Raphael Pichon - Mozart:Requiem - Import CD

Credits:

Raphael Pichon

Description:

Pichon & Pygmalion, Europe's leading recording of Mozart's Requiem! How beautiful, how vivid, how new, how respectful to Mozart! The disc opens with a series of surprises from Motzlek, winner of the 2022 Record Academy Award (Matthew Passion/KKC-6514/HMM-902691), and now performed by Pygmalion with Pichon, whose popularity is soaring all over the world and who is at the forefront of the music scene as well as the classical music scene. The concert opens with a chant sung by a boy soprano. Usually, "In Paradisum" is used to conclude the rites of the dead, but here the role is to celebrate life. This beautiful voice is interrupted by the solo quartet canon "Oh, how short our lives are! and "Miserere mei" before entering the main part of the requiem (the main part of the requiem is based on the Jussmeyer version, which was the closest to the composer at the time).The detailed nuances of the wind instruments (basset horn and bassoon, which are important instruments in Freemasonry) at the beginning of the main work, the enunciation of each word by the vocalists, and everything about this work shows the care that has been put into it. The solo singers' voices are wonderful (especially the clarity of soprano Ying Huang's voice is exceptional), as well as the vivid expression of Lacrimosa and the Amen that follows (Mozart wrote only 16 bars of the vocal part, and here only the part written by Mozart is performed as unfinished). The way they take the music to the next section, "Amen" (Mozart wrote only 16 bars of the vocal part, and here only the part written by Mozart is performed unfinished) is spectacular. Pichon and Pygmalion were the musical score for a stage production of the Requiem with theatrical and dance elements by Romeo Castellucci, also known as the "stage poet," which will be performed at the 2019 Aix-en-Provence Festival. This experience has been tremendous for Pichon and his colleagues, and this performance is truly in their blood. The music is assembled in a way that traces Mozart's writing of the Requiem in dialogue with and reminiscence of his own works of the past.Mozart, in his mid-30s, had already been composing for nearly 30 years. In order to convey what words cannot express, the dark side of the human heart, which he had done in his operas prior to composing the Requiem, he also made the instruments of the orchestra (the beauty of the strings drawn from Pichon's conducting and the power of the timpani, reminiscent of a death sentence, are overwhelmingly impressive) into characters. The tonality of D minor also reminds us once again of the connection to the darkness of Don Giovanni and the Queen of the Night in "The Magic Flute". The performance of the main part of the Requiem alone again brings out the essence of the work in a vivid and beautiful way, and the additional music makes us feel the presence of Mozart even more intensely, releasing various elements of humanity and salvation. King International