{"product_id":"cantelli-mozart-requiem-1950-paco027","title":"CANTELLI Mozart: Requiem (1950) - PACO027","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem in D minor, K.626\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 50:59 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRenata Tebaldi, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFedora Barbieri, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ealto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiancinto Prandelli, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eCesare Siepi, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra \u0026amp; Chorus\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Guido Cantelli\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO027.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe only recording of Cantelli conducting Mozart's Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFrom one of only four performances - with excellent notes by Keith Bennett\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eTo the best of my knowledge, this recording has only surfaced once\nbefore - on a CD from AS Disc released in 1989 and long since\ndisappeared. This recording, marred by heavy disc surface noise,\nelectrical hum, harsh sound and often unintelligible words, appeared to\nzip along at a healthy pace. This was caused by the entire recording\nbeing pitched a semitone high through the first half of the piece, and a\ntone high throughout the second half. The correction of this pitch\nserves to add some three minutes and forty seconds to the overall\nduration of the performance!\u003cbr\u003e\u003cbr\u003eI have endeavoured to do what I can\nwith the sound. It would appear that the original recordings was taken\nfrom an AM broadcast - certainly the limited frequency range would imply\nthis. The restoration has been a battle to create as much\nintelligibility and clarity as possible, set against high noise levels,\nand to produce a finished recording that can not only be listened to but\nalso enjoyed. I believe that this restoration finally achieves\nprecisely that for what is a unique historic document.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003e\u003cspan\u003eRequiem in D minor, K.626\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording from Usher Hall, Edinburgh, 8th September 1950\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTransfer and XR remastering by Andrew Rose, August-September 2008\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 50:59 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003cbr\u003eRenata Tebaldi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eFedora Barbieri, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ealto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eGiancinto Prandelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCesare Siepi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLa Scala Orchestra \u0026amp; Chorus\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Guido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO027.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO027.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart - Requiem in D minor, K.626\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003enotes by Keith Bennett\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003eThe Composition of the Mozart Requiem\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhen the Countess Walsegg-Stuppach died on\n14 February 1791 her enthusiastic music-loving husband decided to\ncommission Mozart to compose a \u003cb\u003eRequiem\u003c\/b\u003e in her memory. He wanted\nthe commission to remain anonymous (he was in the habit of commissioning\nworks from reputable composers and then passing the works off as his\nown). Thus a minion was sent to see Mozart and to persuade the composer\nto accept the commission for which 50 ducats was paid immediately as\nhalf of the honorarium. In Mozart’s usual financially impecunious\nsituation it is unlikely that any pressure was necessary. This meeting\nwith the mysterious “grey visitor” probably took place in the summer of\n1791.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe previous May Mozart had taken an unpaid\nposition as Deputy Kapellmeister at the St Stephen’s Church and he\nprobably saw the commission as a way of composing a large-scale\nreligious work which would impress his employer. However, life was\nhectic for Mozart for the last six months of his life. He had hurriedly\ncompleted \u003cb\u003eLa clemenza di Tito \u003c\/b\u003ein a mere 18 days, written the \u003cb\u003eKleinen Freimaurer-Kantate\u003c\/b\u003e for his Masonic brethren and completed \u003cb\u003eDie Zauberflöte\u003c\/b\u003e\non 28 September, conducting the première two days later. In the light\nof this activity it is understandable that when his wife Constanze\nreturned in the middle of October from taking the waters at Baden she\nwas so concerned at the deterioration in Mozart’s health that she took\nthe score of the Requiem away from him: by then he had only completed\nthe Introit and Kyrie. In November Mozart was taken ill. He died on 5\nDecember.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eConstanze’s immediate problem was to get someone to complete the \u003cb\u003eRequiem\u003c\/b\u003e:\nFranz, Count Walsegg-Stuppach (unknown, of course) had paid the\nhonorarium and was entitled to receive the finished composition and no\ndoubt a further 50 ducats would have been welcome. After some\nunsuccessful attempts to get the work completed she had to use the\nservices of 25 year-old Franz Xaver Süssmayr, who had been a pupil of\nMozart’s, to undertake the completion. There was skulduggery afoot.\nObviously, with two completed sections in Mozart’s own hand anything\nprepared by Süssmayr would be detected at once as a fake, so everything\nhad to be in Süssmayr’s hand. That was done and no doubt Constanze\nreceived the 50 ducats due.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eSüssmayr has come in for much criticism\nover the years but a little charity would not be misplaced. The young\nman was probably learning his trade but he was neither a Mozart nor\nanother genius. He had to complete the instrumentation for the Sequenza\nand Offertorium and actually compose the music for the Sanctus,\nBenedictus and Agnus Dei. What if he had not carried out this task? It\nis perfectly feasible that Mozart’s own work would have been lost or\ndestroyed: who would want to keep a torso of a couple of sections of a \u003cb\u003eRequiem\u003c\/b\u003e?