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Requiem/Meeresstille & Gluckliche Fahrt/Intende Vo Hybrid SACD, SACD


Price: £13.86 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
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Product details

  • Conductor: Foster
  • Composer: SALIERI/BEETHOVEN/SCHUBERT
  • Audio CD (21 Jun 2010)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: Hybrid SACD, SACD
  • Label: PENTATONE
  • ASIN: B003E113W6
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 196,839 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. Requiem in C Minor: Introitus - KyrieArianna Zukerman 6:34£0.59  Buy MP3 
Listen  2. Requiem in C Minor: SequenceArianna Zukerman14:50Album Only
Listen  3. Requiem in C Minor: OffertoryArianna Zukerman 4:04£0.59  Buy MP3 
Listen  4. Requiem in C Minor: SanctusArianna Zukerman 2:03£0.59  Buy MP3 
Listen  5. Requiem in C Minor: BenedictusArianna Zukerman 2:50£0.59  Buy MP3 
Listen  6. Requiem in C Minor: Agnus Dei - CommunioArianna Zukerman 5:25£0.59  Buy MP3 
Listen  7. Requiem in C Minor: Libera me, DomineArianna Zukerman 3:16£0.59  Buy MP3 
Listen  8. MeeresstilleLisbon Gulbenkian Chorus 4:50£0.59  Buy MP3 
Listen  9. Meeresstille und gluckliche Fahrt, Op. 112: Gluckliche FahrtLisbon Gulbenkian Chorus 2:51£0.59  Buy MP3 
Listen10. Offertory: Intende voci in B-Flat Major, D. 963Marius Brenciu 9:30Album Only

Product Description

Foster/Gulbenkian Chor und Orchester

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By Alberto Lupi on 7 April 2014
Format: Audio CD Verified Purchase
Salieri was a Great whose fault was to live in a period were greatness was so common!
Apart from the children of Mozart (so to settle any doubt) among his pupils were Ludwig van Beethoven, Franz Liszt, Franz Schubert and many other luminaries of the early Romantic period. He also instructed many prominent singers throughout his long career. All but the wealthiest of his pupils received their lessons for free, a tribute to the kindness Gassmann had shown Salieri as a penniless orphan.

Salieri suffered of dementia for the last year and a half of his life and was committed to medical care.
At his memorial service on 22 June 1825 his own Requiem in C minor – composed in 1804 – was performed for the first time performed under the direction of Franz Schubert.
This work has not the weight of the requiem that came in the 19th century (Berlioz over all), but this work toghether with the Passion is a luminous example of Sacred Music of the XVIII.
It' an Author still to rediscover.
When his remains were transferred to the Zentralfriedhof, his monument is adorned by a poem written by Joseph Weigl, one of his pupils:

Rest in peace! Uncovered by dust
Eternity shall bloom for you.
Rest in peace! In eternal harmonies
Your spirit now is dissolved.
It expressed itself in enchanting notes,
Now it is floating to everlasting beauty.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
4 of 4 people found the following review helpful
Music worth hearing 7 July 2010
By Orgelbear - Published on Amazon.com
Format: Audio CD Verified Purchase
If the C Minor Requiem from 1804 is any indication, Salieri was sure of eternal salvation. There is little mourning or fear of death here. The opening "Kyrie" makes the necessary sad theatrical gestures, but the "te decet hymnus" dances happily. The "Dies Irae" is suitably dark, and the trombones and timpani make their expected appearance in the "Tuba Mirum" (returning again in a masterstroke in a surprisingly hysterical "Lachrymosa"). But it is at the major key outburst of "Rex tremendae majestatis" that the music finds its voice. From here on, this Requiem expresses full confidence that the Judge's decision will be favorable.

Written for church use and not the concert hall, Salieri's Requiem is well crafted but not learnedly complex. The choral writing is primarily syllabic and chordal, with only the slightest fugal gestures at some, but not all, of the usual places. As would be expected from an opera composer, expression is accomplished primarily by melodic means. The sparingly used soloists always sing as a quartet throughout. The concluding "Libera Me", accompanied only by winds, is the work's coup de théâtre and its most somber music until the triumphant major-key blaze on the final chord.

