| Antonio Salieri (1750-1825)Requiem in C minor (1804)For Soloists, Chorus, Orchestra and Organ | |||
| 1 | Introitus / Kyrie – Larghetto-Allegretto-Larghetto |
6. 36 | |
| 2 | Sequenz (Dies Irae) – Andante maestoso-Allegro molto-Adagio-Andante con moto-Andante maestoso-Larghetto |
14. 48 | |
| 3 | Offertorium – Andante maestoso ma con moto-Larghetto |
4. 05 | |
| 4 | Sanctus – Largo e maestoso-Allegretto non molto |
2. 03 | |
| 5 | Benedictus – Andante con moto-Allegretto non molto |
2. 52 | |
| 6 | Agnus Dei / Communio – Larghetto – Poco Allegro |
5. 26 | |
| 7 | Libera me, Domine – Andante | 3. 08 | |
| Ludwig van Beethoven (1770-1827) Meeresstille und Glückliche Fahrt Op. 112 (Calm Sea and Prosperous Voyage) For Chorus and OrchestraPoems by Johann Wolfgang von Goethe |
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| 8 | Meeresstille – Poco sostenuto | 4. 50 | |
| 9 | Glückliche Fahrt – Allegro vivace | 2. 39 | |
| Franz Schubert (1797-1828) | |||
| 10 | Intende voci (Offertorium) in B flat, D 963 |
9. 30 | |
| Total playing time: | 56.22 | ||

Antonio Salieri (1750-1825) Coro Gulbenkian PTC 5186359 Download mp3 from: Download Biography- Discography in PDF Lawrence Foster
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Antonio Salieri Although Antonio Salieri most certainly does not stand in the front row of the great composers of West European musical historiography, he had been granted as one of few something quite special: to compose his own requiem. Not even Mozart, Brahms or Verdi, whose Requiem compositions count among the most major of the genre, could claim that for himself. How few of Salieri’s sacred works have to date been absorbed in the general works and concert canon (excepting the operas), can be confirmed by a simple internet search. For instance, if one “googled” the concepts “Salieri” and “Requiem”, much more than 80% of the detected entries establish no relation to Salieri’s Requiem, but rather to Mozart’s incomplete Requiem! However, an absolutely fascinating although untenable connection has persisted most stubbornly since Peter Shaffer’s play “Amadeus” and Milos Forman’s film of the same name: both fictional works want to have us believe that Mozart directly dictated his Requiem to his embittered rival Salieri during the night of his death. Forman’s fascinating images still affect numerous literary writings and the fantasy of authors more than 25 years later. Antonio Salieri (1750-1825) was first and foremost a significant opera composer, for which intensive patronage was granted by Emperor Joseph II in Vienna. He also achieved great success with his stage works in Italy and in Paris. Salieri worked in Vienna in the post of Hofkapellmeister, an appointment that he held until a year before his death. In this position he took care of administration tasks in particular and mainly composed church music. From 1790 Salieri counted among the most significant persons in the music life of the European music metropolis Vienna – which is also reflected in his line-up of pupils: Ludwig van Beethoven, Franz Liszt and Franz Schubert here count among the most well-known. From Salieri’s quill flowed about 100 sacred works, among which four orchestral masses, a requiem and an a capella mass. If Salieri had created the sacred music first and foremost “for God and my Emperor”, he had with the requiem a quite special motive in mind - his own funeral rites. And so the work also resounded during the funeral in 1825. This individualisation is “self-centred” (Riekel), and thus the words of the text set to music are throughout “Requiem eternam dona ei Domine” [Rest eternal grant him, O Lord]. Salieri entrusted the requiem predominantly to the choir. The typical Italian musical pure melody lines are noteworthy; the extremely effective invocation of Judgement Day (“Dies irae) [Day of wrath] (in this paving the way for Verdi with pompous trombone tones and mighty kettledrum rumbles), the steadfastness of faith in the complex fugues and the harmonious closeness of the appealing tonal pictures in particular. The end of the work is praiseworthy: the strings fall silent in “Libera me” [Deliver me] and the wind instruments accompany the choir colla parte. |
This is an enormously enjoyable recording of neglected works and is well worth investigating.
Graham Williams, SA-CD.net
Taking about 39 minutes of the playing time, the Requiem in C minor of Salieri has much to recommend it - in fact, in many ways this is the problem with him as a composer. In each and every movement from the plaintive opening Introitus to the cheery Kyrie and the following more overtly dramatic Dies Irae, Salieri has been gifted an astonishing range of ideas to play withA revelation of Salieri's musical talent.
John Broggio, SA-CD.net
The Requiem is skilfully constructed and the music has a lyrical flow that bespeaks of Salieri’s long experience as a vocal composer
Andrew Quint, Fanfare