Mozart: Requiem – Lacrimosa | SO & GC | CM Berlin

884,114 views Apr 22, 2023 BERLINER PHILHARMONIE

Symphony Orchestra & Grand Choir of the Collegium Musicum Berlin Conductor: Donka Miteva Wolfgang A. Mozart: Requiem – Lacrimosa & Amen newly edited and completed by Michael Ostrzyga ( @MichaelOstrzyga ) Recorded on July 1, 2022 at Berlin Philharmonic, Germany In the 1960s, a sketch by Mozart of an Amen Fugue surfaced. It can be assumed that it was intended for the Requiem when Mozart wrote it down: Not only is there a sketch for the Rex tremendae and the Magic Flute on the same page, written like the Requiem in 1791, but there are also striking compositional references to the Introit. Moreover, Mozart did not work on any other work during this period in which the word "Amen" appears. The arrangement of the reeds in Mozart's manuscript, as has sometimes been pointed out, does indeed leave far too little space for an extensive fugue at this point, but the exchange and insertion of further reeds was common and also occurred in Mozart's work. It is surely no coincidence that in the years immediately before his death Mozart devoted himself to Handel's Messiah, which concludes with an extended Amen fugue. For the overall architecture of the Requiem, such an Amen Fugue, roughly in the middle of the work, can form a supporting pillar which, together with the pillars at the beginning and end of the work, Kyrie and Cum sanctis tuis, forms a great arched architecture. In the Amen Fugue, which was realised for the new edition, Mozart's view of Bach is particularly evident, partly because it is also very clear in the Kyrie Fugue. It is impossible to imagine what Mozart would have invented, or perhaps had already invented. Nevertheless, the new addition was about the thought experiment of deducing the extent and nature of Mozart's instructions from everything that exists in someone else's hand. In this way, it is possible to derive - only incompletely, hypothetically, of course - instructions for completing the Requiem as a "whole", based on Mozart's presumed intentions in the form of general procedures, melodic material, contrapuntal constellations, harmonic progressions, instrumental accompaniments, concrete borrowings from older works by Mozart or Handel and Bach, and so on. Once I had uncovered this "composing backwards", I tried to compose the Requiem forwards again, starting from the music Mozart had written up to his death and the influences he bundled in the Requiem. ~ Michael Ostrzyga

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'La Donna E Mobile' 

Hiroyuki Ito/Hulton Archive / Getty Images

By 

Aaron Green

Updated on 01/05/19

The aria for lyric tenors known as "La donna e mobile" is the centerpiece of the opera "Rigoletto," Giuseppe Verdi's twisted tale of lust, desire, love, and deceit. Composed between 1850 and 1851, Rigoletto was adored by audiences when it first premiered at La Fenice in Venice on March 11, 1851, and even now, over 150 years later, it is one of the world's most performed operas. According to Operabase, which gathers statistical information from opera houses around the world, Verdi's "Rigoletto" was the 8th-most performed opera in the world during the 2014/15 season.

The Context of "La Donna e Mobile"

The Duke of Mantua sings this unforgettable aria in the third act of Verdi's Rigoletto as he flirts with Maddalena, the sister of the assassin Sparafucile. Rigoletto, the Duke's right-hand man, and his daughter, Gilda, who has fallen in love with the Duke, pay a visit to Sparafucile. Rigoletto is very protective of his daughter and wants to have the Duke killed since he is a man that cannot be trusted with women.

When they reach the inn in which Sparafucile is staying, they hear the Duke's voice bellowing within singing "La donna e mobile" ("Woman is fickle") as he puts on a show for Maddalena with hopes of seducing her. Rigoletto tells Gilda to disguise herself as a man and escape to a nearby town. She follows his instructions and sets out into the night while Rigoletto enters the inn after the Duke leaves.

When Rigoletto makes a deal with Sparafucile and hands over his payment, a calamitous storm rolls in for the night. Rigoletto decides to pay for a room at the inn, and Gilda is forced to return to her father after the road to the nearby town becomes too dangerous to traverse. Gilda, still disguised as a man, arrives just in time to hear Maddalena make a deal with her brother to spare the Duke's life and instead kill the next man that walks into the inn. They will bag the body together and give it to the duped Rigoletto. Despite his nature, Gilda still loves the Duke deeply and resolves herself to put an end to this dilemma.

Italian Lyrics of "La donna e mobile"

La donna è mobile
Qual piuma al vento,
Muta d'accento — e di pensier.
Sempre un amabile,
Leggiadro viso,
In pianto o in riso, — è menzognero.
È sempre misero
Chi a lei s'affida,
Chi le confida — mal cauto il cuore!
Pur mai non sentesi
Felice appieno
Chi su quel seno — non liba amore!
La donna è mobile
Qual piuma al vento,
Muta d'accento — e di pensier,
E di pensier,
E di pensier!

English Translation

Woman is fickle
Like a feather in the wind,
She changes her voice — and her mind.
Always sweet,
Pretty face,
In tears or in laughter, — she is always lying.
Always miserable
Is he who trusts her,
He who confides in her — his unwary heart!
Yet one never feels
Fully happy
Who on that bosom — does not drink love!
Woman is fickle
Like a feather in the wind,
She changes her voice — and her mind,
And her mind,
And her mind!

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Liszt Hungarian Rhapsody No.2 • Volker Hartung • Cologne New Philharmonie

Franz Liszt's Hungarian Rhapsody No.2, originally written for solo piano comes to much life in its orchestral version in this fiery performance by the Cologne New Philharmonic Orchestra conducted by Volker Hartung. Recorded live at Laeiszhalle Hamburg, Germany