Mozart Requiem (2002)

Mozart

The Netherlands Bach Society

Jos Van Veldhoven

Peter Harvey, Annette Markert

The history of Mozart's Requiem is so universally familiar that only a few general remarks are necessary. As Christoph Wolff rightly says, on page 10 of his study of the Requiem*: "by circa 1800, the history of the Requiem was already essentially familiar in its major outlines, and since that time - once we have added a few details which have been subsequently established - it can be summarized in an largely objective account." This is the essence of that account: Franz Graf Walsegg zu Stuppach commissioned Mozart to compose a Requiem for his wife, who had died young. He paid the composer a fee of 50 ducats. Mozart began work, but because of illness and his early death (5 December 1791), he could not complete the composition. In fact, not a single movement of the Requiem has come down to us as Mozart intended. The composer, as he always did in his vocal compositions, began by writing out the vocal parts and instrumental bass line, with scanty indications for string and woodwind parts. He laid out an orchestration consisting of two basset horns, two bassoons, two trumpets, three trombones, timpani, strings, and organ. That does not necessarily mean that Mozart might not have added other instruments to some of the movements, for example by substituting clarinets for the basset horns, or adding parts for flutes or oboes in some movements. (The wide-ranging differences in orchestration throughout Die Zauberflte, completed in September 1791, support this assumption).

 

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The Netherlands Bach Society

Founded in 1921, The Netherlands Bach Society is the oldest Early Music ensemble in the Netherlands, and possibly in the whole world. Yet along with the musicians, its artistic director Jos van Veldhoven is still continually in search of contemporary ways of presenting this music, whether it be the traditional performances of the St. Matthew Passion in Naarden, other works by Johann Sebastian Bach (1685-1750) or music by his predecessors, successors, contemporaries and fellow spirits.

The programmes are often compiled in an original way and thus give a refreshing view of the various musical styles from Schütz/Monteverdi to Haydn/Mozart, as well as of the central composer Bach himself. The flexibility of the ensemble makes it possible to perform works from the secular and sacred repertoires in a great variety of combinations of musicians. In the concerts, top priority is given to beauty, emotion, quality and authentic experience.

For a long time now, the activities of The Netherlands Bach Society have not been restricted to Naarden or Het Gooi, in the Netherlands. They are attracting growing national and international attention from large concert halls and important music festivals, and the ensemble increasingly plays the honourable role of cultural ambassador.

Besides working with principal conductor Jos van Veldhoven, The Netherlands Bach Society also performs with leading early music specialists from the Netherlands and abroad, such as Rinaldo Alessandrini, Peter Dijkstra, Richard Egarr, Gustav Leonhardt, Paul McCreesh, Lars Ulrik Mortensen and Masaaki Suzuki.

In order to reinforce the authentic experience, the concerts are supported where necessary by fringe programming, including introductions, workshops, exhibitions and book publications. Further emphasis is provided by the educational projects, which have also received several awards (e.g. Euro Media Award and the Classical Music Award from the Dutch Association of Theatres and Concert Halls (VSCD)).

The Netherlands Bach Society and Jos van Veldhoven have recorded several CDs for Channel Classics, including the Great Organ Mass with the organist Leo van Doeselaar and Bach's St. Matthew Passion. Illustrated editions of the Christmas Oratorio, the St. John Passion and the Mass in B minor have been published in collaboration with Museum Catharijneconvent.

