Pay attention: completely re-ripped, for Joe, with the new Black Bird and in 24/192
A single word: “majesty” and a second word: “tenderness”, in front of death and in the look of God … This is what we hear here, much better than in most other versions. After studying several Mozart-Requiem performances I realized that this one is the most inspired and the closest to the Mozart rithym and sensibility. Better performed even than others directed also by Herbert v. Karajan. You can listen to other Mozart-Requiem versions, but once you listen to this one, you will not want another!
# Composer: Wolfgang Amadeus Mozart
# Performer: Hilde Rössel-Majdan, Wilma Lipp, Walter Berry, Anton Dermota
# Orchestra: Berlin Philharmonic Orchestra
# Conductor: Herbert von Karajan
# Vinyl (1963/65)
# Number of Discs: 1
# Format: Flac
# DR-Analysis: DR 11
# Label: Deutsche Grammophon Gesellschaft
# ASIN: B000001GBY
# Size: 2.19 GB
# Scan: yes
# Server: FF
For a conductor to record 3 different recordings of the same work in 3 decades for the same label must show an extraordinary love and commitment. Karajan made this recording of Mozart’s Requiem in 1962 and made two further recordings in the 1970s and 1980s.
This is most definitely not your historically correct recordings. Off course we know this is to be expected from Karajan. I am sure the forces here in terms of the chorus are much more than would be expected in a historically correct “Gardiner” requiem, but the power of this recording can’t be denied. Although Herbert von Karajan does not bring the delicate touch you would expect in this work, you can feel the dramatic impact, like in the “Kyrie”. The soloists perform a beautiful “Tuba mirum” The sheer power, scale and force of the chorus lashes out at you sucking you into the feel of this requiem. In the “Rex tremendae” Herbert goes for the “I will blow your brains out approach today before you are done with listening to this” and it works. The “Lacrimosa” is solidly solemn and dramatic at the same time. The “Santcus” feels like you want to get up move that booty of yours, and shake it hard. In a odd sort of way you forget this is a requiem, rather the interpretation of the whole work makes you celebrate death and makes you in awe of the chorus. It’s like you feel “We should have had more dead people, so that we could have more massive requiems” like this one. Look if you are looking for the delicate and historically correct Mozart requiem, look somewhere else but the opening of the “Rex Tremendae” with that massive chorus screaming, you can’t be not moved or atleast you can’t be not shocked unless you are robot. You can really feel like this is Mozart like you never expected. The “Domine Deus” is springy and solid. I know in my heart that Mozart is more delicate, and I know that Herbert just went for the “mass attack” approach on this whole work but it’s still a powerful interpretation. So you loose some of the poignancy and some of the heart felt touches, but Herbert substitutes it with in-your face, forces with strong soloists who sing their hearts out.The Vienna Singeverin are forceful and spot on and are a very important part of the power of this peformance.
I am not the greatest fan of Herbert von Karajan but I could not deny the power of this work. Herbert takes this one at slightly slower speed than the other recordings that I have listened to and this is to gain this weighty, solemn and strong sound. Herbert wants to create this into an occasion like a bruckner symphony, or like a wagner opera. The slower speed works with the weighty orchestra and excessive chorus and this togther with the recording in a church gives you a dramatic sonic account. The recording feels like you are in the concert hall, because of the natural echoes in the church. But approach this one with the knowledge that this is a slightly bombastic, and super aggrandized account as rightly pointed out in the other reviews (hence not 5 stars). I always like to listen to several versions of the same work, even if the version is not a historically correct one. If the peformance moves me, I just forget about the historical correctness of the instruments, the forces and the slight changes to the nuances of the score. That’s the fun in listening to different versions of the same work, to get the picture of the work that each conductor sees through his mind’s eye. Die hard anti-karajan guys will anyway avoid this. I am myself not a karajn person, I for eg don’t feel the Beethoven in his Beethoven cycle that I own, I felt like he ate up half the delicate nuances on which a Beethoven symphony hinges and the brassy digital recordings of all of Beethoven symphony take away the warmth of the Beethoven sound making it sound more like star wars. But I did like this requiem by him. This may not serve as your Requiem of first choice but it would be nice to have this as an alternative version after hearing the soft touching ones. You may want this brutal-massive forces version just to see what Mozart sounds like if the composer is made to sound a bit like Bruckner. So I have cautioned the purists. It’s nice to get out of line sometimes and break the rules, so c’mon get out of your shells and listen to this one, it’s worth the price. If Mozart is getting audio streaming in heaven of the DG catalogue, Mozart himself would be amused and tickled to hear his music made to sound so extravagantly fierce.
Analyzed folder: /192kWAM_Re_Kar(63)/192kWAM – Requiem – Karajan (1963)
DR Peak RMS Filename
DR11 -1.58 dB -16.99 dB A1 Requiem.wav
DR11 -0.61 dB -14.04 dB A2 Dies Irae.wav
DR13 -5.38 dB -21.96 dB A3 Tuba Mirum.wav
DR10 -1.51 dB -15.19 dB A4 Rex Tremendae.wav
DR13 -4.99 dB -21.99 dB A5 Recordare.wav
DR11 -1.44 dB -19.36 dB A6 Confutatis.wav
DR10 -0.92 dB -17.79 dB A7 Lacrymosa.wav
DR11 -0.72 dB -15.50 dB B1 Domine Jesu.wav
DR11 -1.63 dB -17.94 dB B2 Hostias.wav
DR10 -0.24 dB -12.98 dB B3 Sanctus.wav
DR13 -0.70 dB -18.88 dB B4 Benedictus.wav
DR11 -1.14 dB -17.04 dB B5 Agnus Dei.wav
Number of files: 12
Official DR value: DR11
- Alto Vocals, Contralto Vocals – Hilde Rössel-Majdan
- Bass Vocals – Walter Berry
- Chorus – Wiener Singverein
- Chorus Master [Einstudierung] – Reinhold Schmid
- Composed By – Wolfgang Amadeus Mozart
- Conductor – Herbert von Karajan
- Engineer – Günter Hermanns
- Orchestra – Berliner Philharmoniker
- Organ – Wolfgang Meyer (2)
- Photography By [Karajan] – Max Jacoby
- Photography By [Other Artists] – Fayer, Wien*
- Recording Supervisor – Otto Gerdes
- Soprano Vocals – Wilma Lipp
- Tenor Vocals – Anton Dermota
On frontcover: “Mater dolorosa” on a church window from 2nd half of 12. century.
1965 Repress without “Red Stereo” Logo, but Tulip Label.
Title printed on Spine. On cover backside photos of artists, no liner notes.
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
TT: Clearaudio Champion Level II
- Cartridge: Sumiko Black Bird
Cartridge: Ortofon Virtus Cartridge: Audio Technica AT 33 E MC
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Vintage (1979) Luxman L-55A
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 1.0 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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