period-instruments accounts, Suzuki's is a vital, engaging and amospheric reading.” International Record Review; “Une expérience musicale qui hantera longtemps les esprits.” Opus HD Magazine

Since its creation in 1791, Mozart’s Requiem has become one of the truly iconic works in the history of music. A prime reason for this is of course its musical qualities: as early as 1814 E.T.A. Hoffmann described the Requiem as ‘the most sublime achievement that the modern period has contributed to the church’. But even before that legends had begun to form around the work; that it was written to fulfil an anonymous commission – received through ‘an unknown, grey stranger’ – is the stuff of mystery novels, while the fact that Mozart fell ill and died while composing it has been exploited to great melodramatic effect. Among the numerous myths, one thing that we know for certain is that its first performance took place only a few days after Mozart’s death, at a memorial service for the composer. The performers used the composer’s incomplete autograph, but very soon attempts to complete the work were set in motion by Mozart’s widow. She first engaged Joseph Eybler and later Franz Xaver Süßmayr for the task, and in 1800 the Requiem appeared in print, in Süßmayr’s completion. This is still by far the most widely performed version, but it has also been severely criticized over the years, and many have tried to improve on it, or make their own versions based on the autograph. For this recording of the work, Masaaki Suzuki and the Bach Collegium Japan commissioned a new performing edition. Masato Suzuki, himself a member of the BCJ and the son of Masaaki, has based his completion on Eybler’s and Süßmayr’s work, explaining his procedure in the liner notes to the disc. The recording was made at the Shoin Chapel in Kobe, where the team has previously recorded their complete cycle of Bach’s church cantatas. A stellar cast of soloists is headed by soprano Carolyn Sampson, who also shines in the famous soprano aria Laudate Dominum – one of the highlights of Vesperae solennes de confessore which conclude the disc.


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Mozart, Wolfgang Amadeus: Requiem & Vesperae solennes de confessore <span>-</span> Bach Collegium Japan/ Masaki Suzuki Mozart, Wolfgang Amadeus: Requiem & Vesperae solennes de confessore Bach Collegium Japan/ Masaki Suzuki

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