# What is your favourite Mozart Requiem recording?



## JSBach85

Just curious to know, what is your favourite Mozart Requiem recording? I love Philippe Herreweghe with Orchestre des Champs-Elysees recording on Harmonia Mundi:









I was thinking about buying Dunedin Consort recording but I heard some excerpts and the chorus looks rather small.


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## Pugg

Karl Bohm on DG , near perfection.


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## Brahmsianhorn

I still have a fondness for Marriner on Philips as an interpretation that generally sounds right. Bernstein's is also a must for visceral excitement despite the slow tempos. Same for Giulini on Sony, one of the most beautiful versions though quite slow. Agree on Bohm though there is an even more exciting earlier version by him on Philips. For period instruments there is a good version by Gardiner.

Two historical accounts stand out: Bruno Walter (on Orfeo) and De Sabata (Naxos Historical). The latter may be my desert island choice despite the dim sound and operatic style. Many may know De Sabata from his Tosca and Verdi Requiem recordings. He is one of the great conductors of all time.


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## Granate

Pugg said:


> View attachment 92562
> 
> 
> Karl Bohm on DG , near perfection.


^
This one by miles

Second could be Karajan in 1975


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## Pugg

Granate said:


> ^
> This one by miles
> 
> Second could be Karajan in 1975


I would say Muti then as close second.


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## Granate

Pugg said:


> I would say Muti then as close second.


I haven't listened to that one, I'm trying versions.


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## merlinus

Karl Richter, Giulini, Celibidache, Schreier, and Herreweghe for me.


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## Vaneyes

Recorded 1958.


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## Brahmsianhorn

Vaneyes said:


> Recorded 1958.


I'll have to check that out. Scherchen's Mass in B minor from around the same time is the most beautiful I've ever heard.


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## Heck148

Walter/NYPO - from 3/56

Seefried, Tourel, Simoneau, Warfield
Westminster Choir

Great 4tet, choir, orchestra...


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## Pugg

Granate said:


> I haven't listened to that one, I'm trying versions.


Rich of colour and the choir is stunning and wonderful recorded.


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## CMonteverdi

This one

Lk


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## JSBach85

CMonteverdi said:


> View attachment 92605
> 
> 
> This one
> 
> Lk


Quite interesting... I want to listen this version, I haven't listened William Christie outside baroque period.


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## lluissineu

I've got a handful of recordings: Böhm (The one Pugg likes: a classical recording, very good), Karajan (never liked Karajan in Mozart), Barenboim, C. Davis, Harnoncourt, Schreier and both Giulini/Philharmonia (EMI and Sony).

No doubt, my choice Is Giulini EMI. A slow tempo, like Böhm, but more clear recording (rex tremendae and Lacrimosa are immense).


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## realdealblues

I have well over 50 recordings of the requiem. It's at the top of my favorite works along with Das Lied Von Der Erde. Of all of them this one is still my desert island disc.


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## Pugg

realdealblues said:


> I have well over 50 recordings of the requiem. It's at the top of my favorite works along with Das Lied Von Der Erde. Of all of them this one is still my desert island disc.
> 
> View attachment 92607


Close third for me together,with Bruno Walter.


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## bioluminescentsquid

Indoctrinate HIPster here.










#1 for me is probably Bruggen's version on Glossa - it's a live recording, so it isn't perfect, but it's beautiful in its stateliness and noblesse.






Others: Currentzis on Alpha (warning: literal bells and whistles and probably violin-smashing), or Harnoncourt's version on DHM are also excellent.


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## lluissineu

I just found this video in YouTube. Davis is a good option for Mozart's requiem. And Dresden staatskapelle has always this peculiar sound. Enjoy it.


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## itarbrt

To me : bohm , bernstein , fricsay .


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## Granate

*After a little challenge...*

*Apart from Karl Böhm...*

2nd/3rd



Granate said:


> *Mozart*
> Requiem in D minor, KV626
> *Sol. Caroline Petrig, Christel Borchers, Peter Straka, Matthias Hölle
> Cond. Sergiu Celibidache, PCM, MPO, WC (1995/2011 Reissue Edition)*
> 
> Striking interpretations that can be considered as references, as "that's what it is" as once Maestro Celibidache said. Both transfixed and slow, with a fantastic recording quality, gain the most if they are listened alone and without interruptions. The Mozart Requiem is amazing in Böhm levels.





