HD-Vinyls 24/96 (EMI) Wolfgang Amadeus Mozart – Requiem (Barenboim)

front_small_boxsetThis recording is a gorgeous performance of Mozart’s excellent Requiem. Sheila Armstrong, the soprano, has a shimmering, pure, beautiful, above all a Mozartian voice – she shines in this recording. Baker has a rich voice that she uses with intelligence. Nicolai Gedda is radiant in the tenor role and Dietrich Fischer-Dieskau is at his considerable finest as the baritone. Daniel Barenboim conducts extremely well, and gets great singing and playing from his chorus and orchestra.

# Composer: Wolfgang Amadeus Mozart
# Performer: Nicolai Gedda, Dietrich Fischer-Dieskau, Sheila Armstrong, Janet Baker
# Orchestra: English Chamber Orchestra
# Conductor: Daniel Barenboim
# Vinyl (1972)
# Number of Discs: 1
# Format: Flac
# DR-Analysis: DR 10
# Label: EMI Angel
# ASIN: B00AM5RD44
# Size: 1.22 GB
# Scan: yes
# Server:



First, Mozart’s Requiem gets a traditional, grand reading – complete with the English Chamber Orchestra plus the John Alldis Choir plus exceptional solo singers who will be hard to match so long as recordings exist. The John Alldis Choir must be singled out for praise, as if we did not already know how well they sing on recordings. The chorus has a wide, large sound – and given the traditional approach, entirely apt to the slower tempos and room for inflection and detail and heft of this reading of Mozart’s Requiem. Using a modern band and chorus would promise to put the solo singers in small scale, if not for the particular singers this reading uses. Soprano Sheila Armstrong, famous mezzo Janet Baker, refined-classy tenor Nicolai Gedda, and to round the group of soloists off, famous-refined-classy bass-baritone Dietrich Fischer-Dieskau. Alone and together these singers offer as knowing an account of their music as any available current recording of the requiem offers to listeners. Fischer-Dieskau sings the only Tuba Mirum that masters all the passing difficulties – tessitura, leaps, legato, heft, and text. In too many other outings, I always find the composer’s idea beyond the actual reach of too many basses or baritones. In fact all the other singers in this reading are as fine as Fischer-Dieskau.
I must admit that I can take or leave Barenboim’s leadership on occasion. Here he keeps a purposeful, consistent musical grip while still letting all the available performance talent gather and flow through him and past him into greatness. He wisely does not try to interfere or unduly conduct his outstanding chorus and soloists. He sets traditional broad tempos that are still yet not too slow, and then he just gets properly out of the way and lets everything open and unfold.


A1   Requiem 8:13
A2   Dies Irae 1:46
A3   Tuba Mirum 4:22
A4   Rex Tremendae 2:23
A5   Recordare 6:11
A6   Confutatis 2:56
A7   Lacrymosa 3:27
B1   Domine Jesu 4:02
B2   Hostias 5:23
B3   Sanctus 1:43
B4   Benedictus 5:51
B5   Agnus Dei 9:55

 Analyzed folder: /96kWAM_Re_Bar/96k WAM – Requiem – Barenboim
 DR        Peak        RMS        Filename
 DR10        -1.43 dB     -15.26 dB     A1 Requiem.wav
 DR9        -1.18 dB     -13.03 dB     A2 Dies Irae.wav
 DR12        -6.02 dB     -22.70 dB     A3 Tuba Mirum.wav
 DR10        -1.88 dB     -15.71 dB     A4 Rex Tremendae.wav
 DR12        -2.26 dB     -19.54 dB     A5 Recordare.wav
 DR10        -2.80 dB     -19.70 dB     A6 Confutatis.wav
 DR9        -1.90 dB     -15.96 dB     A7 Lacrymosa.wav
 DR10        -2.40 dB     -16.06 dB     B1 Domine Jesu.wav
 DR10        -3.27 dB     -18.05 dB     B2 Hostias.wav
 DR9        -1.09 dB     -13.41 dB     B3 Sanctus.wav
 DR11        -2.17 dB     -18.32 dB     B4 Benedictus.wav
 DR10        -1.04 dB     -15.20 dB     B5 Agnus Dei.wav
 Number of files:    12
 Official DR value:    DR10