Jos Van Veldhoven

Jos van Veldhoven studied musicology at Utrecht University, and choral and orchestral conducting at the Royal Conservatory in TheHague. He has been artistic director of TheNetherlands Bach Society since 1983, in which capacity he regularly directs performances at home and abroad of the major works of JohannSebastian Bach, his predecessors and contemporaries.Van Veldhoven also directs the UtrechtsBarok Consort, which he founded in 1976. With these ensembles he has made a great number of national and international radio, tv and cd The Netherlands Bach Society recordings, and has appeared in festivals in theNetherlands, Europe, the United States and Japan.Jos van Veldhoven is a frequent guest conductor with Dutch and foreign orchestras, including DasOrchester der Beethovenhalle Bonn, The TokyoPhilharmonic Orchestra, the Robert Schumann Philharmonie, the Essener Philharmoniker, theBrabant Orchestra and the Limburg SymphonyOrchestra. Since 2001 he has collaborated with director Dietrich Hilsdorf on a cycle of stage dHandel oratorios at the opera houses of Bonn,Chemnitz and Essen.Jos van Veldhoven has attracted frequent attention with performances of newly discovered repertoire within the realm of early music, including noteworthy performances of oratorios by Telemann and Graun, Vespers by Gastoldi,reconstructions of Bach’s St Mark Passion, theso-called Köthener Trauer-Music and many unknown seventeenth-century dialogues. VanVeldhoven has conducted many contemporary premieres of Baroque operas by composers including Mattheson, Keiser, Andrea, Bononcini,Legrenzi, Conti and Scarlatti.Jos van Veldhoven is professor of choral conducting at the Amsterdam Conservatory and theRoyal Conservatory in The Hague. In 2007 he was appointed Knight of the Order of the NetherlandsLion for his pioneering services to early music.

Annette Markert

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Mozart Requiem (2002)

Mozart

The Netherlands Bach Society

    NRC

De uitvoering is fraai, dramatisch en ook erg transparant. Hier hoort men de uitzonderlijke traditie van de NBV in muziek van vr Mozart

    Luister

De muziek is afwisselend levendig en gedragen, waarbij de instrumenten op steeds verschillende manieren met elkaar communiceren. De musici brengen deze gevarieerde interactie met een natuurlijke soepelheid en een groot gevoel voor subtiele nuances. Doordat ze perfect naar elkaar luisteren, zijn ensemble gesprekken ook werkelijk ensemble gesprekken, dialogen ook echt dialogen en komen imitiatieve passages zeer overtuigend over. () Luister ()

    Stereophile -

The soloists are excellent Stereophile

    Fanfare

This is about as enjoyable a version of the Mozart Requiem as I have ever encountered. All four soloists sing beautifully Fanfare

    Gramophone

very carefully and lovely prepared, the phrasing as unanimous as one could wish, the little refinements of rhythm tellingly placed () () the solo singing is admirable, especially the resonant bass and the soprano, Marie-Nolle de Calattay, whose full warm and bright sound and musicianly shaping of the music gives much pleasure () Gramophone

Mozart Requiem (2002)

Mozart

The Netherlands Bach Society

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Microphones:Bruel & Kjaer, Schoeps
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Producer:Jared Sscks
Recording Engineer:Jared Sacks
Recording location:Eindhoven Holland
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Recording Type & Bit Rate:DSD64
Speakers:Audio Lab Holland

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18102: Mozart Requiem
00:52:58   Select quality & channels above
Tracks
1.
I. Introitus
Mozart
00:04:44   Select quality & channels above
2.
II. Kyrie
Mozart
00:02:32   Select quality & channels above
3.
III. Sequenz - No 1 Dies irae
Mozart
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4.
III. Sequenz - No 2 Tuba mirum
Mozart
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5.
III. Sequenz - No 3 Rex tremendae
Mozart
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6.
III. Sequenz - No 4 Recordare
Mozart
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7.
III. Sequenz - No 5 Confutatis
Mozart
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8.
III. Sequenz - No 6 Lacrimosa
Mozart
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9.
IV. Offertorium - No 1 Domine Jesu
Mozart
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10.
IV. Offertorium - No 2 Hostias
Mozart
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11.
V. Sanctus
Mozart
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12.
VI. Beneditus
Mozart
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13.
VII. Agnus Dei
Mozart
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14.
VIII. Communio - Lux eterna
Mozart
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15.
Introitus
Mozart
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16.
Kyrie
Mozart
00:03:33   Select quality & channels above

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