Granate said:


> *Mozart*
> Requiem in D minor, KV626
> *Sol. Sibylla Rubens, Annette Markert, Ian Bostridge, Hanno Müller-Brachmann
> Cond. Philippe Herreweghe, CV, OdChÉ, Harmonia Mundi (1997)*
> 
> Herreweghe's recording for Harmonia Mundi is HIP as I have heard, even if I couldn't find out why. I was distracted by the superb quality of the voices. The singers are mesmerizing and create a great power from the score with less and more defined orchestration.


4th



Granate said:


> *Mozart*
> Requiem in D minor, KV626
> *Sol. Helen Donath, Christa Ludwig, Robert Tear, Robert Lloyd
> Cond. Carlo Maria Giulini, PO&C, WC (1979/1995 Remastered Edition)*
> 
> Like his Missa Solemnis, Giulini conducts a Requiem that sends the Philharmonia Chorus to the stars. It's overwhelming, while the soloists are good. Comparing with other versions lacks a bit of energy towards the end, but fantastic album.


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## NorthernHarrier

I have the Karajan DG recording, but I'd like to hear the Bohm DG recording, Giulini, etc.


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## Pugg

NorthernHarrier said:


> I have the Karajan DG recording, but I'd like to hear the Bohm DG recording, Giulini, etc.


Let us know how you liked them.


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## Ekim the Insubordinate

I really like the Bruno Weill/Tafelmusik recording on Sony. Great sound, and really clear.


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## JSBach85

Ekim the Insubordinate said:


> I really like the Bruno Weill/Tafelmusik recording on Sony. Great sound, and really clear.


How old is that recording?


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## Ekim the Insubordinate

JSBach85 said:


> How old is that recording?


I believe it is from 2000, and uses the Tölzer Knabenchor. It isn't the Sussmayr edition, but the Landon edition, which combines Sussmayr with Eybler and Freystadtler versions.


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## Dirge

W. A. MOZART (H. C. Robbins Landon): Requiem in D minor, K. 626 (1791)

Augér (soprano), Bartoli (mezzo-soprano), Cole (tenor), Pape (bass)
Konzertvereinigung Wiener Staatsopernchor
Wiener Philharmoniker
Solti
[Decca] live, St. Stephen's Cathedral, Vienna, 5 December 1991

I'm not an especially big fan of Mozart's Requiem or of Solti's conducting in general, but this live performance works for me. The approach is devout yet fairly dramatic in a liturgical sort of way that doesn't devolve into opera, with slightly faster than usual tempos (for a "traditional" performance employing a full-sized orchestra & chorus) that fall well within the music's temporal sweet spot at any given moment, allowing Solti to maintain a satisfying sense of flow and momentum throughout the proceedings-and the somewhat kinder, gentler old Solti (he's 79 here) is able to channel, at least partially, the meaner, fiercer young Solti for the more vigorous music. Everyone involved is clearly on board with Solti's concept, and there's a compelling sense of purpose and occasion in the air.

This performance and performers are very good to excellent throughout without any notable weaknesses-a rare thing in masses, oratorios, operas, etc. The vocal soloists are a contrasting but complementary lot that acquit themselves extremely well, whether together or apart. If I were to nitpick, I'd say that Bartoli doesn't project quite as strongly as the others, but her slightly pronounced vibrato makes her voice fairly easy to discern in any event. Even so, this is the most consistent and satisfying quartet of soloists that I've heard in this work. The Konzertvereinigung Wiener Staatsopernchor sings passionately and produces a rich, weighty, darker-than-usual sound that's well suited to the work at hand, while the Wiener Philharmoniker is its usual excellent self, whether pared-down or at full force, as the music demands.

The recorded sound is rich and weighty, with the lower voices and instruments getting their due for a change, but it's a bit opaque and softly focused overall. The slightly distant recording perspective and lifelike balances (meaning, among other things, that the vocal soloists aren't as prominent as they are in most recordings) make you feel like you're sitting about 20th row, center in a very large, acoustically slightly dull venue-high frequencies seem to attenuate fairly quickly at St. Stephen's. The performance is part of a service that includes spoken dialog (in German) between the Offertorium and the Sanctus and then again between the Benedictus and the Agnes Dei; church bells are also sounded at the beginning and the end of the program. Except for the beginning bells (which are either very softly tolled or very under-recorded), these "extras" are tracked separately and can be skipped/programmed out, as desired. I have the original CD release and don't know if it's been remastered (for better or worse) since then.

