Antonin Dvořák (1841-1904) Requiem, Op. 89 by Karel Ančerl (Full version with links just below). 🎧 Qobuz https://bit.ly/3AF1qp8 Tidal https://bit.ly/3BJzEsJ 🎧 Spotify https://spoti.fi/3p163Yl Youtube Music https://bit.ly/3iZ6q1E 🎧 Apple Music https://apple.co/3v9LUjV Amazon Music https://amzn.to/2X9524O 🎧 Deezer https://bit.ly/2Z5kakx Soundcloud — 🎧 Napster https://bit.ly/3p58TLP Awa日本 https://mf.awa.fm/2YOGoXz 🎧 LineMusic日本 https://bit.ly/3ppcpRg QQ音乐 https://bit.ly/3BYjxXE Click to activate the English subtitles for the presentation (00:00-07:40) Funeral Mass for Solo Voices, Chorus and Orchestra, Op. 89 (B. 165; 1890) 00:00 III. Dies irae. Allegro impetuoso (coro) 02:12 IV. Tuba mirum. Moderato (soli, coro) 11:11 IX. Offertorium. Andante con moto (soli, coro) Sorry, we can't publish the full version. We have therefore selected 3 of the most beautiful passages. The full recording is available on youtube music and on all main music streaming platforms: https://www.youtube.com/watch?v=wfYivmpG_4Y&list=OLAK5uy_ngKiZGd4nI76CFCbEatdfZwyWUDKDG0s0 Maria Stader: soprano Sieglinde Wagner: contralto Ernst Haefliger: tenor Kim Borg: bass Prague Philharmonic Choir Markéta Kühnová Czech Philharmonic Orchestra Conductor: Karel Ančerl Recorded in 1959, at Prague (Praha) New mastering in 2021 by AB for CMRR Painting: Jakub Schikaneder (1855-1924) Murder in the House 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) https://www.patreon.com/cmrr If in his symphonic, chamber and song production Dvorak personifies the archetypal giver of joy, the harbinger of life's bright side, in his sacred compositions he moves the listener by the sheer profundity and intimacy of contemplation, a sharp focus he achieved through inspiration by the content of ecclesiastic text. (Obviously it was by no means accidental that towards the end of his life Dvorak showed systematic interest in the study of Latin.) His emotion-filled creative zest was all the more worthy as it drew its source from the most abstract layers of spiritual motivation, from the artist's own purest innermost urge. The Requiem was not written for a specific purpose, it was not dictated by the demise of someone close to Dvorak's heart, nor was it composed at the behest of some organizer of concert life. The idea of writing a "solemn mass" (as its autograph score is subtitled) was born from his aspiration to make his own statement on the crucial theme of life and death, while he himself stood on the threshold of his fiftieth year, an age that was in his time regarded as being synonymous with the peak of creative powers, yet at the same time as a borderline beyond which lay the actual old age, with its wisdom as well as its trappings. To Dvorak, the music of Requiem amounted to a summary of his personal philosophy of life, and simultaneously, a heartfelt confession of his own profound and sincere if unostentatious religious faith. (…) here as well Dvorak does handle his ideas with the proverbial profligacy of one of the greatest melody-writers in the history of European music. Showing no compassion for the soloists, he supplies them with parts that are exacting as regards both duration and extreme playing difficulty (involving interval skips and frequent low positions), bringing the work's solo performance ambitions to a climax in the twenty-three-bar a cappella soprano, contralto and tenor solo, in the Pie Jesu part. Dvorak's music is supremely effective both in passages of high drama (Dies irae), and in predominantly meditative ones. In Requiem, he left behind a work whose genuine spirituality has no peer in the entire 19 th-century Czech music production. Dvořák - Symphonic Poems / Remastered (Ct.rc.: Zdeněk Chalabala, Czech Philharmonic Orchestra): https://youtu.be/IF-B3YheiTY Antonín Dvořák PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxOmR1pAUFUL-0JK-EcbVFUG