Wolfgang Amadeus Mozart - Requiem; Coronation Mass; Ave verum Corpus (Peter Schreier)

Information

Composer: Wolfgang Amadeus Mozart

• (01-14) Requiem in D minor, K. 626 (ed. Süßmayr)
• (15-20) Mass in C major, K. 317 - "Coronation Mass"
• (21)      Ave verum Corpus, K. 618

(01-14) Margaret Price, soprano
             Trudeliese Schmidt, mezzo-soprano
             Francisco Araiza, tenor
             Theo Adam, bass
(15-20) Edith Mathis, soprano
             Jadwiga Rapp, contralto
             Hans Peter Blochwitz, tenor
             Thomas Quasthoff, bass

Rundfunkchor Leipzig
Staatskapelle Dresden
Peter Schreier, conductor

Date: 1982 (1-14), 1989 (15-20), 1992 (21)
Label: Philips
http://www.deccaclassics.com/us/cat/4647202

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Review

ARTISTIC QUALITY:  9 / SOUND QUALITY: 9

Peter Schreier brought a lifetime’s experience as a singer to the conductor’s rostrum in his accounts of Mozart’s Requiem, Coronation Mass, and motet Ave verum Corpus. The performances were recorded in Dresden between 1982 and 1992. A major plus is highly disciplined singing by the Leipzig Radio Chorus, whose clarity of diction and finely balanced ensemble adds much to your enjoyment of these performances; they’re heard on their own account in the motet that concludes this reissue. The Requiem (in Süssmayr’s completion) is powerfully and urgently driven. In the Dies irae perhaps the trumpets and timpani could have sounded more threatening, but Schreier takes it very fast, and his chorus doesn’t miss a breath or syllable. The Confutatis section admirably shows off the tonal depth of the chorus tenors and basses, and the Sanctus and Benedictus are again excellently done. It’s also good to hear the basset horns in the Introitus as nicely balanced as this, so their solemn interjections, like those of the trombones throughout, have majestic weight and gravitas. Of the quartet of soloists, soprano Margaret Price and bass Theo Adam acquit themselves magnificently.

Different singers are heard in the Mass; Edith Mathis is a delight, and Hans Peter Blochwitz is an accomplished tenor, but neither Jadwiga Rappé (contralto) or Thomas Quasthoff is in the same league. Still, for anyone seeking an outstanding account of the Requiem, this is an obvious choice, and Schreier’s version has few ideal rivals at mid-price. Philips’ remastering sounds very impressive indeed. [6/24/2001]

-- ClassicsToday

More reviews:
http://www.gramophone.co.uk/review/mozart-requiem-coronation-mass
http://www.amazon.co.uk/Mozart-Requiem-Coronation-Verum-Corpus/dp/B00005IB5E

Original issue (Requiem only)
http://www.gramophone.co.uk/review/mozart-requiem-24
http://www.amazon.com/Mozart-Requiem-Wolfgang-Amadeus/dp/B0000040W1

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Wolfgang Amadeus Mozart (27 January 1756 in Salzburg – 5 December 1791 in Vienna) was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Till his death in Vienna, he composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. Mozart is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music.
https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart

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Peter Schreier (born 29 July 1935) is a German tenor and conductor. Schreier made his professional debut in August 1959. Throughout his career Schreier has been famous as a singer of German Lieder, including the songs of Schubert and Schumann. Instead of having the most beautiful of tenor voice, Schreier is known for his intelltigent musical expression. Since 1970, Schreier has also been a conductor with a special interest in the works of Mozart, J.S. Bach, and Haydn. In June 2000, Schreier left the opera stage, with last role as Prince Tamino in Die Zauberflöte. He also ended his singing career in 2005.

https://en.wikipedia.org/wiki/Peter_Schreier

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