Mozart Requiem | Recordare | Alto Solo Instrumental & Orchestra Accompaniment

Practice the alto solo line from Recordare in Mozart's Requiem in D minor, K. 626 with this instrumental rehearsal track and orchestra accompaniment. Recordare is a solo quartet movement for soprano, alto, tenor, and bass. The alto begins the first vocal statement with the bass on Recordare, Jesu pie, then becomes one of the main binding colors in the quartet texture. This is chamber singing. The alto line needs warmth, clean Latin, steady legato, and a middle voice that stays present without becoming heavy. The part must support the quartet while still carrying its own text and phrase. Use this track to practice: Alto solo entries Opening Recordare phrase Latin text and rhythm Legato and breath pacing D5 focus Middle-register clarity Quartet balance Full movement preparation The full Mozart Requiem project follows the traditional Süssmayr completion. Timestamps, Lyrics, IPA & Translation 00:00 Instrumental introduction, basset horns, bassoons, and strings 00:33 Recordare, Jesu pie { re.korˈda.re ˈje.zu ˈpi.e } Remember, merciful Jesus. 00:49 Quod sum causa tuae viae { kwod sum ˈkau.za ˈtu.e ˈvi.e } That I am the cause of your path. 01:05 Ne me perdas illa die { ne me ˈper.das ˈil.la ˈdi.e } Do not lose me on that day. 01:36 Quaerens me / Sedisti lassus / Redemisti crucem passus { ˈkwe.rens me seˈdis.ti ˈlas.sus } Seeking me, you sat weary. { re.deˈmis.ti ˈkru.tʃem ˈpas.sus } You redeemed me by suffering the cross. 01:56 Tantus labor non sit cassus { ˈtan.tus ˈla.bor non sit ˈkas.sus } May such great labor not be in vain. 02:16 Juste judex ultionis / Donum fac remissionis / Ante diem rationis { ˈjus.te ˈju.deks ul.tsiˈo.nis } Just Judge of vengeance. { ˈdo.num fak re.mis.siˈo.nis } Grant the gift of forgiveness. { ˈan.te ˈdi.em ra.tsiˈo.nis } Before the day of reckoning. 03:03 Ingemisco / Culpa rubet / Supplicanti parce, Deus { in.dʒeˈmis.ko ˈtaŋ.kwam ˈre.us } I groan like one guilty. { ˈkul.pa ˈru.bet ˈvul.tus ˈme.us } Guilt reddens my face. { sup.pliˈkan.ti ˈpar.tʃe ˈde.us } Spare the supplicant, O God. 03:33 Qui Mariam / Et latronem / Mihi quoque { kwi ˈma.ri.am ab.solˈvis.ti } You who absolved Mary. { et laˈtro.nem eks.auˈdis.ti } And heard the thief. { ˈmi.hi ˈkwo.kwe spem deˈdis.ti } You gave hope also to me. 03:57 Preces meae / Sed tu bonus { ˈpre.tʃes ˈme.e non sunt ˈdiɲ.ɲe } My prayers are not worthy. { sed tu ˈbɔ.nus fak beˈniɲ.ɲe } But you, good one, act kindly. 04:31 Ne perenni cremer igne { ne peˈren.ni ˈkre.mer ˈiɲ.ɲe } Do not let me burn in eternal fire. 04:41 Inter oves / Et ab haedis { ˈin.ter ˈo.ves ˈlo.kum ˈpres.ta } Grant me a place among the sheep. { et ab ˈe.dis me seˈkwe.stra } And separate me from the goats. 05:03 Statuens in parte dextra { ˈsta.tu.ens in ˈpar.te ˈdek.stra } Placing me on the right side. Practice Notes for Alto Solo The alto range runs from A3 to D5. The part sits in the center of the quartet, so the sound must stay warm, clear, and alive without becoming covered. The alto opens the vocal writing with the bass at Recordare, Jesu pie. Count the instrumental introduction actively, then enter with calm breath and a gentle onset. This first phrase sets the whole character of the movement. In Recordare, keep the vowel line connected. Do not make the syllables too separate. The word should feel remembered, not announced. On Jesu pie, keep pie smooth through both vowels. Avoid pressing the second syllable. The phrase needs tenderness and line. At Ne me perdas illa die, keep the plea connected. The repeated text should not sound nervous. Let the consonants speak lightly, then return to vowel and legato. In Sedisti lassus and Redemisti crucem passus, the alto must keep the inner color clear. Do not drag chest weight upward. The upper notes need ring, not pressure. Tantus labor non sit cassus needs steady breath through repeated syllables. Shape the text as one thought so it does not become square or mechanical. At Ingemisco and Culpa rubet, sing with honest text, not heavy drama. The alto can carry warmth here, but the line still needs poise. In Supplicanti parce, Deus, keep the consonants clean and forward. Do not let the middle register become dull. In the final Inter oves section, the alto helps glue the quartet together. Match vowels with the other soloists, stay present, and let the final cadence settle with calm tuning. Recommended Playlists 🎼 Mozart Requiem Alto Solo Rehearsal Tracks:    • Mozart Requiem Alto Solo Rehearsal Tracks ...   🎼 Recordare Playlist, solo rehearsal tracks & vocal guides:    • Mozart Requiem Recordare | Solo Quartet Re...   🎼 Mozart Requiem Rehearsal Library:    • Mozart Requiem   Support the channel: https://buymeacoffee.com/opera_and_choir Join the singers' community:   / 921872057073844   #MozartRequiem #Recordare #Mozart #AltoSolo #AltoPractice #SoloQuartet #ClassicalMusic #ClassicalSinging #LatinDiction #IPA #Requiem #OperaAndChoir