DVORAK Requiem Lorengar/Komlóssy/Ilosfalvy/Krause

ANTONIN DVORAK

Requiem
Mass In D *
Lorengar ˇ Komlóssy ˇ Ilosfalvy ˇ Krause
London Symphony Orchestra
István Kertész
Choir of Christ Church Cathedral, Oxford *
Simon Preston *
Int. Release 04 Dec. 1995
2 CDs / Download


Track List

CD 1: Dvorák: Requiem Mass/Mass in D

Antonín Dvo?ák (1841 - 1904)
Requiem, Op.89, B.165

Pilar Lorengar, Erszebet Komlossy, Robert Ilosfalvy, Tom Krause, The Ambrosian Singers, London Symphony Orchestra, István Kertész

Pilar Lorengar, The Ambrosian Singers, London Symphony Orchestra, István Kertész

The Ambrosian Singers, London Symphony Orchestra, István Kertész

Pilar Lorengar, Erszebet Komlossy, Robert Ilosfalvy, Tom Krause, The Ambrosian Singers, London Symphony Orchestra, István Kertész

The Ambrosian Singers, London Symphony Orchestra, István Kertész

10.
0:00
11:14

Pilar Lorengar, Erszebet Komlossy, Robert Ilosfalvy, Tom Krause, The Ambrosian Singers, London Symphony Orchestra, István Kertész

Total Playing Time: 1:12:23

CD 2: Dvorák: Requiem Mass/Mass in D

Antonín Dvo?ák (1841 - 1904)
Requiem, Op.89, B.165

1.
0:00
5:58

3.
0:00
10:49

Pilar Lorengar, Erszebet Komlossy, Robert Ilosfalvy, Tom Krause, The Ambrosian Singers, London Symphony Orchestra, István Kertész

Mass in D major, Op. 86

4.
5:41

5.
8:37

Neil Ritchie, Andrew Giles, Alan Byers, Robert Morton, Choir of Christ Church Cathedral, Oxford, Nicholas Cleobury, Simon Preston

6.
13:14

Neil Ritchie, Andrew Giles, Robert Morton, Choir of Christ Church Cathedral, Oxford, Nicholas Cleobury, Simon Preston

7.
2:29

8.
6:43

Choir of Christ Church Cathedral, Oxford, Nicholas Cleobury, Simon Preston

9.
5:21

Neil Ritchie, Andrew Giles, Alan Byers, Robert Morton, Choir of Christ Church Cathedral, Oxford, Nicholas Cleobury, Simon Preston

Total Playing Time: 1:04:04

Kertesz's complete cycle of the Dvorák symphonies is still the best available interpretively and sonically . . . All nine of his Dvorák symphonies clearly rank at or near the top of the leader board . . . Kertesz's general approach is dynamic and propulsive, but never at the cost of suppressing the warmth and freshness of Dvorák's melodies . . . but he also captures the natural swing or lilt that is never far from the surface in nearly all of Dvorák's music. This is large-scaled Dvorák that can easily compete with the internationalized (as opposed to Czech) approaches of virtuoso conductors . . . ln a symphony cycle with no losers, Kertesz's Sixth and Eighth are the two best performances. The opening of the Sixth is typical of Kertesz's approach, as it builds to the climactic statement of Dvorák's gorgeous theme with a mesmerizing lilt that has never been matched . . . [the Eighth] is an ideal combination of energy and soaring lyricism. Both interpretations are white hot without overdriving Dvorák's seemingly endless melodies . . . As good as the symphonies are, the Requiem, overtures, and tone poems may be even better. Dvorák's Requiem is an underrated work and it doesn't play itself, bur Kertesz's impassioned interpretation proves to be a powerful experience . . . Kertesz's irreplaceable Dvorák recordings never sounded this good . . . In fact, anyone who seriously cares about the music of Dvorák should own this indispensable complete Kertesz Dvorák collection.