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DiscountDelight - Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel
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List Price: $16.98
Our Price: $12.17
Your Save: $ 4.81 ( 28% )
Availability: Usually ships in 24 hours
Manufacturer: Decca
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Average Customer Rating:  
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Binding: Audio CD
EAN: 0028944861624
Format: Soundtrack
Label: Decca
Manufacturer: Decca
Number Of Discs: 1
Publisher: Decca
Release Date: 1995-11-14
Studio: Decca
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Spotlight customer reviews:
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Customer Rating: 
Summary: Tacky, to say the least
Comment: In listening to the "Requiem" one easily sees why Lloyd Webber hasn't gained much of a reputation as a classical composer. It's just such a strange work, for one...okay, not really bad, but certainly not a masterpiece.
In accordance with the bodice-ripping music of ALW's Broadway work, I expected something of a similar vein: passionate, soulful, dramatic, and of course a tune riot. What I got was a work severely lacking in inspiration, depth, coherence, or anything really captivating to begin with. For the composer of "Cats", "Evita", and "The Phantom of the Opera", the music is alarmingly dry and uninteresting. Musically, the "Requiem" is equally sub-par: the melodies are fragmentory and unnatural; the dissonance (and there is dissonance, beware) which was at first so refreshing is, in the end, naively executed; the work as a whole seems to stumble along and closes with an ending abrupt to the point of ridiculousness. The "Requiem"s disunity only decreases what little effectiveness it has, despite Lloyd Webber's rather weak attempt at motifs.
The work does, I will admit, have it's merits: high points include the only slightly overrated "Pie Jesu" and the frankly cheesy "Hosanna". Throughout Lloyd Webber exhibits a strong command of contrapuntal writing, and the orchestration is superb. Maestro Maazel handles the orchestra with great competency, and Placido Domingo's ringing tones add greatly to the spirit of the work. Sarah Brightman's shrieking, pseudo-operatic voice, however, only grates on one's nerves.
I appreciate ALW's attempt to be taken seriously as a composer. This tacky work however, fails to cut it.
Customer Rating:
Summary: A Requiem in and of itself
Comment: The trouble with reviewing Andrew Lloyd Webber's Requiem is trying to compare it to other Requiem's we are all familiar with without doing either work any unjustice. Sure, I hear a definite influence of Benjaimin Britten, perhaps even a little Bernstein Mass, but this is no War Requiem, and comparing it to other settings by Verdi, Berlioz, Faure, Durufle, or Mozart would be useless. Instead, realize this is a work unto itself.
Andrew Lloyd Webber sets the Requiem and Kyrie, Dies Irae, Rex Tremendae, Recordare, Ingemisco, Lacrymosa, Offertorium, Sanctus (Hosanna), Pie Jesu, Lux Aeterna, and the Libera Me sequences of the mass of the dead. Scored for full orchestra (including saxophones), a huge array of percussion (including drum kit), harp, piano, celeste, synthesizer, and organ, this is an orchestration of monumental proportions. The chorus on the recording includes boy sopranos and altos and male tenors and basses along with solos for boy soprano, tenor (Placido Domingo), and soprano (Sarah Brightman). The voices, soloists especially, have extreme ranges (high and low) making this a work requiring virtuosity in the entire ensemble.
As for the music, everyone's perception of death is a different and personal experience, thus, ones idea of "Requiem" music will be completely different from others. You can find some snatches of chant-like material, pure melodiousness, great dissonance, revelry, bombasticity, and prayerfulness in this setting. Andrew Lloyd Webber exploits his talent of creating memorable melodies and uses thematic economy to tie the entire work together. The purity of the boy soprano is announced at the beginning with simple octave and fifth leaps, and frames the work by ending on a similar note. The soloists and their extreme ranges portray great angst and tension, but later turns into jubilation. I truly believe this is a serious work; each section gives a personal visualization of the Requiem text and creates a roller-coaster of ideas. The inclusion of more ethnic/modern drums in some places give the music its own Andrew Lloyd Webber personal spin.
