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Mozart: Requiem [Import]

Karl Böhm Audio CD
3.7 out of 5 stars  See all reviews (3 customer reviews)
Price: £7.00 & FREE Delivery in the UK on orders over £10. Details
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Product details

  • Audio CD (19 Mar 1997)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Decca (UMO)
  • ASIN: B000001G5A
  • Other Editions: MP3 Download
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 100,180 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
Listen  1. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 1. Introitus: Requiem/2. KyrieEdith Mathis 9:39£1.09  Buy MP3 
Listen  2. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 3. Sequentia: Dies iraeWiener Philharmoniker 1:59£0.79  Buy MP3 
Listen  3. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 3. Sequentia: Tuba mirumEdith Mathis 4:19£0.79  Buy MP3 
Listen  4. Wolfgang Amadeus Mozart: Requiem In D Minor, K.626 - Compl. By Franz Xaver Süssmayer - 3. Sequentia: Rex tremendaeWiener Philharmoniker 3:11£0.79  Buy MP3 
Listen  5. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 3. Sequentia: RecordareEdith Mathis 7:05£0.79  Buy MP3 
Listen  6. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 3. Sequentia: ConfutatisWiener Philharmoniker 3:52£0.79  Buy MP3 
Listen  7. Wolfgang Amadeus Mozart: Requiem In D Minor, K.626 - Compl. By Franz Xaver Süssmayer - 3. Sequentia: LacrimosaHans Haselböck 4:10£0.79  Buy MP3 
Listen  8. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 4. Offertorium: Domine JesuEdith Mathis 4:39£0.79  Buy MP3 
Listen  9. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 4. Offertorium: HostiasWiener Philharmoniker 5:06£0.79  Buy MP3 
Listen10. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 5. SanctusWiener Philharmoniker 1:58£0.79  Buy MP3 
Listen11. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - 6. BenedictusEdith Mathis 6:54£0.79  Buy MP3 
Listen12. Wolfgang Amadeus Mozart: Requiem in D minor, K.626 - compl. by Franz Xaver Süssmayer - Agnus Dei/Lux aeternaEdith Mathis11:29Album Only


Product Description

CD Wiener Staatsopernchor/Wp/Bohm

Customer Reviews

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3.7 out of 5 stars
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Most Helpful Customer Reviews
6 of 7 people found the following review helpful
5.0 out of 5 stars Mozart Requiem Bohm 23 May 2011
By Bacchus TOP 1000 REVIEWER VINE VOICE
Format:Audio CD
I have often thought that this recording did not get its due given than DG have three different Karajan recordings of this work to promote. Before listening to it myself, I feared also that it would be a rather heavy 'Germanic' rendition which would be out of fashion in a world that favours swifter, more chamber orchestra/choir performances. I had no need to worry.

This is a lovely performance. The Vienna State Opera Chorus is a full voiced professional choir but not overpowering. The Vienna Philharmonic play to the manner born. There is a perfect sense of balance between orchestra and chorus that enables you to register plenty of orchestral and choral detail even when all guns are blazing.

Karl Bohm is of course a wonderful Mozart conductor and one whose posthumous reputation has not been as high as it deserves to be. This is a gentle beautifully phrased performance in which the listener can really enjoy every moment. There is nothing hard driven about it but it can still excite.

The soloists are all very good. While each part has been sung better by other singers, they still make a superb team and I was happy to listen to them.

Highly recommended.
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19 of 25 people found the following review helpful
5.0 out of 5 stars The Most Wonderful Music in the World 14 Dec 2005
By A Customer
Format:Audio CD
This is without a doubt the best rendition of Mozart's Requiem I've heard. I listen to this CD at least once a week (ususally a lot more often than that) and I never tire of it. A must have for any classical music fan!
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2 of 7 people found the following review helpful
1.0 out of 5 stars Below the Flatline 18 Jun 2012
Format:Audio CD
What is one to say of a performance of the Requiem that is actually more dead than the poor bugger in the coffin?

By all means bring out the grandeur of the score - it warrants it - but why transform K 626 into an elegy for the Nineteenth Century?