  • Baritone Vocals – Dietrich Fischer-Dieskau
  • Choir – John Alldis Choir
  • Chorus Master – John Alldis
  • Conductor – Daniel Barenboim
  • Mezzo-soprano Vocals – Janet Baker
  • Orchestra – English Chamber Orchestra
  • Soprano Vocals – Sheila Armstrong
  • Tenor Vocals – Nicolai Gedda

Ripping Infos

  • RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
  • TT: Clearaudio Champion Level II
  • Cartridge: Sumiko Black Bird
  • Phono amp: Pro-Ject Phono Box RS
  • ADC/DAC: RME Fireface UC
  • Pre Amp: Unison Research Unico Pre (Tube)
  • Finals: Opera Consonance 9.9 Mono (Tube)
  • Speakers: Dali Helikon 400
  • Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
  • Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
  • Light de-Clicking with iZotope, significant clicks manually removing, no De-Noising

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.

  • 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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PW: LaWally

32 thoughts on “HD-Vinyls 24/96 (EMI) Wolfgang Amadeus Mozart – Requiem (Barenboim)

  1. Thank you for this. The Requiem is a piece which needs to be heard in many exceptional versions (as Mozart left it unfinished at his death).

      • Wow! Another good one? Another ~Rachmaninov~ good one? If you weren’t the Admin I wouldn’t believe you. That’s great! You must have a record library the great composers would have envied.

        • Indeed I own about 3000-3500 records, the half are classical/opera…and I receive normally several hundreds from all over the world. In 2013 they were about 800, about the half here too, classical/opera.
          That other WAM-Requiem I mean is with Lipp, Rössl-Majdan, Dermota, Berry under Karajan, on DGG original pressing, tulip label, from the DGG golden time, 1961

  2. Many thanks!!!! at the end the gods listen to me. A massive masterpiece, the thunderous fire fire of Dies Irae, the delicate Lacrimosa, the nostalgic intro…….the last word of God, W.A.M

  3. By the way, the performance is extraordinary. Finally i find my Réquiem. Dies Irae have the right fire, the correct “speed” for my like. About technicals i belive my pleb headphones are not be able for reproduce the scene. Is a huge orchestra opening the doors of the hell, so massive for a por headphones. About the recording i belive needs a Little bit more punch, like many records from Decca, sometimes im feel far from the scene. I can´t avoid replay time after time Dies Irae. Many thanks.

    • I have another good one WAM-Requiem… is with Lipp, Rössl-Majdan, Dermota, Berry under Karajan, on DGG original pressing, tulip label, from the DGG golden time, 1961

  4. You saved my life. I have this in mp3, which if one does not have it then mp3 is better than nothing. But this job you’ve don on the WAM Requiem is superb, and your right, Gedda and Co. sound beautiful.
    Many thanks to you, Rach!

    • That other WAM-Requiem I mean is with Lipp, Rössl-Majdan, Dermota, Berry under Karajan, on DGG original pressing, tulip label, from the DGG golden time, 1961

      • Oh, MY: I got to going through my hard Drive collection of WAM Requiem, and I also have the Karajan Requiem with Lipp, R-M, Dermota & Berry from Whatever in APE; however I just checked Boxset.ru and it is no longer there. But I have it.
        Looking forward to your HD rendition. It seems I have 18 or 20 different WAM Requiem recordings.
        Too much to keep track of.

        • Meaning no disrespect, at all –
          If you could only keep 5 of the WAM Requiem recordings in your collection, which would they be?

          • I meant to ask Bob. But since Rachmaninov is above my question too, I now think I’ll ask you both. That is, if you don’t mind.

          • Hello booksaregood: I don’t mind at all. But let me say first: Whatever, and now Rach, have quite a library of WAM Requiem on this website. Just plug in Mozart Requiem in the Green magnifying glass above right, and you’ll be amazed at what you see. To save time & space I’ll just list 4; and then 5-10 could be any number of renditions for soloists I like, etc.

            1. [for history] 1950 La Scala Live, Requiem, Cantelli, Tebaldi, Prandelli, Siepi.

            2. 1971 DVD Requiem●Böhm, Janowitz, Ludwig, Schreier, Berry – Vienna – fantastic Video & sound. Bohm was a Mozart specialist. Whatever has the CD’s on this website.