\nScholars will keep trying to get closer to what Mozart wanted but the\nSüssmayr is, after over 200 years, still the version concertgoers are\nmost likely to hear.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003eGuido Cantelli – Mozartean Nonpareil\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eGuido Cantelli, unlike his mentor Arturo\nToscanini, was an admirable Mozartean. When he returned to conducting\nopera in January 1956, after a gap of eleven years, he produced and\ndirected \u003cb\u003eCosì fan tutte\u003c\/b\u003e at the newly opened Piccola Scala in\nMilan to such enthusiastic acclaim that additional performances had to\nbe arranged. His commercial recording of the \u003cb\u003eSymphony No.29 \u003c\/b\u003ewith the Philharmonia Orchestra was one of only six that Cantelli made in stereo\u003cb\u003e: \u003c\/b\u003ebut\nit is unique as being the only occasion when he recorded a work with\nthis orchestra which he had not previously included in concert with\nthese musicians. It can stand comparison with any more modern recording\nand his other commercial recording of \u003cb\u003eEine musikalischer Spaß \u003c\/b\u003e(also\nwith the Philharmonia Orchestra and also in stereo) has the unique\nexperience of hearing probably the finest horn player ever – Dennis\nBrain – playing ‘out of tune’. Cantelli’s broadcast performances of some\npiano concertos – K466 with Serkin and K467 with Gieseking, both with\nthe Philharmonic-Symphony Orchestra of New York – are also worth seeking\nout.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eCantelli’s international career spanned a\nmere eight years (1949 – 1956) before his tragic death in an air crash.\nIt may come as a surprise to some that he only performed the \u003cb\u003eRequiem\u003c\/b\u003e\non four occasions but an analysis of his brief career reveals that that\nthere were another 105 works which he conducteded only four times or\nless. The \u003cb\u003eRequiem \u003c\/b\u003eperformances were all with the Orchestra e Coro\ndella Scala and all in 1950: there were two performances in the Teatro\nalla Scala on 19 and 20 June and one at the Edinburgh Festival given on\nFriday, 8 September (preserved on this CD) – the soloists on those three\noccasions were Renata Tebaldi, Fedora Barbieri (although one source\nindicates that it was Maria Radev who sang the alto part in Milan),\nGiacinto Prandelli and Cesare Siepi: but for the final performance in\nthe Royal Opera House, Covent Garden on 22 September, Suzanne Danco\nreplaced Renata Tebaldi.\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cb\u003eThe Recorded Performance of Mozart’s Requiem\u003cbr\u003e given in the Usher Hall, Edinburgh on 8 September 1950\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003eGuido Cantelli conducts the Orchestra e Coro della Scala\u003cbr\u003e Maestro del Coro: Vittore Veneziani\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cspan class=\"body\"\u003ewith\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cspan class=\"body\"\u003e \u003cb\u003eRenata Tebaldi\u003c\/b\u003e, soprano\u003cbr\u003e \u003cb\u003eFedora Barbieri\u003c\/b\u003e, alto\u003cbr\u003e \u003cb\u003eGiacinto Prandelli\u003c\/b\u003e, tenor \u003cbr\u003e \u003cb\u003eCesare Siepi\u003c\/b\u003e, baritone\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe “Mozart”\u003cb\u003e Requiem\u003c\/b\u003e is a hybrid: in the score of \u003cb\u003eNeue Ausgabe sämtlichr Werke \u003c\/b\u003e\n(published 1967) each movement indicates whether is was solely by\nMozart, by a combination of Mozart and Süssmayr or just by Süssmayr and\nthis is indicated in the table below as \u003cb\u003eM\u003c\/b\u003e, \u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e os\nS. Whatever the facts surrounding this composition, Cantelli conducts\nthe completion by Süssmayr (later editions have only appeared since\nCantelli’s death).\u003c\/p\u003e\u003cdl\u003e\u003cdd\u003e\n\u003ctable style=\"width: 460px;\" rules=\"GROUPS\" cellspacing=\"0\" cellpadding=\"2\" border=\"1\"\u003e\n\u003ccolgroup\u003e \u003ccol width=\"113\"\u003e \u003ccol width=\"25\"\u003e \u003c\/colgroup\u003e \u003ccolgroup\u003e \u003ccol width=\"187\"\u003e \u003c\/colgroup\u003e \u003ccolgroup\u003e \u003ccol width=\"37\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eIntroitus:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eRequiem\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cb\u003eM\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cb\u003eAdagio\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e4:37\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eKyrie\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cb\u003eM\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cb\u003eAllegro\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e2:44\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eSequentia:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eDies irae\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAllegro assai\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cspan class=\"body\"\u003e\u003cem\u003e\u003cb\u003e1:56\u003c\/b\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003e\u003cspan class=\"body\"\u003eTuba mirum\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAndante\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:24\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eRex tremendae\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e2:02\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003e\u003cspan class=\"body\"\u003eRecordare\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e6:13\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eConfutatis\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAndante \u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e2:35\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eLacrimosa ¶\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:59\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eOffertorium:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eDomine