This is Obesity Central; everything about this recording is bloated and coarsely so. I would not be surprised to hear that the Huddersfield Choral Society, circa 1910, was somehow involved in this venture. Worse still, Uncle Karl makes Erich Honecker seem like Jim Morrison. He's uber-slow, mechanical and more funereal than an undertaker. Listen to the Rex Tremendae: Uncle Karl might as well be driving a tractor on his potato farm. Nor is he helped by the thousand-strong choir (if Lenny was in town at the time, they should have tackled the Mahler 8th in the same session). Again, listen to the Rex Tremendae and their first entry: how crude it is - and the opacity of the recording means that there is little or no differentiation between the SATB. The shrieks of the Damned are to be heard in the Confutatis but it has nothing to do with Hell. The Agnus Dei is almost unlistenable - it sounds like a Brahms Requiem on steroids but that is doing a disservice to Johannes. The Vienna Philharmonic play well enough - for Bruckner. Edith Mathis, normally one of my favourite singers, sounds as if she is trying to emulate Joan Baez in her over-use of vibrato; Ridderdbusch lacks `sepulchral resonance' in his lower register. The tenor and alto are OK but nothing special.

Ever so thoughtfully, DG has bolted together the Requiem Aeternam with the Kyrie (there is no separate track listening for the latter). There are synergies here with Dr Who's Tardis whose physical dimensions were belied by its interior.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.3 out of 5 stars  27 reviews
32 of 39 people found the following review helpful
5.0 out of 5 stars Profoundly tragic 23 Jun 2005
By Musicus - Published on Amazon.com
Format:Audio CD
I cannot claim that no other Mozart Requiem is as good as this. Still I don't need any other. If this is slow, it is a slowness that is needed to let the power of drama to unfold. Mozart never wrote anything as profoundly tragic as this work. In my opinion there are two great Mozart directors, for all their differences: Boehm and Gardiner. Perhaps I buy the Gardiner later, perhaps not. I can do with this some more years.

PS: August 2006: After recommendation, I've got the Peter Schreier-performance of the Requiem. It is leaner and clearer, as good sung as this; many will claim much better - but still I am not finished with my Boehm. In fact, the Schreier only reinforces my love for the Boehm-version. It seems to be definite as far as I am concerned.
PS 11th July 2007: Meanwhile I have bought the Requiem conducted by Rafael Fruhbeck De Burgos, brisker tempos, which feel just right. I never listen to the Boehm nor the Schreier anymore... I regret my five stars, sorry, should only be four. See the five star Rafael Fruhbeck De Burgos here:
Mozart: Requiem
21 of 25 people found the following review helpful
5.0 out of 5 stars Beautiful 25 Feb 2006
By aproductofsociety - Published on Amazon.com
Format:Audio CD
I can only review Bohm's interpretation of the requiem in the context of the only other version I have -- the weak Karajan version recorded in 1987. In contrast to Karajan who rushes through this piece in an unseemly and bizarre manner, Bohm adopts a majestic pace much more suitable, in my view, to this sort of music. Some think the pace too slow but I find Bohm's reading delicately nuanced yet crisp and quite vigorous when it needs to be. Bohm's take on the requiem feels flexible, mature, confident, whereas Karajan feels like he is trying much too hard for reasons that are entirely inapparent. Moreover, the singing on the Bohm recording is much better than that on the Karajan. The soloists in particular sound far superior and the chorus is wonderful. Interestingly, both Karajan and Bohm recorded with the Wiener Philharmoniker -- except Bohm clocks in at 64:26 (mins: secs) versus Karajan at 52:10. Unless you are in a hurry for some strange reason, you should buy this version and smell the flowers, as it were.
16 of 19 people found the following review helpful
5.0 out of 5 stars The definitive requiem 3 July 2000
By Laykok - Published on Amazon.com
Format:Audio CD
Karl Bohm has always been praised for his sensitive interpretations of Mozart but I had always pledged my allegiance to the more flamboyant performances of Karajan. Until now. I have nothing but praise for this recording. The pacing is perfect and the reading has the right combination of gravitas and dignity without being stodgy and lumbering which I usually associate with Bohm. The quartet of soloists is excellent and the Wiener Statsoper choir is superior to the Vienna Singverein which sings for Karajan. I was completely won over the moment the Kyrie came on; the attack and polish of the basses was truly exciting. The sound quality is also amazing for its age; there is hardly any hiss and easily rivals and surpasses some of the digital recordings. If there is only one recording of the requiem you can buy then this is it.
12 of 14 people found the following review helpful
5.0 out of 5 stars Another Great Mozart Work by Bohm 4 Feb 2002
By Adam Ross - Published on Amazon.com
Format:Audio CD
I have come to love Bohm's direction of the works of Mozart, and this is no exception. The first Requiem I owned was Herbert Von Karajan's, and for a long time I loved it very much... However, as I became older, it sounded increasingly (and overly) muddled to me. Having read good reviews of it, I went out and purchased Gardiner's version. This I liked even less... though it is clear and concise, it feels all wrong for the opposite reasons. The parts which are naturally busy sound good under Gardiner's direction... but too often, the whole thing comes off as thin and passionless. This version, by Bohm, has turned out to be my "just right" bowl of porridge. Though the tempos are a little slow... only a little... the work as a whole will only grow on you. It is a great experience and a nice balance between Karajan's romanticism and Gardiner's precision.
8 of 9 people found the following review helpful
5.0 out of 5 stars now joining the chorus of praise 16 Oct 2010
By Wyote - Published on Amazon.com
Format:Audio CD
I currently own 6 versions of Mozart's Requiem, and I'll review them here.

