Classical Music Discoveries

The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi. It was composed in memory of Alessandro Manzoni, an Italian poet and novelist whom Verdi admired. The first performance, at the San Marco church in Milan on 22 May 1874, marked the first anniversary of Manzoni's death. The work was at one time called the Manzoni Requiem. It is rarely performed in liturgy, but rather in concert form of around 85–90 minutes in length. Musicologist David Rosen calls it 'probably the most frequently performed major choral work composed since the compilation of Mozart's Requiem' Joana Filipe Martinez, conductor CMD Grand Opera Company of Barcelona Purchase now at: http://www.classicalsavings.com/store/p484/Verdi%3A_Messa_da_Requiem.html

Salieri was committed to medical care and suffered dementia for the last year and a half of his life. He died in Vienna on 7 May 1825, aged 74 and was buried in the Matzleinsdorfer Friedhof on 10 May. At his memorial service on 22 June 1825 his own Requiem in C minor – composed in 1804 – was performed for the first time. His remains were later 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 set free. It expressed itself in enchanting notes, Now it is floating to everlasting beauty. Performed by the CMD Philharmonic and Chorus of Paris. Conducted by Dominique Beaulieu Purchase this rare recording now at: http://www.classicalsavings.com/store/p433/Salieri%3A_Requiem_in_C_minor.html

Salieri was committed to medical care and suffered dementia for the last year and a half of his life. He died in Vienna on 7 May 1825, aged 74 and was buried in the Matzleinsdorfer Friedhof on 10 May. At his memorial service on 22 June 1825 his own Requiem in C minor – composed in 1804 – was performed for the first time. His remains were later 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 set free. It expressed itself in enchanting notes, Now it is floating to everlasting beauty. Performed by the CMD Philharmonic and Chorus of Paris. Conducted by Dominique Beaulieu Purchase this rare recording now at: http://www.classicalsavings.com/store/p433/Salieri%3A_Requiem_in_C_minor.html

Symphony No. 7 by Gustav Mahler was written in 1904–05, with repeated revisions to the scoring. It is sometimes referred to by the title Song of the Night (German: Lied der Nacht), which Mahler never knew (and certainly would be unlikely to have sanctioned). Although the symphony is often described as being in the key of E minor, its tonal scheme is more complicated. The symphony's first movement moves from B minor (introduction) to E minor, and the work ends with a rondo finale in C major. Thus, as Dika Newlin has pointed out, "in this symphony Mahler returns to the ideal of 'progressive tonality' which he had abandoned in the Sixth". The complexity of the work's tonal scheme was analysed in terms of "interlocking structures" by Graham George. Conducted by Kenneth Hedgecock CMD German Opera Company of Berlin

Symphony No. 7 by Gustav Mahler was written in 1904–05, with repeated revisions to the scoring. It is sometimes referred to by the title Song of the Night (German: Lied der Nacht), which Mahler never knew (and certainly would be unlikely to have sanctioned). Although the symphony is often described as being in the key of E minor, its tonal scheme is more complicated. The symphony's first movement moves from B minor (introduction) to E minor, and the work ends with a rondo finale in C major. Thus, as Dika Newlin has pointed out, "in this symphony Mahler returns to the ideal of 'progressive tonality' which he had abandoned in the Sixth". The complexity of the work's tonal scheme was analysed in terms of "interlocking structures" by Graham George. Conducted by Kenneth Hedgecock CMD German Opera Company of Berlin

The Grande Messe des morts (or Requiem), Op. 5, by Hector Berlioz was composed in 1837. The Grande Messe des Morts is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal off-stage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. ​ Dominique Beaulieu, conductor ​CMD Philharmonic and Chorus of Paris

The Grande Messe des morts (or Requiem), Op. 5, by Hector Berlioz was composed in 1837. The Grande Messe des Morts is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal off-stage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. ​ Dominique Beaulieu, conductor ​CMD Philharmonic and Chorus of Paris

The War Requiem, Op. 66, is a large-scale, non-liturgical setting of the Requiem composed by Benjamin Britten mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with settings of poems by Wilfred Owen, written in World War I. ​The work is scored for soprano, tenor and baritone soloists, chorus, boys' choir, organ, and two orchestras (a full orchestra and a chamber orchestra). The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for the Latin sections; all forces are combined in the conclusion. CMD German Opera Company of Berlin ​Sylvia Wagner, conductor Purchase now at: http://www.classicalsavings.com/store/p480/Benjamin_Britten%3A_War_Requiem%2C_Op._66.html