The entire Requiem is rarely performed in its entirety, nonetheless recorded. This CD will probably remain the preferred performance to have until the end of time, and for good reason. It captures the excitement of a premier recording by consummate artists and performers. If you are looking for an interesting, and perhaps revolutionary, choral work, look no further.
Customer Rating:
Summary: Webber's best piece---and a worthy Requiem
Comment: This requiem was a big hit with the public (although, to be fair, many of the public would buy Pierre Boulez's music if Pavarotti and Brightman sang it), but a flop with the critics. The main two criticisms were that it was derivative and it had no memorable melodies. Well, it may be slightly derivative--but who cares? We can't listen to the Rite of Spring every day. And while it doesn't have many of Lloyd Webber's ultra-romantic melodies a la Cats, I found it to be quite fertile melodically, if a bit repetitive.
The first section--Requiem and Kyrie--is the best of the piece. It's desolate, sad, haunting, and as another reviewer said, conjures up visions of a postapocalyptic landscape. (Quite an achievement from the composer of Joseph and the Technicolor Dreamcoat!) The piece begins with a pianissimo low chord and sudden, strange sounds from the flutes and xylophone. Then the flutes start a haunting ostinato, over which the solo treble enters with the main (and only, but oh well) melody of the section (not memorable?!). The melody is sung several times, growing louder each time, until the suddenly a capella chorus is destroyed by a percussion crash. The melody subsides, and the piece ends suddenly.
The Dies Irae is a panicked vision of war, with fanfares on the brass and explosions in the drums. The agitated choral rushing leads into Tuba Mirum, which continues the previous section. The action slows with Quid Sum Miser, which features another haunting melody, sung by the soprano and tenor. The male chorus combines this with the opening fanfare for the Rex Tremendae. Then the treble's melody from the beginning returns unexpectedly, and the section subsides.
After a chorale on the organ, "Recordare" starts with a questioning, searching melody sung by the soprano--but the timpani seek to overwhelm it. The Ignemisco is sung by the tenor, and features a completely new melody that is reminiscent of Verdi. The chorus takes over the "Quid sum Miser" melody, on the "Lacrimosa" text, for a few bars. They are suddenly interrupted by "Confutatis," a brutal, militaristic march led by male chorus, drums, and brass, with blood-chilling screams in the flutes. The march slowly fades, to be replaced by the a capella chorus singing "Lacrimosa"--an inconsolably sad and lonely lament. The section builds to a big climax, but ends peacefully on "Amen."
The "Offertorium" begins with a tranquil chorale, but the organ soon leads the orchestra into a frightening march-fugato. The choir returns afterward, however, and leads into the next section.
The "Hosanna" is the only thing on this disk, except possibly the Piu Jesu, that I would have expected Lloyd Webber to write. It could have come from "Joseph," actually. The tenor sings a pop-like, celebratory melody, which is repeated 5 or so times with different accompaniments, including drums and synthesizer. The celebrating is halted suddenly by the "Recordare" melody, sung with the "Dies Irae" text, which again segues into the next movement.
The "Piu Jesu" was derided by Gramophone as "syrupy sweet," and it is rather sentimental, but a beautiful piece nonetheless. It is a duet for soprano and treble, and was the "hit song" from this piece. The mood is one of gentle supplication.
"Lux Aeterna" opens with luminous percussion, with children's choir singing a mysterious melody that never goes where you expect it to. This is another oft-repeated melody, and it becomes the main theme of "Libera Me," which builds to a huge climax. Then a pause--and the treble melody from "Requiem and Kyrie" appears again. Its presence at this point in the music can bring tears to your eyes--if it hasn't already. The music seems to be fading as the treble repeats "perpetua"--"eternal--but he is suddenly interrupted by monstrous, terrifying organ chords (over timpani roll) that could have come from Phantom of the Opera (Webber's other best piece)--except that the chords are based on the "Recordare" melody! After a pause, the treble continues to repeat "perpetua," a capella, until the piece fades into oblivion.
So--is this a worthy "Requiem"? My opinion, obviously, is yes. I have heard a lot of classical music, from Bach and Beethoven to Tchaikovsky and Mahler to Stravinsky and Penderecki. I am not particularly a fan of Broadway musicals or Pavarotti and Brightman. But I do love this piece. It may not be the "best" or most innovative Requiem ever, but it definitely deserves to be in your collection along with your Mozart, Verdi, Berlioz, Brahms, Faure, and Britten Requiems.