The performance is solid and committed, yet perhaps more could have been made of the opportunities for expressive contrast. The recording, made in the Gulbenkian Foundation's concert hall in Lisbon, is natural and transparently detailed in both multi-channel and 2-channel formats. Some listeners might prefer a slightly warmer, more reverberant, churchy acoustic for this music, but that's a matter of taste. The choir, soloists, and orchestra are naturally balanced.

With the Requiem coming in at just under 40 minutes, this disc needed filler. It would have been nice if the makeweights had been more Salieri choral music, but at least these particular Beethoven and Schubert pieces are among their least recorded works (and relevant since both were pupils of Salieri). The performances aren't the absolute best available (the tenor soloist in the Schubert has to work a little too hard), but they are respectable.

Program notes for an unfamiliar work such as this should be more informative. Moreover, there are no texts. That's not so much of a problem for the familiar Requiem text, but having the less familiar Goethe "Calm Sea..." poems and the "Intende Voci" would be nice. Oh, well. There's always the internet.

Quibbling aside, this disc is a good introduction to a work that deserves more attention.
3 of 3 people found the following review helpful
Last will and counterpoint 18 Jun 2010
By Jim D. - Published on Amazon.com
Format: Audio CD
Mozart probably never knew who he was writing the famous Requiem for, but his rival Antonio Salieri had no such problem: he planned this Mass to be used at his own funeral. It's certainly the work of a craftsman, and while observing all the conventions of its time, offers variety in some of the details, such as the startling key change when the Osanna fugue returns (which almost seems to take the singers by surprise), and a lovely unaccompanied passage for the solo quartet and chorus in the no-strings "Libera Me". Shorter--and cheerier--vocal works by Beethoven and Schubert, two of Salieri's pupils, fill out the disc for a nice program. No texts in any language, which is a shame as the chorus' words are often unintelligible, though they sing well otherwise, as do all the soloists.
3 of 4 people found the following review helpful
Funeral rites for the self stoke Salieri's muse 9 Aug 2010
By Berna Can - Published on Amazon.com
Format: Audio CD
Milos Forman's 1984 film Amadeus encouraged in the public mind an image of Salieri as a bumbling also-ran to Mozart's otherworldly genius, with the corollary that his music merited no serious consideration. While this sort of a breezy judgment is surely a little simplistic in its apportioning of all-or-nothing value, the Salieri pieces I have listened to through the years did not make me take serious exception to the notion that his music can be, well, a little dull. This Requiem, however, is a fully vital work that engages its subject matter with intensity of purpose; its dramatic flourishes never feel gratuitous, but are deeply affecting. While moments of sanguine calm flicker through the movements, and dominate the brief middle section made up of the Offertorium, Sanctus, and Benedictus, the mood overall is elegiac. The whole is interlaced with a poignant melodic leitmotif whose first incarnation on the English horn pierces the sepulchral mood of the opening bars and resurfaces in several movements. Perhaps the designee of Salieri's Requiem proved especially inspiring: the piece was written to be performed at the composer's own funeral. There are no solos, and few moments when the quartet of vocalists break off from the choir; maybe an indication that this composer known primarily for his operas, writing in an age when sacred music was frequently suffused with vocal virtuosity borrowed from the stage, distanced himself entirely from worldly matters in contemplating his own death and afterlife.
0 of 1 people found the following review helpful
Salieri is the BEST!!! 6 Sep 2011
By Brian in Chattanooga - Published on Amazon.com
Format: Audio CD Verified Purchase
It never ceases to amaze me that people tend to dismiss Antonio Salieri! Sure, he's no Mozart or Beethoven, but he was the most prominent composer in Europe during his lifetime and a very prolific composer! His music is the epitome of Classical Period elegance and beauty!

This Requiem is glorious! But what caught my ear most was the Libera Me, in which the orchestra and voices are basically doubling each other! (Made me chuckle when I think of that scene in "Amadeus" when Salieri proclaims "I don't understand!" when Mozart was explaining that the instruments were doubling the voices in his Requiem...the scene where Mozart is dictating and Salieri is writing it down!)

Salieri is a truly maligned master and he should, through more performances of his music, take his place among the great composers of the Classical Period! I look forward to the day when more prominent ensembles and artists begin performing his music like Cecilia Bartoli and Diana Damrau have already done!

If your only experience with Salieri's music is hearing the overture to "Prima la music e poi le parole", you are denying yourself the rapture that occurs in his other, much greater works!
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