Although I could have done with a bit more tension/intensity/drama (I have a freakishly strong bias in that direction by nature), this is my favorite account of the Requiem on record (of the dozen or so that I know reasonably well and the many others that I've sampled and summarily dismissed based on one peccadillo or another). HIP fanatics will, of course, dismiss it out of hand, but listeners seeking out an up-to-date traditional performance that deftly negotiates/balances the devout and dramatic aspects of the work-not that those aspects are necessarily mutually exclusive-would do well to investigate it.


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## JSBach85

Does someone know about this recording?










Uses reduced choir? I am not convinced about reduced choirs outside baroque era.


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## AfterHours

Of all those posted, it is a close call, but I do feel the best ever is probably: 




Or, possibly this one:


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## AfterHours

realdealblues said:


> I have well over 50 recordings of the requiem. It's at the top of my favorite works along with Das Lied Von Der Erde. Of all of them this one is still my desert island disc.
> 
> View attachment 92607


Great selection, this one would be near the top for me.


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## merlinus

Schreier is at the top for me, along with Herreweghe and Karl Richter.


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## CDs

I agree with a lot of people here that Herreweghe is one of the best. I just bought the HVK version and so far I'm not impressed but I'll give it a few more listens before making my final judgement. It's been a while since I listened to Bohm's version so I'll have to pull that one out soon.


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## Pugg

CDs said:


> I agree with a lot of people here that Herreweghe is one of the best. I just bought the HVK version and so far I'm not impressed but I'll give it a few more listens before making my final judgement. It's been a while since I listened to Bohm's version so I'll have to pull that one out soon.


Very different then Herreweghe but still my no 1.


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## Granate

JSBach85 said:


> Does someone know about this recording?


I listened to it a long time ago. Too minimalistic. My HIP performance is still Herreweghe, while this one and the Gardiner recording do not succeed.


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## Brahmsianhorn

I was inspired by this thread last month to do a survey of what I consider the best Mozart Requiem recordings, and here are the results:

*1) Victor de Sabata (1941)* - Tempos and dynamics are sometimes eccentric, the singing style is overly operatic, and the recording dates from 1941. So why is this my first choice? One word: gravitas. No other recording reaches the depth of emotion - both the dramatic and the solemn - like this one. De Sabata was one of the greatest conductors of the century - his Tosca with Callas and Verdi Requiem are unmatched - and he brings that skill here to make an emotional impact befitting this great work.

*2) Eugen Jochum (1956)* - Almost De Sabata's match and in tempos and style that are more conventional. My only quibble is a somewhat fast Lacrymosa, but the beauty still comes through. Otherwise it is an interpretation that sounds just right with dedicated singing throughout. Unfortunately the recording quality is below par even for 1950s standards. There are even some extraneous noises, which leads me to believe this is a radio aircheck.

*3) Bruno Walter (1937)* - The first ever recording is also one of the best, with sound quality that is quite passable for the period. Walter does not quite plum the dark depths like De Sabata, but his tempos and dynamics are better judged. Beautiful when it needs to be and dramatic as well, this is a gift of a recorded document from a great conductor in his prime.

*4) Bruno Walter (1956, Orfeo)* - Dramatic, committed and spirited, many will prefer this later better-recorded live performance from Walter. The soloists are top notch, and Walter provides all the command, dedication and energy for which he is known. I do still find the earlier Walter account slightly more enjoyable for its beauty and nuance, and this may have something to do with the more variable tone of the choir in the later recording.

*5) Neville Marriner (1992)* - At last we come to a modern recording which for me qualifies as the best candidate for your one and only Requiem if you take sound quality and conventionality of interpretation into account. Marriner strikes just the right balance in his choice of tempos even if you don't get the gravitas of the above historic choices or even of a Bernstein (who milks things too much). And yet there is an inspired quality setting it apart from other modern versions. A superbly satisfying reading.

*6) John Eliot Gardiner (1986)* - A uniquely exciting and well sung and performed account, as one would expect from these talented forces. Indeed the drama of the Requiem comes across in some ways like never before. As often the case with Gardiner, however, the fast tempos rob the slow movements of their natural solemnity.

