Anton Reicha - Requiem (1805): 1. Introïtus & Kyrie (Mátl 1988)

Anton Reicha - Requiem (1805): 1. Introïtus & Kyrie. Performed by the Dvořák Chamber Orchestra & Prague Philharmonic Choir, conducted by Lubomír Mátl. Recorded January 1988 in Rudolfinum Studio, Prague, Czechia. With Věnceslava Hrubá-Freiberger (vocalist), Anna Barová (vocalist), Vladimír Doležal (vocalist), Luděk Vele (vocalist), Jaroslav Tvrzský (soloist). This video of classical music is solely for personal educational purposes. No copyright infringement intended. Videos are always incidental extracts from published works. If you like the music, please consider supporting the artist and the label by buying the music. Discover more lesser known classical gems at ‪@gorgeousclassicalunknown‬ . From the liner notes: Missa pro defunctis is Rejcha’s ultimate work that combines all his original knowledge in the field of harmony, form, counterpoint and instrumentation. The unique amalgam combines the heritage of fugue, classicist moderation and romantic sound, later made famous by one of Rejcha‘s most important students, Hector Berlioz. Despite a wide range of means of expression, or perhaps because of this, Rejcha wrote a truly spiritual, liturgical work that, even with its own distinctiveness, does not lose its servant character, which can be seen as another expression of his paramount mastery. With his mathematical sense of order, Rejcha can be even compared to Johann Sebastian Bach. The resemblance is best reflected in the counterpoint forms, and in the case of this Requiem, in all fugues. The most Bach-like part is the final fugue „Cum sanctis tuis in aeternum“, whose thematic head is related to the subject of Bach’s Musical Sacrifice (Musikalisches Opfer, BWV 1079). Although the initial tones of the theme are in a somewhat different order, the characteristic intervals (minor chord and diminished seventh) and the final descending chromatics are preserved. A very strict method of theme processing is similar but significantly different from Rejcha’s revolutionary collection of 36 fugues for piano, in which the innovation goes far beyond the standard practice of his day. Rejcha is also economical in shaping other thematic material: the introductory „Requiem aeternam“ is very ascetic; there are no stunning melodic ideas that would draw attention away from the text and its meaning, only coloring and supporting the text by means of harmonious, stylistic and instrumental work. As if he had entered the musical world of the late Beethoven, who at this stage of his life gave up many of the advances of the Classicist style and also turned to counterpoint forms. Another remarkable part is „Tuba mirum“, which is quite untypically entrusted to the solo tenor. This section begins with a low-pitched sound of timpani, brass, bassoons and clarinets. This darkened atmosphere is interrupted by a trumpet trio bursting into the last judgment, calling the „sleepers from the gra ves“. Each of the other parts then opens another chamber of this spiritual space. The liturgical text is thus an inspiration for Rejcha when choosing a musical language and its stylistic nuances. Very untypical is the part „Lacrimosa dies illa“, which is clearly composed in the „alla breve“ feeling in the tempo of Allegro non troppo, but the syncope of the violin, which brings with it turmoil and restlessness, is faster than the basic fourths in the choral voices. The text „Huic ergo parce Deus, Pie Jesu Domine“ is then set to music as a one-voice chant that emerges from other musical events (we decided to support this stylistic idea by choosing another timbre). The crystal-clear and Mozart-sounding Benedictus, which is composed as a soprano aria with a chorus, emerges from the overall introverted dark atmosphere. The whole work is concluded by the aforementioned great fugue „Cum sanctis tuis“. This Mass for the deceased is a modest work, free from any showiness and pomp. In it Rejcha gave up his „ego“ and put all his abilities, tastes and intellect in the service of the Christian faith, which makes him stand „cum sanctis tuis in aeternum, quia pius es“.