Jesu\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAndante con moto\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:43\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eHostias\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\n\u003cem\u003e\u003cb\u003eAndante-\u003c\/b\u003e\u003c\/em\u003e\u003cem\u003e\u003cb\u003eAndante con moto\u003c\/b\u003e\u003c\/em\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e5:04\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eSanctus\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eS\u003c\/td\u003e\n\u003ctd width=\"223\"\u003eAdagio – Allegro\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e1:26\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eBenedictus\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eS\u003c\/td\u003e\n\u003ctd width=\"223\"\u003eAndante – Allegro\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e4:34\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eAgnus Dei\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eS\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:24\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eCommunio:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eLux aeterna†\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eSM\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\n\u003cb\u003e(Adagio) –\u003c\/b\u003e Allegro – Adagio\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e5:18\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/dd\u003e\u003c\/dl\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e¶ The first eight bars are by Mozart \u003cbr\u003e † Süssmayr used Mozart’s opening \u003cb\u003eIntroitus\u003c\/b\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat of Cantelli’s interpretation? Prior to\nthis performance the Orchestra e Coro della Scala had given a\nperformance of a very different \u003cb\u003eMessa da Requiem\u003c\/b\u003e, Verdi’s, on the\nprevious Monday under the most senior conductor on the tour, Victor de\nSabata. The Verdi sweeps an audience off its feet and – on a personal\nnote – that is exactly what happened when I heard the \u003cb\u003eMessa da Requiem \u003c\/b\u003efor\nthe first time. Such was the impact that when I came out of the Royal\nAlbert Hall (which I had visited dozens of times), I took a wrong\nturning and missed the last home 40 miles away (incidentally, that\nperformance was conducted by Victor da Sabata and my recollection of\nhis somewhat demonic appearance on the rostrum was perfectly described\nby one of the London Philharmonic Orchestra’s musicians as ‘a cross\nbetween Julius Cæsar and Satan’.).\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe more restrained Mozart \u003cb\u003eRequiem \u003c\/b\u003eis\na very different matter. When de Sabata made his commercial recording\nat least one critic considered the performance to be ‘Verdian’ no doubt\nin an attempt to describe the recording as too theatrical. Note, for\nexample that four of the movements have no tempo indication (presumably\nthe beginning of \u003cspan style=\"text-decoration: underline;\"\u003eLux aeterna\u003c\/span\u003e would be \u003cem\u003eAdagio \u003c\/em\u003esince\nSüssmayr used Mozart’s opening of the Requiem) which is an invitation\nto an exaggerated response for some conductors. While Cantelli usually\nobserves the tempi indications he is very slow for the opening \u003cem\u003eAndante \u003c\/em\u003ein the \u003cspan style=\"text-decoration: underline;\"\u003eHostias\u003c\/span\u003e but that ensures that there is a clear difference to be heard when the \u003cem\u003eAndante con moto \u003c\/em\u003efollows\u003cem\u003e. \u003c\/em\u003eAnother change from the printed tempo indications is in the \u003cspan style=\"text-decoration: underline;\"\u003eSanctus\u003c\/span\u003e which is not an \u003cem\u003eAdagio. \u003c\/em\u003eAs\nmentioned earlier, the Mozart is certainly more restrained than the\nVerdi but the chorus sings with a fervour which brings out more of the\ndrama than is usually heard and that is no doubt due to the fact that\nCantelli keeps things moving (in the main); perhaps that fervour is a\nlittle too close to theatrical drama but at least the Chorus sounds\nenthusiastic and involved. A major difference between the Mozart and the\nVerdi is that there are no set pieces for the individual soloists and\nthey participate as a sort of ‘mini-chorus’. Cantelli’s soloists are\nRenata Tebaldi (who had already sung with Toscanini as a 24 year-old in a\nconcert in the newly re-opened Teatro alla Scala during 1946), Fedora\nBarbieri, Giacinto Prandelli and Cesare Siepi who were well-established\nin the operatic field – indeed, Giacinto Prandelli had first sung under\nCantelli’s direction in May 1944. The voices need to blend and\nCantelli’s long experience of conducting choral forces from his student\ndays, allied to a very sure stick technique, ensures that soloists and\nchorus knew their roles perfectly. While the performance is not\nparticularly reverent or devout at least it avoids any taint of\nsentimentality which, for this listener at least, is to Cantelli’s\ncredit.\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp class=\"body\" align=\"right\"\u003e© 2008 Keith Bennett\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eKeith Bennett \u003c\/b\u003eis the author of \u003cb\u003eGuido Cantelli – Just Eight Years of Fame. \u003cbr\u003e \u003c\/b\u003eFurther details available from GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12 4UL, UK. \u003cbr\u003e (email: gcpublishers@keithbennett.waitrose.com)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":44064778977370,"sku":"vko1789304785849","price":14.29,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064779010138,"sku":"usf1789304785850","price":7.91,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064779042906,"sku":"asg1789304785851","price":8.29,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064779075674,"sku":"mpg1789304785852","price":8.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/cantelli-mozart-requiem-1950---paco027_1.jpg?v=1789304792","url":"https:\/\/vestorawear.shop\/products\/cantelli-mozart-requiem-1950-paco027","provider":"My Store","version":"1.0","type":"link"}