*7) Sir Colin Davis (1967, Philips)* - This recording has always been something of an old standard for this work and deservedly so. The recording has a bit of hiss but is otherwise full, warm and clear. Davis chooses perfect tempi, and the soloists and chorus perform with beauty, incisiveness and dedication. Perhaps there is a slight bit of stateliness compared to Marriner or Gardiner, but Davis compensates with greater power and warmth.

*8) Karl Böhm (1956, Philips)* - This recording finds Böhm at his most inspired, with a Kyrie that is especially thrilling in its extra power and weight. My only issue with Böhm is a certain inflexibility and lack of nuance that makes his performances sound plodding, even when the tempos are not that especially slow. However this is balanced with great sensitivity and beauty of tone.

*9) Carlo Maria Giulini (1989, Sony)* - Less firepower in the fast movements than his earlier recording, but this one is special for its dedicated, exquisite beauty and sensitivity. You are pretty much only getting one side of the work here, but that view is sublime enough to be worth the time.

*10) Carlo Maria Giulini (1979, EMI)* - Though not as inspired as his later recording, this one is more conventional in terms of tempos and has the requisite energy in the faster movements. In fact as an introduction to the work this recording is just about ideal, with excellent singing from both soloists and chorus.

*11) Karl Böhm (1971, DG)* - The DG recording is more slow and monumental compared to 15 years earlier on Philips, but there is undeniable beauty, power, and profundity enhanced by the clear, full recording. It only misses the greater liveliness you find in the earlier version.

*12) Leonard Bernstein (1989)* - Oh Lenny, if only we could harness your emotion into something more disciplined. This recording is worth hearing for the obvious depth of emotion and intense concentration throughout. Unfortunately the tempos are not just slow, but they meander in such a mannered way that it ultimately robs the music of its communicative power.

*13) Daniel Barenboim (1971)* - Well-judged tempos and inspired performers make this a top central recommendation. The Dies Irae is especially fiery.

*14) Sir Colin Davis (2008, LSO Live)* - Liveliness and energy are the hallmarks of this performance. The choir lacks body and richness but makes up for it with their vigorous spirit.

*15) Claudio Abbado (1999)* - Good modern version if largely unremarkable except the quality of the singers.

*16) Bruno Kittel (1941)* - An eccentric old recording, though with some powerful moments and surprisingly well-recorded. Kittel conducted his own eponymous choir here with the Berlin Philharmonic. Incidentally, that same year these forces performed the Requiem in concert under the baton of Furtwängler. If only there were a recording!


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## AfterHours

Brahmsianhorn said:


