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and she should be reviewing because she is more open to the music and shared my appreciation of Margaret Price.
However, this year I've found a performance that I love more than any other: The Fruhbeck de Borgos. Brisker tempos, without being hurried, very inspired with great concentration and completely compelling. Take this as a suggestion: Mozart: Requiem
I’ve yet to meet anyone who says that Schreier is a great conductor (or singer, for that matter). Here, a chronic lack of tension mars the affair where Schreier is unable to forge a true climax in any of the movements and drive it home with power and intensity. This is especially true of the opening Requiem Aeternam which is as flat as a pancake. It's so "stuck in the one gear." The Domine Jesu is mechanical whereas the reiteration of the text in the Hostias is crude, so crude. One also looks in vain for the tidal surge at the conclusion of the Rex Tremendae – it should have occurred at 1’14” but it’s dead on arrival. For sure, semi-redemption comes with Margaret Price and the Staatskapelle Dresden - and Araiza and Schmidt sing decently enough. But these are secondary considerations . . . . .
Reader, greatness is upon you when Theo Adam, Sith Lord of Wobble, belts out the Tuba Mirum in his inimitable fashion, accompanied drolly by the trombonist who has no feel for the text. How this was allowed to pass muster is beyond me – infernal forces must be at play. Schreier’s lack of grip also underwrites the atrocity. For once, text transcends allegory to become talisman. If the Hound of the Baskervilles shadows your residence, this is your weapon of choice. When push comes to shove, it also serves as a Tony Blair-repellent: that’s a good thing. I also commend Uncle Theo’s contribution to the Recordare. In their own way, his ululations of variable pitch make it clear that moggies might yet find a home in the New Jerusalem where all things become new.
Unless you have a pronounced sense of humour, give this disc as wide a berth as Uncle Theo’s wobble!
Peter Schreier was born in 1935 in Saxony, East Germany, and after a career as a boy-soprano, he turned tenor and established himself as THE Evangelist of all time, as well as a specialist in Haydn and Mozart. But, his Bach was much sought after and he assisted in the performances of gobs of Bach cantatas, but I don't know if he did a total cycle or not. He was, I know, the evangelist of choice for most of the Passions of the great Leipzig Master, and if I were a big, "Bachite", he'd likely get my dollars. In a word or two, or three-----"quality, quality, quality!"
Certainly this Philips Mozart Requiem, featuring his old friend Theo Adam, bass, is a fine rendition, and particularly notable for the Dresden Staatskapelle and the Rundfunkchor Leipzig. the sound is fine, but the Sony is superior, and the balance of the solo voices are ok, but not spectacular. Maestro Schreier's pacing is relaxed and fitting with warm woodwinds and non-intrusive brass. Overall, one can easily imagine this a church performance with it's gently subdued nature coming through clearly. I picked this bargain up 8-31-2011for the absurd price of 38 cents!! It was also in the days of the much more reasonable $3.00 S/H costs. I do believe it is a bit higher now for the total package, but the decision is still an artistic one. I say, get them both, for contrast, but also look at the Harnoncourt SACD, which includes wonderfully informative lecture, in quite good English, by Dr. Nicholas as a separate cd, on Harmonia Mundi. Along with some Giulini, Colin Davis and Mucnhinger, I am still looking at Marriner, Previn and perhaps Robert Shaw, if he recorded it before he passed.
for a "soft" but still sad, tragic and piercing Requiem, Schreier gets a sold 4 stars and a healthy recommendation from yours truly, so, for hours a satisfying listening and my best wishes, god bless you all, Tony. AMDG! ( ALL For the Greater Glory to God, St. Ignatius founder of the Jesuits)
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