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DiscountDelight - Mozart: Requiem
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List Price: $7.98
Our Price: $5.10
Your Save: $ 2.88 ( 36% )
Availability: Usually ships in 24 hours
Manufacturer: Deutsche Grammophon
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Average Customer Rating:  
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Binding: Audio CD
EAN: 0028942982123
Label: Deutsche Grammophon
Manufacturer: Deutsche Grammophon
Number Of Discs: 1
Publisher: Deutsche Grammophon
Release Date: 1990-05-16
Studio: Deutsche Grammophon
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Spotlight customer reviews:
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Customer Rating:
Summary: Wonderful music poorly done
Comment: I have loved Mozart's Requiem mass for years, but the more I listen to this recording the more I wince at the flaws. There are just SO MANY ragged and late entrances. I cringe every time the beginning of the "Dies Irae" comes on. The soloists are excellent, but there are parts of this recording that make me think they must have forgotten to tell the choir that they were supposed to LOOK at the conductor. Also, the sound quality leaves something to be desired.
This does not live up to what I would expect from a professional recording, and I will be looking for another version to replace this one.
Customer Rating:
Summary: Best requiem I know
Comment: This is my favorite Requiem I've heard. It far beats his 1960's recording of it, which is dry and boring but has a nice cast..and it surpasses his 1980's recording of it in it's blazing intensity. Karajan in 1975 handles and controls the choral and orchestral forces so well that he lifts them higher than themselves!
This was the first time I understood Mozart's Requiem, after listeing to dozens of recordings this was the one that did it for me...how I wanted it to sound and be.
Not for purists, but for those looking for a perfect and balanced Requiem with all the fire and beauty the Requiem calls for.
Customer Rating:
Summary: von Karajan's Mozart
Comment: Undoubtly the Requiem is one of Mozart's greatest work, so I am only commenting on this particular recording. I enjoy Karajan's Beethoven in general, but I find it difficult to listen to his Mozart work. He enlarged both the orchestra and the choir, but the balance is more favor toward the orchestra, as he did in his Beethoven symphony no 9 recordings. Resulting that you can't hear the text very well. Possibly because being a choir member myself and I sing this work many times, I am more biased toward the conventional choral recordings. The tempo of the kyrie fugue is also a bit slow, which I consider it less powerful; and the texture of the fugue is buried behind the large sound of the orchestra. For people agreeing my opinion, I recommend Marriner and St Martin in the Fields' recording, which I consider the best I've listened to.
Customer Rating:
Summary: Mozart's last great work
Comment: Mozart died while writing this, his famous unfinished Requiem. However, it sounds complete. There's a review on here by some punk rocker or hip-hop kid telling you how he doesn't "get" or enjoy Mozart and this kind of music in general. But I'm young too and like modern music and I'll have to disagree with him, it doesn't take a high IQ to understand and appreciate these beautiful sounds, and this beautiful music is for anyone, young and old, who loves beauty. You don't have to be especially bright or upper-class, you just have to have an open mind and the more you try to enjoy it, you really will more and more. How hard can it be to enjoy some of the most beautiful talented harmonies by a genius like Mozart? The Requiem is very accessible, very listenable, with lots of catchy melody and powerful moving atmosphere. It's not boring, it's miraculous. My favorite part is the fast chorus part near the beginning called "Kyrie Eleison."David Rehak
author of "A Young Girl's Crimes"
Customer Rating:
Summary: Huh? I don't get it
Comment: Sorry, but I am a cultural philistine. I simply don't understand Mozart. I have listened to this CD once the whole way through and none of it made sense at all, so I gave the disc to my grandfather. He listens to music by dead people like Mahler, Prokofiev, Shostakovich, Beethoven, Ravel and Bruckner, grown-up stuff that is too complicated for my atom-sized brain. I watch TV all day. The last book I read was 'The Da Vinci Code' by Dan Brown. I prefer watching TV to reading because TV is easier to enjoy. My IQ must seriously be quite low. Anyway, I digress. The point is, I am clueless when it comes to classical music. How does one enjoy it? Just as I gasp with incomprehension at Shakespeare, Picasso and high-culture in general, I am left stupefied, bewildered and ultimately puzzled by this work. I have tried to listen to some of Mozart's other compositions, such as his string quartets and symphonies- my grandfather insists that I will enjoy them- but I have failed like an abject fool to glean any satisfaction. Why? Am I simply too intellectually facile? Do I watch too much MTV? Has the American diet of decadence and dumbing-down irrevocably destroyed every neuron in my brain capable of apprehending masterpieces that old men and women seem to savour? I wish I could enjoy this CD, but it severely bored me. As each movement, each wave of tedium lapped against the impatient shore of my mind, Linkin' Park and other crews called my name. I am a child of the 21st-century and I apologise sincerely for the ignominious inanities of my hyperactive generation. We have the attention-spans of moths, the mental capacity of an oak tree. Yes, this is self-indulgent free association. I just felt like telling the world how forsaken I feel that an entire reservoir, nay, universe of purported masterpieces will forever evade my understanding and appreciation. And yes, I know, this review has been most unhelpful, but I can't help it: I am simply too dumb. Help.
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Editorial Reviews:
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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. --Ted Libbey
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