> I was inspired by this thread last month to do a survey of what I consider the best Mozart Requiem recordings, and here are the results:
> 
> *1) Victor de Sabata (1941)* - Tempos and dynamics are sometimes eccentric, the singing style is overly operatic, and the recording dates from 1941. So why is this my first choice? One word: gravitas. No other recording reaches the depth of emotion - both the dramatic and the solemn - like this one. De Sabata was one of the greatest conductors of the century - his Tosca with Callas and Verdi Requiem are unmatched - and he brings that skill here to make an emotional impact befitting this great work.
> 
> *2) Eugen Jochum (1956)* - Almost De Sabata's match and in tempos and style that are more conventional. My only quibble is a somewhat fast Lacrymosa, but the beauty still comes through. Otherwise it is an interpretation that sounds just right with dedicated singing throughout. Unfortunately the recording quality is below par even for 1950s standards. There are even some extraneous noises, which leads me to believe this is a radio aircheck.
> 
> *3) Bruno Walter (1937)* - The first ever recording is also one of the best, with sound quality that is quite passable for the period. Walter does not quite plum the dark depths like De Sabata, but his tempos and dynamics are better judged. Beautiful when it needs to be and dramatic as well, this is a gift of a recorded document from a great conductor in his prime.
> 
> *4) Bruno Walter (1956, Orfeo)* - Dramatic, committed and spirited, many will prefer this later better-recorded live performance from Walter. The soloists are top notch, and Walter provides all the command, dedication and energy for which he is known. I do still find the earlier Walter account slightly more enjoyable for its beauty and nuance, and this may have something to do with the more variable tone of the choir in the later recording.
> 
> *5) Neville Marriner (1992)* - At last we come to a modern recording which for me qualifies as the best candidate for your one and only Requiem if you take sound quality and conventionality of interpretation into account. Marriner strikes just the right balance in his choice of tempos even if you don't get the gravitas of the above historic choices or even of a Bernstein (who milks things too much). And yet there is an inspired quality setting it apart from other modern versions. A superbly satisfying reading.
> 
> *6) John Eliot Gardiner (1986)* - A uniquely exciting and well sung and performed account, as one would expect from these talented forces. Indeed the drama of the Requiem comes across in some ways like never before. As often the case with Gardiner, however, the fast tempos rob the slow movements of their natural solemnity.
> 
> *7) Sir Colin Davis (1967, Philips)* - This recording has always been something of an old standard for this work and deservedly so. The recording has a bit of hiss but is otherwise full, warm and clear. Davis chooses perfect tempi, and the soloists and chorus perform with beauty, incisiveness and dedication. Perhaps there is a slight bit of stateliness compared to Marriner or Gardiner, but Davis compensates with greater power and warmth.
> 
> *8) Karl Böhm (1956, Philips)* - This recording finds Böhm at his most inspired, with a Kyrie that is especially thrilling in its extra power and weight. My only issue with Böhm is a certain inflexibility and lack of nuance that makes his performances sound plodding, even when the tempos are not that especially slow. However this is balanced with great sensitivity and beauty of tone.
> 
> *9) Carlo Maria Giulini (1989, Sony)* - Less firepower in the fast movements than his earlier recording, but this one is special for its dedicated, exquisite beauty and sensitivity. You are pretty much only getting one side of the work here, but that view is sublime enough to be worth the time.
> 
> *10) Carlo Maria Giulini (1979, EMI)* - Though not as inspired as his later recording, this one is more conventional in terms of tempos and has the requisite energy in the faster movements. In fact as an introduction to the work this recording is just about ideal, with excellent singing from both soloists and chorus.
> 
> *11) Karl Böhm (1971, DG)* - The DG recording is more slow and monumental compared to 15 years earlier on Philips, but there is undeniable beauty, power, and profundity enhanced by the clear, full recording. It only misses the greater liveliness you find in the earlier version.
> 
> *12) Leonard Bernstein (1989)* - Oh Lenny, if only we could harness your emotion into something more disciplined. This recording is worth hearing for the obvious depth of emotion and intense concentration throughout. Unfortunately the tempos are not just slow, but they meander in such a mannered way that it ultimately robs the music of its communicative power.
> 
> *13) Daniel Barenboim (1971)* - Well-judged tempos and inspired performers make this a top central recommendation. The Dies Irae is especially fiery.
> 
> *14) Sir Colin Davis (2008, LSO Live)* - Liveliness and energy are the hallmarks of this performance. The choir lacks body and richness but makes up for it with their vigorous spirit.
> 
> *15) Claudio Abbado (1999)* - Good modern version if largely unremarkable except the quality of the singers.
> 
> *16) Bruno Kittel (1941)* - An eccentric old recording, though with some powerful moments and surprisingly well-recorded. Kittel conducted his own eponymous choir here with the Berlin Philharmonic. Incidentally, that same year these forces performed the Requiem in concert under the baton of Furtwängler. If only there were a recording!


Wow, great group selections. Really appreciate your mini write ups and such great recommendations -- even if you didn't include my top two choices  Just kidding --> :tiphat:

My top two are: 
(1) https://images-na.ssl-images-amazon.com/images/I/51KxDoBpgnL.jpg
(2) http://www.deccaclassics.com/imgs/s300x300/4647202.jpg


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## Radames

Anyone a fan of the Levin edition? I found that I like it better than the traditional Süssmayr. I have the Mackerras version.


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## CDs

Radames said:


> Anyone a fan of the Levin edition? I found that I like it better than the traditional Süssmayr. I have the Mackerras version.


I have the Mackerras version as well. Thumbs up from me!


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## CDs

realdealblues said:


> I have well over 50 recordings of the requiem. It's at the top of my favorite works along with Das Lied Von Der Erde. Of all of them this one is still my desert island disc.
> 
> View attachment 92607


Just curious with 50+ recordings of this great work what are your top and bottom five? Or if you want to rank all 50 feel free to do so.


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## realdealblues

CDs said:


> Just curious with 50+ recordings of this great work what are your top and bottom five? Or if you want to rank all 50 feel free to do so.


