Dvorak - Requiem
£24.65
In stock - available for despatch within 1 working day
Despatch Information
This despatch estimate is based on information from both our own stock and the UK supplier's stock.
If ordering multiple items, we will aim to send everything together so the longest despatch estimate will apply to the complete order.
If you would rather receive certain items more quickly, please place them on a separate order.
If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up.
If you would prefer to receive everything together regardless of any delay, please let us know via email.
Pre-orders will be despatched as close as possible to the release date.
Label: Phi
Cat No: LPH016
Format: CD
Number of Discs: 2
Genre: Vocal/Choral
Release Date: 20th April 2015
Contents
Artists
Ilse EerensBernarda Fink
Maximilian Schmitt
Nathan Berg
Collegium Vocale Gent
Royal Flemish Philharmonic Orchestra
Conductor
Philippe HerrewegheWorks
Requiem, op.89Artists
Ilse EerensBernarda Fink
Maximilian Schmitt
Nathan Berg
Collegium Vocale Gent
Royal Flemish Philharmonic Orchestra
Conductor
Philippe HerrewegheAbout
This work, dating from 1890, is one of those that marked a new phase in the composer’s musical creation, in which he recognized himself ‘as much a poet as well as a musician’. In addition, this reveals the veritable nature of a composer without constraint, probably being neither a commission nor an occasional work.
Philippe Herreweghe offers us an interpretation as dense and concentrated as the writing of this masterpiece requires.
Sound/Video
Paused
-
1Requiem - I. Introitus (Requiem aeternam - Kyrie eleison)
-
2Requiem - II. Graduale (Requiem aeternam)
-
3Requiem - III. Sequentia (Dies irae)
-
4Requiem - IV. Sequentia (Tuba miram)
-
5Requiem - V. Sequentia (Quid sum miser)
-
6Requiem - VI. Sequentia (Recordare, Jesu pie)
-
7Requiem - VII. Sequentia (Confutatis maledictis)
-
8Requiem - VIII. Sequentia (Lacrimosa)
-
9Requiem - IX. Offertorium (Domine Jesu Christe)
-
10Requiem - X. Offertorium (Hostias)
-
11Requiem - XI. Sanctus - Benedictus
-
12Requiem - XII. Pie Jesu
-
13Requiem - XIII. Agnus Dei
Europadisc Review
Having already made a highly acclaimed recording of Dvořák's Stabat mater in 2012, it was natural that Philippe Herreweghe and his Collegium Vocale Ghent should turn their attentions to the Requiem, and if anything the results are even more impressive. As before, they team up with the Royal Flanders Philharmonic, of which Herreweghe is principal conductor. Two soloists – soprano Ilse Eerens and tenor Maximilan Schmidt – return from the line-up that recorded the Stabat mater, and they're joined by bass Nathan Berg, and long-time Herreweghe collaborator Bernarda Fink singing alto, to make up a superbly matched quartet.
From the very outset, amid the hushed intensity of the work's semitonal 'motto' theme, it's obvious that this is a performance of exquisitely nuanced hues, and this is as true of the imposing tuttis of the Dies irae sequence as it is of the operatic-style quartet of the Recordare (movement 6), and the exquisite textures of the Hostias and Pie Jesu. Herreweghe's experience in the field of early music shows in an unusually exciting fugue at the words Quam olim Abrahae in the first section of the Offertory: here one senses Brahms's German Requiem is not so far in the background.
Of the soloists, Eerens is wonderfully ethereal, while Schmidt's solos are especially sweet-toned. The Royal Flanders Philharmonic are both sympathetic and characterful, not least the woodwind section, who so often bring out hints of Czech flavours in the scoring. But it is the sheer professionalism and variety of shading brought to the choral writing by the Collegium Vocale that is the real highlight here. Just sixty voices strong, it is somewhat smaller than the choral societies for which Dvořák conceived the work, yet it packs an enormous emotional punch, as well as a dynamic and expressive refinement that would elude most larger ensembles.
Alongside full texts, there's a thoughtful essay by Tom Janssens, setting the Requiem in the broader context of Dvořák's career. Outstanding in every way, and a great addition to the growing Phi catalogue.
Error on this page? Let us know here
Need more information on this product? Click here