Robert Schumann - Requiem(1852)(with full score)
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- Опубликовано: 7 сен 2024
- I. Requiem 00:05
II. Te decet 04:09
III. Dies irae 09:04
IV. Liber scriptus 12:31
V. Qui Mariam absolvisti 17:51
VI. Domine Jesu Christe! 22:48
VII. Hostias et preces tibi 25:22
VIII. Sanctus 26:22
IX. Benedictus 30:10
Choir. Saarbrucken Chamber Choir
Orc. German Radio Saarbrucken-Kaiserslautern Philharmonic Orchestra
Cond. Georg Gruen
(Sorry I can't find the soloists)
After the Schumanns moved to Dusseldorf towards the end of his life, Schumann became interested in the musical forms of the Catholic church, and the Mass and the Requiem also satisfied the streak of mysticism that was present throughout his life, though in greater or lesser proportions depending upon circumstances.
Like Mozart, he was composing a Mass for the dead during a time of illness and other hardships, and he expressed his fears that it was his own Requiem that he was writing. During Schumann's stay in the asylum after his suicide attempt, this was one of the compositions that he continued to work upon. The manuscripts show numerous revisions, far more so than in most earlier manuscripts, indicating his struggles to adequately capture his musical ideas and suggesting his mental agitation. Most of the writing is introverted (as in the Requiem for Mignon); the images are not of a priest celebrating the Requiem Mass, but of a man contemplating his own death.
It was not published or performed until eight years after his death, and today is one of Schumann's more neglected works, though critics vary in their opinions about how justified this neglect is. He did not exercise his gift for musical innovation, and in fact, much of it looks backwards. The Domine Jesu Christe and the Sanctus reflect Bach's influence, in the way that fugues dominate these sections, and the opening of the Agnus Dei, with its plaintive use of the strings to suggest an almost overwhelming, uncomprehending grief, suggests the opening of Mozart's Requiem. Again like the Requiem for Mignon, it uses the solo voices sparingly, except for the Qui Mariam absolvisti section of the Ingemisco, which has a limpid melodiousness reminiscent of his lieder.
However, there are also sections that show he was still capable of a poetic musical expressiveness, if not vibrant new creativity. The Sanctus is appropriately majestic and stately, and the Dies irae, though taking a more internalized approach than Verdi's terrifying writing in his own Requiem Mass, evokes the same sense of fear of the inevitable Day of Judgment.
Beautiful, reverent score. I cannot begin to understand the criticism this work receives.
I understand it fully, Paul - those who criticize this magnificent creation have NO IDEA what they are yapping about. They fear that which is not well-known and not 'mainstream.' This past year I presented a concert of works of Franck for his 200th birthday. On the program were six of his chansons. Literally no one knows them. I taught in a conservatory for 30 years and not once did Franck's songs come up. We have to ignore the ignorant among us. What they say is irrelevant. And those who criticize Robert Schumann - for any reason - are full of crap.
It is a one of work’s of Schumann that anyone knows, but I appreciate your effort to published this beautiful work.
Actually, it is one of the LESSER known "work's" (sic) of the composer, and THEREFORE we appreciate your effort...
@@plekkchand Come on. You don't have to use "(sic)" when you clearly know this person's native language isn't English; just interpret it for what it is, which is _obviously_ "works," without drawing so much attention to the person's grammar. Be nice.
Soloists: Sibylla Rubens, Ingeborg Danz, Christoph Prégardien, Adolph Seidel, Yorck Felix Speer
I've read that he wrote it in his peak of his mental illness in the asylum, knowing that he will die for sure, writing requiem for his own
Underrated work !
10:28 - I really like how something so dark can turn into something so triumphant, then proceeds to turn into horror in less than 20 seconds
16:26 - Another amazing part
19:34 - bass drop
25:21 - probably my favourite of the mass. It feels like they are trying to sacrifice whatever they can to save themselves, the choir joins in because they dont wanna die either lmao but they all know they are gonna die and thats why the melody is so depressing
31:47 - That keychange is omg and it sounds so ethereal and then the men come in oh god straight up feels like death
Good thread.
Thank you
The soprano soloist at 15'09" is quite disturbing. She ignores the commas in the first phrase. At 15:35, she screams the high G. Just awful. I had to skip ahead to the end of her solo.
I didn't heard any requiems in major key...
You clearly never heard of Brahms. Fucker.
@@metodoinstinto Had to google 'Fucker requiem', got disappointed.
The World Requiem by John Foulds is in B Major!
There's a Zelenka Requiem in D major....
Brahms in F- Dur!
That's a vocal score, not a full score.
No hi ha cap requiem que es pugui comparar a aquest. Ni Mozart el podria millorar. Es nota la genialitat de Schumann
Плностью согласен с вашими выводами....
@@user-jz2sx3ij1x No entiendo el ruso. Francés, inglés, español o catalán, por favor. Spasivo
22:48
6 ads between a requiem, for what?
Professional tip: get yourself youtube premium😎😎😎
Never saw so many accidentals.
io e Robert abbiamo la stessa malattia
Does anyone else get Rachmaninoff's "Isle of the Dead" vibes from this?
9:04