I'd love to go back and listen to them all with fresh ears and see how they all rank with me now as there are some I haven't heard in quite some time. I like a pretty wide range and I like most mentioned here.

To name some of my favorites I guess:

Sir Neville Marriner/Decca (The one I mentioned previously)
Daniel Barenboim/EMI
Nikolaus Harnoncourt/Deutsche Harmonia Mundi
Peter Schreier/Philips
Karl Bohm/Deutsche Grammophon
Leonard Bernstein/Deutsche Grammophon

A few that I truly dislike:

Harry Christophers/Coro
Claudio Abbado/Deutsche Grammophon
Roger Norrington/EMI
Sergiu Celibidache/EMI
Thomas Beecham/Sony
Jascha Horenstein/Vox


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## CDs

^ Thanks! I'll more than likely buy the Marriner recording.
I do like Harnoncourt (probably my second favorite) but I'm not the biggest fan of Bohm version. 
I'm curious to also look into Barenboim's recording.


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## realdealblues

CDs said:


> ^ Thanks! I'll more than likely buy the Marriner recording.
> I do like Harnoncourt (probably my second favorite) but I'm not the biggest fan of Bohm version.
> I'm curious to also look into Barenboim's recording.


Marriner recorded it twice. His 2nd one is the one I recommended and it's just amazing. Barenboim was really a surprise for me. I've not cared for a lot of his conducting over the years but I think it's excellent. He has a superb chorus and probably one of the greatest couplings of soloists out there for the Requiem.


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## Pugg

CDs said:


> ^ Thanks! I'll more than likely buy the Marriner recording.
> I do like Harnoncourt (probably my second favorite) but I'm not the biggest fan of Bohm version.
> I'm curious to also look into Barenboim's recording.


Strange very strange, would be, till now my dessert island ( requiem) disc.


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## CDs

Pugg said:


> Strange very strange, would be, till now my dessert island ( requiem) disc.


Wouldn't mind being on your island Pugg sounds pretty sweet. I hope there'd be ice cream........


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## RobertKC

I'm a novice. This is my only recording.










https://www.amazon.com/Requiem-Erga...07349349&sr=8-16&keywords=mozart+requiem+sacd

Revision by Robert Levin. Bachchor Mainz conducted by Ralf Otto.

The multi-channel SACD audio quality is excellent.

Any thoughts on this performance?

If I want a recording that provides a different interpretation - with excellent performance - and *excellent audio quality *- should I buy the Bohm on DG? Giulini on EMI? Other?


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## Pugg

RobertKC said:


> I'm a novice. This is my only recording.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> https://www.amazon.com/Requiem-Erga...07349349&sr=8-16&keywords=mozart+requiem+sacd
> 
> Revision by Robert Levin. Bachchor Mainz conducted by Ralf Otto.
> 
> The multi-channel SACD audio quality is excellent.
> 
> Any thoughts on this performance?
> 
> If I want a recording that provides a different interpretation - with excellent performance - and *excellent audio quality *- should I buy the Bohm on DG? Giulini on EMI? Other?


The Bohm is also on a new sound :
https://www.jpc.de/jpcng/classic/detail/-/art/mozart-requiem/hnum/3747176


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## 13hm13

Have heard quite a few ... but Karl Richter's early-1960s version, on Telefunken, eluded me until recently. *I like what I hear* ...






Maria Stader - soprano, Hertha Töpper - alto, John van Kesteren - tenor, Karl Christian Kohn - bass, Franz Eder - trombore
Münchner Bach-Chor, Munich Bach Orchestra, Karl Richter
[Telefunken]

https://www.discogs.com/Mozart-Mari...hn-Der-Münchener-Bach-Chor-Da/release/2543359

It has been re-released on Teldec CD.

BTW: The recording quality is excellent. When I first found the YouTube video, I thought it was a much newer recording -- not 1961!! *Nice job, Telefunken!*


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## 13hm13

I saw quite a few LIKES for this in the "Currently Listening" thread...

How about it? Does it make the list?