            3. [Bohm & Rach’s Barenboim are very close because of many factors: 1971 Requiem Barenboim Armstrong∙Baker∙Gedda∙D F-Dieskau. HD-Vinyls 24●96

            4.1988 Karajan: check this out on You Tube

            5. 1991 Requiem – (Sir Georg Solti) Auger, Bartoli, Cole Pape, Wiener PO

            6. 1979∙1986 MOZART,● 1975 MUTI 1987∙CHERUBINI● 1984 KLEE, GEDDA -SCHUMANN – REQUIEM (2 CD,
            Giulini leads the Mozart here, and it is awfully powerful. This is also in Whatever’s cupboard as well.

            For whatever its worth these are my opinions and choices; not set in concrete, but I go back to them for a listen most often.

            • Thank you very much.

              I myself have thought the 1971 Video-DVD Requiem under Böhm is something special. I had not thought about La Scala but now I will. Rach’s post – of course. Solti should be good too. But may I ask: what is the difference between the 1976 Karajan and the 1988 Karajan? [I have the 1976.] For that matter, what is the difference between the 1961 Karajan [which Rach will post] and his 1976?

              I mean no harm, I simple do not know and so I ask.

                • Bob, I’m not this enthusiast and specialist in technical purposes, to judge the two recordings in comparison…..but, instinctively, I would prefer the older one, from 1961; there is more innocence in all points….younger Karajan, younger Stereophony, younger, new (better) technology in recording, pressing a good performance.

                  Think: it’s just my opinion, but I think, if you sing/play/perform/record something for the first time, you put all your soul and heart in it. If you repeat it the 2nd, 3rd, 4th time, is in my eyes only a matter of business and, at least, you can never again reach the freshness – THE INNOCENCE – the beauty of the 1st time.

                  You may say, but in the following attempts you can only become better and better…..

                  Maybe, but I don’t believe. My experience says me: keep all you can get from the golden time (mid 50s – end 70s) because there will never again come something better, concerning 60-70% the performance and 90-100% the technical aspect.

                  Haugh, I spoke !

              • Please, read my answer to Bob…..additionally I want to say, and don’t misunderstand me: All musicians/singers/maestros/technicians do always their best…and they deserve all love you can bear for this. There was the question, what could be better of the two recordings…and what I wrote Bob is my personal opinion. Of course, all artists are great, no matter which recording is meant…and they all must be beloved for what they do and bring to humanity.

                • Rach, I think there is validity in what you say here. The only issue that comes to my mind is that with experience comes development of skill and maturity. All of this has relavancy, but nothing is absolute in the arts. Some have greater gifts to begin with than others. So to a degree comparison without all the knowledge of which you speak, it is merly in the eye of the beholder and the ear of the listener.
                  I counted up the WAM Requiems, and I have 25 or so. I enjoy all; but some better than others.
                  By the way, I thought I found the Tebaldi, Siepi Requiem in Whatever’s offering of Tebaldi’s 80th Anniversary, but in that CD, there is only about 3+ minutes of the Benedictus of the Requiem – with 6 minutes of some Opera I recognize, but can’t recall the name of it. Tebaldi sounds good with Siepi, Prandelli & Barbieri. but 3 minutes is not worth the trouble to locate it.

                  • I understand both of you, and can explain:

                    On the one hand:
                    The younger the interpreter, and the closer to their first time at interpreting a piece of music, the more the audience will receive of the interpreter. In other words: tell young ‘John’ to sing “Tuba Mirum” and he will sing as if it were his own song. Tell young ‘Jane’ to conduct “Requiem” and she will conduct the notes as if she had written it. The arraignment of the notes will be Mozart’s – the finalized piece of ‘Music you Hear’ will have been the fresh creation of ‘John’ & ‘Jane.’

                    On the other hand:
                    The older the interpreter, and the closer to their last time at interpreting a piece of music, the more the audience will receive of the interpretation. In other words: tell old ‘John’ to sing “Tuba Mirum” and he will sing as if it were the song of someone else whom he loves to represent. Tell old ‘Jane’ to conduct “Requiem” and she will conduct the notes as if her favorite author had written it. The arraignment of the notes will be Mozart’s – the finalized piece of ‘Music you Hear’ will have been ‘John’ & ‘Jane’ doing everything in their power to be Mozart.

                    Neither is better than the other. A good interpreter should shine & a good composition should be understood. The balance between them is an art as old as Music.

                    I would like to thank you both for saying things that allowed me to see this.

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