Mozart Requiem

Anyone who has ever seen Milos Forman's "Amadeus" knows that Mozart's Requiem is quite a piece. There are thoughts of murder, intrigue, jealousy, a nasty villain and a genius who desperately composes against death. The scene alone, in which the seriously ill Mozart dictates the Confutatis to the deceitful Salieri, is remarkably vivid. Of course, "Amadeus" is fiction, but as with any solid "biopic", this fiction is not completely plucked out of the air. Mozart's Requiem is "pure mystery", no other work of classical music is so steeped in dark legends. It was not Salieri who completed the incomplete work with other fragments and his own compositions after Mozart's death, but Joseph Eybler and Franz Xaver Süssmayr, one of Mozart's pupils. In the late 20th century, a number of composers and musicologists attempted new versions; the CMO opted for the 1979 version by Franz Beyer from Munich.

Joseph Haydn, along with Mozart and Beethoven a representative of Viennese Classicism, is significant for the development of the classical symphony. His symphonies are a treasure trove, Haydn amazes with his exuberance and recklessness, he shows intellectual joy in experimentation. His Symphony No. 44 in E minor was composed in 1770/71 at the court of Prince Eszterhazy during Haydn's "Sturm und Drang" phase, in his typical explorative style of the time. The 4 intense movements fly by, they are full of accents and counterpoints, no note is too much. It is not known who gave the piece the name "Symphony of Sorrows"; it was not Haydn.

Lena Geiger, soprano
Anja Powischer, alto
Nik Kevin Koch, tenor
Lorenz Kauffer, bass
CMO choir and orchestra
Eckart Manke, conductor


Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.