The Requiem is not only Mozart’s last composition, but also the one most shrouded in mystery. The purportedly enigmatic patron who ordered the work and the fatal illness that befell Mozart while he was working on it long nurtured the macabre legend of Mozart composing his own Requiem mass commissioned by Death himself. The Requiem was completed by Mozart’s friend and pupil Franz Saver Süssmayr on the basis of Mozart’s sketches and instructions. The somber woodwinds and brass, the artless melodies and the stirring shifts from intricate contrapuntal writing to mighty homophonic blocks convey an otherworldly, apocalyptic feeling seldom encountered in Mozart’s works. Despite its almost operatic solo passages and large orchestra, the Requiem was intended for the church, and is indeed an ideal work for the theatrically sumptuous and brilliant Baroque churches of Austria and southern Germany. The abbey church in Diessen (Bavaria) is a splendid example: completely rebuilt in the early 18th century by one of the leading South-German Baroque architects, it provides an admirable setting for Leonard Bernstein’s sensitive conducting of the Requiem. This production, which the Maestro dedicated to his wife Felicia Montealegre on the tenth anniversary of her death, is a moving and memorable tribute to commemorate Mozart’s and others’ deaths.
Beethoven, Symphony No.9 in D minor, op.125 “Choral”
The fall of the Berlin Wall on 9 November 1989 unleashed a wave of democratization in Central and Eastern Europe that radically transformed the world order. “I am experiencing a historical moment, incomparable with others in my long, long life,” commented Leonard Bernstein about the breakthrough of freedom in the Communist world. In a typically grandiose yet eloquent gesture, Bernstein spontaneously accepted an invitation to conduct two performances of Beethoven’s Ninth Symphony to celebrate this freedom. Two concerts, held in each sction of the city that had been divided for 28 years: one in West Berlin’s Philharmonie on 23 December, the other in East Berlin on 25 December 1989. It was only fitting that East Germany’s new-found freedom should be celebrated with Beethoven’s Ninth Symphony. The monumental work, perhaps the world’s most famous symphony, was inspired by Schiller’s poem “Ode to Joy,” a passionate paean to freedom. For his two concerts, Bernstein substituted the word “freedom” (Freiheit) for “joy” (Freude) to reflect his personal message. “I’m sure that Beethoven would have given us his blessing,” added Mr. Bernstein. Our recording was taped live in East Berlin on Christmas Day 1989. Adding to the symbolism of the event, Bernstein conducted an orchestra and chorus formed of musicians from the United States, Great Britain, France and the Soviet Union – the four victorious World War II allies who were still responsible for governing Berlin at the time. Joining the Bavarian Radio Symphony Orchestra and Chorus were musicians from the London Symphony, the New York Philharmonic, the Orchestre de Paris, the Staatskapelle Dresden, the Orchestra of Leningrad’s Kirov Theater, as well as chorus members from the East-Berlin Radio Chorus and the Children’s Chorus of the Dresden Philharmonic Orchestra. Equally international were the illustrious vocalists in the final movement’s “Ode to Joy,” June Anderson, Sarah Walker, Klaus König and Jan-Hendrik Rootering.
Mozart, Ave Verum Corpus, K. 618
Mozart composed his “Ave, verum corpus” K. 618 in June 1791, just a few months before his death. Conceived for the feast of Corpus Christi, it is a work of touching directness and simplicity, and one of Mozart’s most moving choral works. Though few people would spontaneously associate Leonard Bernstein with 18th-century sacred music, this production stunningly confirms the words of a major Munich daily: “After a few bars, one is conquered by Bernstein’s mastery in creating atmosphere and communicating moods.” This live concert with the Chorus and Orchestra of the Bavarian Radio was filmed at the ornate Basilica of Waldsassen in Franconia (Germany), one of the first architectural adaptations of the Italian Baroque style to German taste. Significantly, this work also represents a melding of Italian vocal writing and German contrapuntal art.
Mozart, Mass in C minor, K. 427
Together with the “Ave, verum corpus” and the Requiem, the Mass in C minor K. 427 is one of Mozart’s last sacred works. And, like the Requiem, it too is incomplete: the Kyrie and Gloria were performed in Salzburg in 1783, but only part of the Credo was written, and none of the Agnus Dei. The work is marked by an archaic flavor reminiscent of Handel’s music, which Mozart had developed a taste for in his later years. Though few people would spontaneously associate Leonard Bernstein with 18th-century sacred music, this production stunningly confirms the words of a major Munich daily: “After a few bars, one is conquered by Bernstein’s mastery in creating atmosphere and communicating moods.” This live concert with the Chorus and Orchestra of the Bavarian Radio was filmed at the ornate Basilica of Waldsassen in Franconia (Germany), one of the first architectural adaptations of the Italian Baroque style to German taste. Significantly, this work also represents a melding of Italian vocal writing and German contrapuntal art.
Haydn, Missa in tempore belli (English introduction included)
The title of the work “Missa in tempore belli” (Mass in Time of War) recalls the war conducted by the Austrian Emperor Franz against France, whose young general Bonaparte was then rushing from one victory to the next. In August 1796 Vienna had to mobilize its troops. The subtitle “Paukenmesse” or Kettledrum Mass, comes from the prominent timpani and brass instruments in the last section of the Mass. The dramatic military sounds are made all the more striking as Haydn transforms the music into a fervent prayer for peace. Leonard Bernstein led this performance of the Mass at the Basilica of Ottobeuren on 30 September 1984 with the Chorus and Symphony Orchestra of the Bavarian Radio. The soloists were Judith Blegen (soprano), Brigitte Fassbaender (alto), Claes H. Ahnsjö (tenor) and Hans Sotin (bass). Bernstein said: “How does it feel to conduct a Haydn mass in this extraordinary, deeply impressive setting of the Ottobeuren Basilica? It feels perfect. If I had to imagine this mass visually and translate it into architectural terms, from one art to another, or in decorative terms – this is what I would imagine. It is the Haydn Mass.”