1. My current favorite is Bohm's: Mozart: Requiem. It possesses all the virtues of Karajan or Bernstein's, with the recording quality enjoyed by Abbado's. Highly recommended. Back-story: I though five versions were enough; then a friend criticized this recording, saying, "Bohm conducts Mozart as if he were Brahms." Well, that, I thought, is exactly the how I like it! If you don't, well, then skip this one, as well as the Bernstein and the Karajan.

2. My former favorite was Bernstein's: Mozart - Requiem / McLaughlin, M. Ewing, Hauptmann, Bayerischen Rundfunks, Bernstein. (It is also availabe in a box set of Bernstein's recordings of Mozart, which I'd heartily recommend to anyone: Mozart: The late Symphonies; Great Mass in C minor; Requiem [Box Set].) I cannot say that this is perfect, but it is the way I like to hear the Requiem: slow, stately, and solemn. I don't think anyone excited about the principles of period performance is going to like it, but I believe if Mozart had the resources available to a modern orchestra, he'd want to hear something like this.

3. About 15 years ago I decided to learn about classical music - not because I actually enjoyed it, but because I wanted to be a cultural person. One of the first recordings that I genuinely loved was Karajan's Mozart: Requiem. I actually prefer the music here to Bernstein's: it is even more beautiful and moving. It hurts me to subordinate this to anything, but unfortunately this recording is older and fuzzier than Bernstein's. The individual singing parts and instrumental lines are much clearer in the Bernstein. If you have a decent modern stereo system, or fancy headphones, you would want to hear the Bernstein at least occasionally for its clarity. Also, to be fair to Bernstein, there are moments where I prefer his version. (Be careful. If you live abroad this recording is also available with a Byzantine icon on the cover. But there is at least one other recording by Karajan of Mozart's Requiem, which is not the same as this one, and I don't own. Pay attention to the names of the soloists and you'll be fine. DG seems dedicated to fooling people into purchasing multiple editions of the same recording.)

4. Abbado: Mozart - Requiem / Mattila, Mingardo, Schade, Terfel, Berlin Phil., Abbado This recording is by far the most clear. If you want to hear the distinct parts, the instrumentation, as if you were standing on the podium, this is the recording for you. It is played faster than I like, but it retains most of the emotional power. Comparing this recording to Bernstein's is very instructive: I'm sure Abbado took fewer liberties, and purists will prefer this one.

5. In Brilliant Classic's Mozart Edition: Complete Works (170 CD Box Set), it is conducted by Nicol Matt and performed by various Dutch artists. The music is not recorded as well as the Bernstein or Abbado above, and it is taken too fast. Yet I still enjoy listening to this one for contrast.

6. Gardiner: Mozart: Requiem / Bonney, von Otter, Blochwitz, W. White, Gardiner. This is a recording only a mother - or a very serious enthusiast of period performance - could love. It is played far too fast, the instrumentation is much too thin. I cannot enjoy this, and I don't think I've sat all the way through it more than twice. (Notice that the enthusiastic reviewers of this one talk about "accuracy" and "authenticity" and so on rather than "beauty" or "power." Well, that's their thing, and I'm glad they have a recording to love. But it doesn't work for me.)

I hope to consider more as my collection grows. If you have a favorite or one that you think I'd like, please let me know in the comments.
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