On period instruments.
Recorded in London, 9/1986 and 11/1986


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## flamencosketches

I like it for sure. I have heard plenty of less than favorable comments though for Gardiner's interpretation. One phrase I see floating around a lot with regard to his conducting style is "mass-produced". Not sure exactly what is meant by that. But as I mentioned in the other thread, Gardiner's recording really opened my eyes to the musicality of the Requiem. I always knew it was a great work, but it was always kind of an intimidating listen with the traditional large forces and slow tempi - and maybe that's how it's supposed to be; it's a requiem after all. But there is a lot of beauty here worth listening to and appreciating: in celebration of life, if you want to get allegorical about it. 

I have heard few other versions in full to compare: Karajan's is the other one I'm most accustomed to.


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## 13hm13

flamencosketches said:


> I like it for sure.


Cool!
From the samples on YouTube, I liked this recording's "chamber orchestra" sound.
My local Public Library has copy of the 1987 Philips CD, so I reserved a copy.
Should make for an interesting comparison with other personal faves like Celi, Marriner, etc..


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## 13hm13

Another one (apologies if this has been prev. mentioned)...both an impressive recording and performance:














Wolfgang Amadeus Mozart / Kirkby* • Watkinson* • Rolfe-Johnson* • Thomas*, Westminster Cathedral Boys Choir* • Chorus* & Orchestra Of The Academy Of Ancient Music*, Christopher Hogwood ‎- Requiem K626

Label:L'Oiseau-Lyre ‎- 411 712-2
Series:Florilegium Series -
Format:CD, Album 
Country:Europe
Released:17 Sep 1984


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## flamencosketches

I'm not really a fan of Hogwood's Mozart. I think he excels more in the Baroque and previous. But I'll give this Requiem a shot later on today.


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## Mandryka

Hogwood is good because it’s Maunder. I don’t like Sussmayr at all!


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## flamencosketches

My interest is piqued; I've only ever heard the Süssmayr.


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## 13hm13

The 1983 Hogwood _recording_ is excellent, as typical of AAM/L'oiseau Lyre. (Digiphobes take heed: the CD is "DDD" !!!) So even if you don't care for the performance, use it to "show off" your great sound system


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## 13hm13

I did finally cross-compare the two 1980s-era albums above (1983 Hogwood and 1986 Gardiner).

Winner: 1986 Gardiner


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## MarcoPolo38

French music radio show with blind listening on the 03/11/2019 : The Disc Critics' Tribune (podcast)

https://www.francemusique.fr/emissions/la-tribune-des-critiques-de-disques/requiem-de-mozart-77316

*Critics' charts*
N°1
Version B
Chœurs et Orchestre symphonique de la Radio Bavaroise, dir. Colin Davis (RCA, 1991)

Le Requiem de Mozart dirigé par Colin Davis
Le Requiem de Mozart dirigé par Colin Davis, © RCA
N°2
Version E
Chœur Arnold Schönberg, Concentus Musicus de Vienne, dir. Nikolaus Harnoncourt (DHM, 2003)

Le Requiem de Mozart dirigé par Nikolaus Harnoncourt
Le Requiem de Mozart dirigé par Nikolaus Harnoncourt, © DHM
N°3
Version A
Monteverdi Choir, English Baroque Soloists, dir. John Eliot Gardiner (Philips, 1986)

Le Requiem de Mozart dirigé par John Eliot Gardiner
Le Requiem de Mozart dirigé par John Eliot Gardiner, © Philips
N°4
Version C
Chœurs de l'Opéra de Vienne, Orchestre philharmonique de Vienne, dir. Karl Böhm (DG, 1971)

Le Requiem de Mozart dirigé par Karl Böhm
Le Requiem de Mozart dirigé par Karl Böhm, © DG
N°5
Version F
La Chapelle Royale, Collegium Vocale de Gand, Orchestre des Champs-Elysées, dir. Philippe Herreweghe (HM, 1996)

Le Requiem de Mozart dirigé par Philippe Herreweghe
Le Requiem de Mozart dirigé par Philippe Herreweghe, © HM
N°6
Version D
Academy of St Martin in the Fields, dir. Neville Marriner (Decca, 1977)

Le Requiem de Mozart dirigé par Neville Marriner
Le Requiem de Mozart dirigé par Neville Marriner, © Decca

*Public charts*
#1

Version C

32%
140
votes
#2

Version B

22%
98
votes
#3

Version E

20%
86
votes
#4

Version F

12%
52
votes
#5

Version A

9%
38
votes
#6

Version D

5%
22
votes


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## sAmUiLc




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## Heck148

JSBach85 said:


> Just curious to know, what is your favourite Mozart Requiem recording?


