A fascination that never wanes
Mozart’s “Requiem”: Carus chief editor Uwe Wolf spoke to Howard Arman about his approach to completing the fragment.
Mozart’s “Requiem”: Carus chief editor Uwe Wolf spoke to Howard Arman about his approach to completing the fragment.
What makes the Mozart Requiem so fascinating? Mozart expert Ulrich Leisinger on Mozart’s fragmentary last work.
The C Minor Mass KV 427 by Wolfgang Amadeus Mozart is a fascinating work. But to speak of “the” Mass is inaccurate, for basically it is no more than a musical torso, with many puzzles and problems, yet full of magnificent music. We look into the intriguing history of its composition and transmission.
When Carus-Verlag asked Daniel Ivo de Oliveira to realize the basso continuo part of Mozart’s Mass in c minor K. 427, as completed and edited by Frieder Bernius and Uwe Wolf, he was brought into contact with a style of music that was new to him. After listening to the piece several times he was fascinated once again by Mozart’s exquisite music…
Felix Sorg first encountered Max Reger’s “Acht geistliche Gesänge” op. 138 during his school music course. He associates many enriching choral experiences in the Trossingen Hochschulchor with these pieces, first of all the “Nachtlied” with a special appearance in the German Parliament…
For Miriam Groß, the “Missa in C minor” is one of the most impressive Mozart mass settings. The incomplete mass was not – as usual – written on the basis of a composition commission, but Mozart vowed to write a mass if he succeeded in marrying his well-known Constanze Weber. Against this background, it is not surprising that the soprano solo (the future Constanze Mozart was after all a soprano) has a very large, often operatic aria-like part in this mass. The mass was reconstruted several times; two of these versions are available from Carus.
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