The War Requiem, Op. 66, is a large-scale, non-liturgical setting of the Requiem composed by Benjamin Britten mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with settings of poems by Wilfred Owen, written in World War I. ​The work is scored for soprano, tenor and baritone soloists, chorus, boys' choir, organ, and two orchestras (a full orchestra and a chamber orchestra). The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for the Latin sections; all forces are combined in the conclusion. CMD German Opera Company of Berlin ​Sylvia Wagner, conductor Purchase now at: http://www.classicalsavings.com/store/p480/Benjamin_Britten%3A_War_Requiem%2C_Op._66.html

Requiem in D minor (1855) is for soli, choir and orchestra. Despite his success in the operetta world, Suppé repeatedly strove to leave his mark in other, completely different, musical domains. We can see this especially in his sacred works, many of which he composed in his later years. The Requiem in D minor can be regarded as the apotheosis of his sacred oeuvre. He dedicated the work to his friend and mentor Franz Pokorny, who directed several theaters simultaneously (in Vienna, Baden, Oedenburg and Pressburg). In 1855, five years after Pokorny's death, Suppé completed the Requiem and had it performed in November of the same year at a commemorative mass in honor of his friend held at Vienna's Piarist Church. Although the work was performed several times over the next years and drew great acclaim from the public, it gradually became caught in the crossfire of the critics. The branded the Requiem "Italian style" as too operetta-like, and felt that the character of the piece was too cheerful and lacking in seriousness. Performed by the CMD German Opera Company of Berlin Conducted by Sylvia Wagner Purchase now at: http://www.classicalsavings.com/store/p479/Franz_von_Supp%C3%A9%3A_Requiem_in_D_minor.html

Requiem in D minor (1855) is for soli, choir and orchestra. Despite his success in the operetta world, Suppé repeatedly strove to leave his mark in other, completely different, musical domains. We can see this especially in his sacred works, many of which he composed in his later years. The Requiem in D minor can be regarded as the apotheosis of his sacred oeuvre. He dedicated the work to his friend and mentor Franz Pokorny, who directed several theaters simultaneously (in Vienna, Baden, Oedenburg and Pressburg). In 1855, five years after Pokorny's death, Suppé completed the Requiem and had it performed in November of the same year at a commemorative mass in honor of his friend held at Vienna's Piarist Church. Although the work was performed several times over the next years and drew great acclaim from the public, it gradually became caught in the crossfire of the critics. The branded the Requiem "Italian style" as too operetta-like, and felt that the character of the piece was too cheerful and lacking in seriousness. Performed by the CMD German Opera Company of Berlin Conducted by Sylvia Wagner Purchase now at: http://www.classicalsavings.com/store/p479/Franz_von_Supp%C3%A9%3A_Requiem_in_D_minor.html

The most popular requiem of the 18th century. CMD Grand Opera Company of Venice Conducted by Dominique Beaulieu Performed and recorded at ​Cathedral of the Holy Cross of Orléans Purchase now at: http://www.classicalsavings.com/store/p478/Durante%3A_Requiem_in_C_minor.html

The most popular requiem of the 18th century. CMD Grand Opera Company of Venice Conducted by Dominique Beaulieu Performed and recorded at ​Cathedral of the Holy Cross of Orléans Purchase now at: http://www.classicalsavings.com/store/p478/Durante%3A_Requiem_in_C_minor.html

Following their debut release DRESS CODE on Navona Records, Altius Quartet returns with a drastically different set of repertoire on SHOSTAKOVICH STRING QUARTETS 7, 8 & 9 but is played with the same passion and meticulous dedication one could expect from the group. The quartet notes that through studying these works the group was able to find their artistic voices both as individuals as well as an ensemble. Through listening to their performances, one can really get a sense of their personal connection to these pieces, and that reverence only helps to highlight the personal connection Shostakovich felt to these quartets as well. In fact, these three quartets are each written in honor of different person or group he felt a close connection to. Purchase now at: http://www.classicalsavings.com/store/p477/Shostakovich%3A_String_Quartets_7%2C_8%2C_9.html

Following their debut release DRESS CODE on Navona Records, Altius Quartet returns with a drastically different set of repertoire on SHOSTAKOVICH STRING QUARTETS 7, 8 & 9 but is played with the same passion and meticulous dedication one could expect from the group. The quartet notes that through studying these works the group was able to find their artistic voices both as individuals as well as an ensemble. Through listening to their performances, one can really get a sense of their personal connection to these pieces, and that reverence only helps to highlight the personal connection Shostakovich felt to these quartets as well. In fact, these three quartets are each written in honor of different person or group he felt a close connection to. Purchase now at: http://www.classicalsavings.com/store/p477/Shostakovich%3A_String_Quartets_7%2C_8%2C_9.html