I've always loved the Bruno Walter/NYPO from '56 - Westminster Choir - Seefried, Tourel, Simoneau, Warfield..


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## Josquin13

On modern instruments, my favorite digital era performnce is Peter Schreier's with the Staatskapelle Dresden, who were a great Mozart orchestra in those days. Excellent sound, too. (If you like this recording, I'd also strongly recommend Schreier's Bach Mass in B minor in Leipzig on Berlin Classics, along with his Dresden recording of the Mass on Philips, too.)

While historically, I've liked the Bruno Walter/NYPO mono.

On period instruments, I have four favorites, which I'd roughly rank in the following order:

1. William Christie, with Les Arts Florrisants, on Erato. I once closely compared Christie's Mozart Requiem to Gardiner's more lauded recording on Philips, & felt that Christie's was superior & not by a small margin. IMO, Christie is arguably the finest Mozart conductor today. I only wish he'd record some of the symphonies.
2. Ton Koopman, with the Amsterdam Baroque Soloists, on Erato. Koopman really gets the 'fire & brimstone' quality in this music, but sees it within an 18th century context. I consider Koopman's recording to be very underrated. Excellent sound, too.
3. Nikolaus Harnoncourt 2, with the Concentus Musica Wien, on Deutsches Harmonia Mundi, hybrid SACD. This performance offers the usual Harnoncourt extremes & overstressed accents, but they work in this music. But otherwise, I wouldn't recommend Harnoncourt in Mozart's choral works, as I was disappointed with his complete survey, finding much of it difficult to listen to. (Peter Neumann's survey is preferable, IMO.)
4. Christopher Hogwood, with the Academy of Ancient Music, on L'Oiseau-lyre. I find this recording to be essential listening because, as others have pointed out, Hogwood used Richard Maunder's version & Süssmayr's contributions are left out.


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## JB Henson

Colin Davis with the BBC Symphony Orchestra from 1967 will always be my personal favorite.


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## Nicklausse

https://www.youtube.com/playlist?list=PL4bxWAf_0I4dhVscI0-FQY8JG-xv12aKy



Conducted by Michel Corboz April 1975 
Elly Ameling, soprano 
Barbara Scherler, alto 
Louis Devos, tenor 
Roger Soyer, bass 
Orchestra and Choir of The Gulbenkian Foundation, Lisbon


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## Rogerx

Nicklausse said:


> https://www.youtube.com/playlist?list=PL4bxWAf_0I4dhVscI0-FQY8JG-xv12aKy
> 
> 
> 
> Conducted by Michel Corboz April 1975
> Elly Ameling, soprano
> Barbara Scherler, alto
> Louis Devos, tenor
> Roger Soyer, bass
> Orchestra and Choir of The Gulbenkian Foundation, Lisbon




Such a fine performance, thanks for reminding and welcome by the way.


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## Nicklausse

Many thanks. I discovered this recording some time back by way of looking for recordings of one of my favorite, though sadly largely forgotten, operatic basses, Roger Soyer. I also enjoy Neville Mariner's St. Martin in the Fields recording.


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## hammeredklavier

I feel the tempo is overall satisfactory, except in the Domine Jesu (not the Hostias), which feels a bit fast.




The Levin completion. I find the Amen (the true ending of the Sequenza)'s inversion of the Requiem theme, D-C#-D-E-F, (also stated in the Dies Irae, the start of the Sequenza) an integral part of the work, btw.


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## janwillemvanaalst

*Berliner Philharmoniker & Wiener Singverein, conducted by Herbert von Karajan*. Recorded 1976. With Anna Tomowa-Sintow, Agnes Baltsa, Werner Krenn, José van Dam (soloists); Rudolf Scholz, organ.


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## RobertJTh

Malgoire (Sony) hasn't been mentioned yet. I always liked this recording, it sounds like no other one. it's got great atmosphere and an appropriate dark sound, making you feel you're actually part of the liturgy instead of merely listening to a concert performance. And it comes coupled with a great Charpentier Te Deum.


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## SanAntone

There are many fine recordings, but this one is among my favorites. Period instruments.

*Iride Martinez (soprano)
Monica Groop (alto)
Steve Davislim (tenor)
Kwangchul Youn (bass)
Chorus Musicus Köln, Das Neue Orchester/Christoph Spering*


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