Mozart: Requiem "Tuba Mirum" (New Completion ed. Keitamo) скачать в хорошем качестве

Mozart: Requiem "Tuba Mirum" (New Completion ed. Keitamo)

Working draft of new edition of Mozart's Requiem, K 626. Please see notes below for descriptions of this work-in-progress. (Synthesized instruments using Notion application. SATB voiced on piano to highlight orchestration.) Editor's aim with the "Tuba Mirum" is to provide orchestration that pays respect to Mozart's own aesthetic. The dotted rhythm in the woodwinds at bar 16 emphasizes the the imagery in the text, "coget omnes ante Thronum", and is inspired by similar cadences in Die Zauberflöte. At the “mors stupebit et natura”, the violins quote the main theme of the Confutatis. The fragment is sparse, and the editor completes the orchestration with motifs from Mozart's operas written alongside or around the time of the Requiem. For example, bars 24-26 are taken directly from La Clemenza di Tito. Violins and winds from bars 28-44 are taken from Tamino's aria "Dies Bildnis ist bezaubernd schön" from Die Zauberflöte. Summary of the rest of this new completion of the Requiem: 1. Requiem Aeternam: Unchanged from the Süßmayr 2. Kyrie: Alterations to trumpets and timpani 3. Dies Irae: Orchestration influenced by La Clemenza di Tito (Act I finale), Don Giovanni (Act II finale), Die Zauberflöte (“Die Hölle Rache”) 4. Tube Mirum: La Clemenza di Tito (“Deh per questo istante solo”), Die Zauberflöte (“Dies Bildnis ist bezaubernd schön”) 5. Rex Tremendae: Thamos, König in Aegypten (“Gottheit, über alle Mächtig”) 6. Recordare: Die Zauberflöte (various numbers) 7. Confutatis: Minor stylistic alterations 8. Lacrymosa: New completion based on Idomeneo (“O voto tremendo”), Solfeggios for voice 9. Amen: New completion 10. Domine Jesu: Veseprae Solennes de Confessore (“Confitebor”) 11. Hostias: Minor stylistic alterations 12. Sanctus [APPENDIX]: Re-composed following Tito (“Che del ciel”) 13. Benedictus [APPENDIX]: Re-composed following the Barbara Ployer Notebook, K. 453b 14. Agnus Dei: Parody based on Kyrie in D-minor, K 341. Editor aims to use as much known authentic Mozartian material as possible, with parody (reworking for text to preexisting music) being a common practice in the 18th century. 15. Lux Aeterna: Minor stylistic changes, with the final fugue ending in a picardy third