Customer Rating:
Summary: Masterpiece of modern music!
Comment: After hearing Andrew Lloyd Webber's Requiem at the concert, I was so impressed that what I immediately had to do was to buy a recording of this piece. CD impressed me even more and I became a truly fan of it. Undoubtedly inspired by other composers who wrote Requiems, especially Britten, Verdi and Faure, the work shows the full range of eclecticism that is so caracteristic for this composer. But, what is most important, all of that different styles interferate absolutely fabulous which is certainly a great merit of well-experienced conductor Lorin Maazel. Exempli gratia, it feels just right, not strange at all, to get into pop-like rythm of Hosanna after choir's fugato in manner of "classical" music. It seems throughout the whole work that Webber highly successfuly, as perhaps anyone before hasn't, managed to erase borders between so-called classical and popular music and simply created - Music. That is what impressed me the most. There are also some quite original elements as compared with some earlier written Requiems such as already mentioned Hosanna and especialy the very end - constantly repeated word "perpetua" by solo treble which is suddenly interrupted by breathtaking organ chords but still continues to repeat it while completely dissappears in space. I'm convinced that it represents the composer's message that hope, deeply fixed into human hearts, couldn't be destroyed no matter what kind of horrors are around us in this world.
The choir and orchestra did a very good job. There are some weak moments (e.g. synthesizer and brass have a problem with playing together with the rest of orchestra in Offertorium fugato, some minor problems with choir intonation at the high notes and similar things) but actually, it doesn't bother very much. Soloists (Domingo/Brightman/Miles-Kingston) are very well chosen and sing their parts just right. The most touching is, of course, well-known Pie Jesu movement, sung by a Sarah Brightman's heavenly inspired voice.
For me, it is an ingenious masterpiece of our time! I truly recommend this high-quality level recording!
Customer Rating:
Summary: A great Requiem for our times!!!
Comment: This was one of the first CDs I bought (I bought it back in 1985)! It's been 19 years already!
I'm not religious at all, but I think that you don't have to be in order to be inspired by this astonishing Requiem. I'm an artist, I paint, and I have quite a selection of great music (from Bach to Morrissey and from Mahler to Gilberto) to inspire me while I'm painting, however I often find myself listening to this recording while I paint! Andrew Lloyd-Webber's Requiem is quite inspiring indeed!
I have other CDs with rather more classic requiems, from Campra's and Mozart's to Faure's and Durufle's, and I love them all, but Andrew Lloyd-Webber's has a certain style and drama that becomes somehow addictive!
The orchestra (English Chamber Orchestra) plays beautifully throughout under the great Lorin Maazel, and both Pacido Domingo and Sarah Brightman (before she became so boringly commercial and dull) sing with great passion, strength and beauty! The treble (Paul Miles-Kingston) in the "Pie Jesu" is truly enchanting!
Although the "Pie Jesu" has become quite popular (and it deserves it for it is really stunning), there are other sections which are amazing too, like the "Requiem & Kyrie", the "Dies irae...Rex tremendae" the "Hosanna" and the "Lux aeterna & Libera me"!
I'm almost sure that this stirring Requiem will someday be remembered as a Requiem for our times!
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Editorial Reviews:
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Before Andrew Lloyd Webber's seemingly endless run of Broadway shows, when he was known primarily for Jesus Christ Superstar, he managed to write this dramatic, tuneful, occasionally powerful religious work. Although Lloyd Webber takes some liberties with the text and organization of the traditional Requiem mass, the result is a unified and finely crafted composition. There are exciting moments in the "Dies irae" and in the "Lacrymosa", where voices and orchestra are most effectively used to convey the desperate yet hopeful feeling of the text. This work isn't performed much these days in its entirety, but, as in many of Lloyd Webber's musicals, it produced a "hit" tune--the "Pie Jesu"--whose popularity alone could have kept the composer living comfortably for the rest of his life. --David Vernier
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